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A wet morning greets ex-BR Class 86/2 No. 86259 'Les Ross' as it powers north through Tamworth Low Level heading The Railway Touring Company's 'Cumbrian Mountain Express' to Carlisle. The train is 1Z86 0710 from London Euston, which on this day was electrically hauled through to Carlisle as industrial action by fire fighters had precluded the use of steam on the outward leg from Crewe. The locomotive was named 'Les Ross' whilst still in the service of Virgin Cross Country, and was purchased by Les Ross, the well known Birmingham radio personality, who has restored the locomotive to main line standards and continues to do what it was designed to do, work 100mph trains along the West Coast Main Line. This view of Tamworth has changed little since the line was electrified, and with No. 86259 carrying the early 'electric blue' livery with white cab window surrounds hauling a rake of maroon mark 1 coaches it is only the headlight and head board that betrays the fact it was taken on 19th July 2014 and not 1966. Copyright John Whitehouse-all rights reserved
EP sleeve designed by "flor / VRI" (?) for Philips Minigroove EP 409 524 NE, Chopin's "Les Sylphides" ballet excertps conducted by Eugène Ormandy & The Philadelphia Orchestra
Haus Le Corbusier at Weissenhofsiedlung.
Stuttgart, Germany.
All rights reserved. No use & distribution without express written permission. Strictly enforced.
Anciens docks-entrepôts réhabilités en centre commercial.
Pays : France 🇫🇷
Région : Normandie
Département : Seine-Maritime (76)
Ville : Le Havre (76600)
Quartier : Le Havre Centre Ouest
Adresse : 70, quai Frissard
Fonction : Commerces
Construction : 1846 → 1884
Réhabilitation : 2007 → 2009
► Architectes : Reichen et Robert
Hauteur : ≈14,00
Surface : 53 500 m²
Alineament de Le Ménec, format per 1.099 menhirs amatents en 11 fileres de 100 m d'ample per 1,2 km de llarg.
Kamag / Carnac (Breizh / Bretagne).
Models: Olga Cercós i Agust Frías.
Maquilladora: Clara Heras
Sessió inspirada en l'obra: "La dansa de les almorratxes" de Miquel Martín.
Photo: Photo Lê Trung
Model: Lê Trân
Makeup: Nam Lợi
Retouch:Lê Trung
Mọi chi tiết về chụp ảnh vui lòng liên hệ: 0903036756
Yahoo: photography_letrung
Le Salvine sono un'area ai piedi del Pian dal Turo e Truc d'l Buscajun, appartenenti alla frazione Bagneri del comune di Muzzano, mantenute ad alpeggio, ancora abitate tutto l'anno dagli ultimi irriducibili. Ecco alcuni bellissimi alpeggi, questi abitati sono d'estate.
French postcard by Editions P.I., Paris, nr. 1095. Photo: Sam Lévin.
Les Chats Sauvages (The Wild Cats) was a French rock and roll band, that was formed in 1961. Together with Les Chaussettes Noires, they were among the first outfits to perform rock and roll music in France. Les Chats Sauvages was originally composed of Dick Rivers (Hervé Forners) on vocals, John Rob (Jean-Claude Roboly) on guitar, James Fawler (Gérard Roboly) on guitar, Jack View (Gérard Jaquemus) on bass, and Willy Lewis (Wiliam Taïeb) on drums. In 1961, their concert at the Palais des Sports de Paris, whilst headlining with Vince Taylor, reportedly turned ito a full-scale riot. The departure of Rivers in the summer of 1962, who was replaced by Mike Shannon, affected the band's popularity, which nevertheless continued its career. Les Chats Sauvages broke up in 1964, before briefly reappearing twice, including an album release in 1982 with Dick Rivers, to celebrate the twentieth anniversary of their formation.
Le dinosaure
Ce dinosaure a été je crois construit à l'origine par les élèves d'une école. Ces derniers temps il avait pris un coup de vieux, mais là il vient de subir un lifting. Il a de nouvelles dents blanches et de nouvelles écailles dorsales.
Sur la photo vous ne voyez pas le reste du corps, mais il est impressionnant. J'aime bien le voir émerger de derrière les arbres quand je me promène par là.
Dino
This dinosaur was I think originally built by the students of a school. Lately he had become old, but now he has just undergone a facelift. It has new white teeth and new dorsal scales.
On the picture you cannot see the rest of the body, but it is impressive. I like to see him emerge from behind the trees when I walk by.
French postcard. Film Pathé, No. 3664. Croissant, Paris. Series for the French film Le chemineau (The Tramp, Albert Capellani, Pathé frères 1905), based on the first part of Victor Hugo's novel Les misérables. See filmographie.fondation-jeromeseydoux-pathe.com/5943-chemi.... Caption: C'est moi qui les lui ai donnés (It's I who gave them to him).
Plot: it's winter, snow falls on the desolate countryside. An exhausted tramp in vain asks for an alimony from passers-by. He presents himself at the presbyterium and is hosted by the pastor, who lets him dine at his table and sleep in his bed, sleeping himself in his chair. At night, the tramp sees golden objects that serve for mass in a cupboard in the bedroom. He sticks them in his bag and secretly sneaks away, trying not to awake the pastor. Arrested at a jeweller, to whom he tries to sell his loot, the gendarmes bring him back to the pastor. Despite all, the pastor wants to exonerate the miserable man's soul and tells a lie to the gendarmes: I gave the objects myself to him. The thief repents.
Unclear is who the actors are, but sets were by Hugues Laurent. The film appeared in the "Scènes dramatiques et réalistes (8ème Série)" by Pathé.
"Among Pathé's filmmakers, Capellani undoubtedly figured among those who, at the forefront, developed and systematized a good number of techniques of representation destined to be quickly standardized in the narrative cinema. Recent retrospectives of his restored films (for example at Cinema Ritrovato in Bologna) and many special editions in DVD now attest to Capellani's contribution, particularly in the use of deep staging shots, various changes in framing and even rudimentary editing techniques. A former actor who had worked with André Antoine, Capellani tended to specialize in several "genres" within the Pathé Frères catalog: historical films, fables, fantastic adventures and dramatic scenes - that is to say realistic cinema - and / or family melodramas - some of which were adaptations. [...]
One of Capellani's first films, Le Chemineau (January 1906), staged an episode from Les Miserables by Victor Hugo in which Jean Valjean, who was granted lodging by the parish priest of a village, stole several silver candlesticks and escapes the arrest thanks to the false testimony of the priest. This film mainly uses the usual representation system of the beginnings of the cinema: its six exhibition boards, the majority of which consist of long shots, were filmed in studio with decorations painted on panels for indoor and outdoor scenes. The first two paintings, for example, depict a winter landscape with a small village (church included) visible in the distance, in the background, while in the foreground, the tired silhouette of Jean Valjean staggers in the falling snow. However, there are at least three occurrences of unusual framing or editing choices.
What is particularly surprising, in the very first painting, is to see Valjean arrive thanks to an unexpected big plan that not only serves to catch the spectator but also to describe briefly the character, emphasizing his disillusioned gaze, his sad mouth and ragged appearance. After being rejected by a series of peasants on his way and facing a woman opening the door where he just knocked, Valjean appears in front of the presbytery door and is invited by a maid to enter a small room where the priest is seated at the table. This scene follows its movement through a sequence of exterior and interior shots, from one side of the door (on the right of the screen) to the other (on the left of the screen). When the servant surprises him with a plate of food in her hand, a horizontal panning to the right reveals an adjoining room where the priest and the maid lead him to spend the night. This sequence continues, while he discovers, in the background, a cupboard filled with silverware, stuffs the candlesticks in a bag and, in a reverse plane of horizontal panning to the left, goes on tiptoe in front of the priest asleep in the first room and go out the door.
Only one of the two final plans has been preserved: the picture of the interior of a shop where Valjean pledges candlesticks, the maid, unsure of nothing, enters and is shocked to see them; the gendarmes stop him. The final painting apparently brings the viewer back into the priest's room, but probably without the need for a similar panoramic view, when the latter declares to the gendarmes, against all odds, in a recreated intertitle: "Let this man go, I gave him the candlesticks. [...]
During this period of transformation [c. 1906-1908], Capellani and his fellow directors at Pathé Frères, but also Alice Guy and especially Louis Feuillade at Gaumont, successfully tested many narrative and representative strategies that would characterize the narrative discourse of French cinema during the most most of the 1910s. The American filmmakers, first at Vitagraph, then at Biograph, where D.W. Griffith began shooting films in the summer of 1908, would develop them even more and lay the groundwork for what would be called later "Hollywood classic cinema". Although there is little direct evidence, French films, particularly those of Capellani, most likely have had a strong impact on American cinema as they were widely distributed and screened in the United States.
Pathé films not only served to close the variety shows in hundreds of theaters, they also formed the main entertainment of the Nickelodeon, a new kind of theaters, which quickly counted by the thousands from early 1907 onwards."
(Richard Abel, 'Capellani avant Griffith, 1906-1908', 1895, 68, 2012, p. 15).