Length photos on Flickr

This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.

Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.

Film review by Jeff Flugel. June 2013

There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.

Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.

There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.

The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...

The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.

Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:

As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.

This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)

As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.

All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):

The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."

Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)

Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)

In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing

and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.

Nikki: Looks as if the situation's well in hand.

Hendry: I've given all the orders I'm gonna give.

Nikki: If I thought that were true, I'd ask you to marry me.

Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.

Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.

A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.

"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”

Acting Credits

Margaret Sheridan - Nikki Nicholson

Kenneth Tobey - Captain Patrick Hendrey

Robert Cornthwaite - Professor Carrington

Dewey Martin - Crew Chief

Douglas Spencer - Ned "Scotty" Scott

Eduard Franz - Dr Stern

Robert Nichols - Lieutenant Ken Erickson

William Self - Colonel Barnes

Sally Creighton - Mrs Chapman

John Dierkes - Dr. Chapman

James R. Young - Lieutenant Eddie Dykes

Norbert Schiller - Dr. Laurenz

William Neff - Olson

Allan Ray - Officer

Lee Tung Foo - Cook

Edmund Breon - Dr. Ambrose

George Fenneman - Dr. Redding

Tom Steele - Stuntman

James Arness - The Thing

Billy Curtis - The Thing While Shrinking

AMR Performance (@amrperformance) 2" Un-Equal Length Headers for the Subaru STi, Subaru WRX and Subaru Legacy GT. Designed and fabricated in-house using the highest grade of US material. Lifetime Warranty! Order yours today! by AMR Performance

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A steamer on the river Test? No, it's only a weir by tedesco57

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The River Test is a river in Hampshire, England. It has a total length of 40 miles (64 km) and it flows through downland from its source near Ashe to the sea at the head of Southampton Water. In its upper reaches it is a chalk stream, and is used for fly fishing for trout.

The river is managed by the Environment Agency, whilst the Port of Southampton is the navigation authority for the tidal section below Redbridge.

The River Test has given its name to the Test Valley District, a local government district , and to Southampton Test, a UK Parliament constituency.

The river plays a significant part in Richard Adams' novel Watership Down.

The river rises near the village of Ashe, 10 km to the west of Basingstoke (at grid reference SU 532,498), and flows west through the villages of Overton, Laverstoke, and the town of Whitchurch, before joining with the Bourne Rivulet at Testbourne and turning in a more southerly direction. It then proceeds through the villages of Longparish and Middleton to Wherwell and Chilbolton, where the Rivers Dever and Anton join.[3]

From Chilbolton the river goes through the villages of Leckford, Longstock, Stockbridge and Houghton to Mottisfont and Kimbridge, where the River Dun joins the flow. From here the village of Timsbury is passed, then through the grounds of Roke Manor before reaching the town of Romsey. On the western edge of Romsey, Sadler's Mill, an 18th Century watermill, sits astride the River Test.[4]

South of Romsey, the river passes the country house of Broadlands, and then Nursling that was once the site of a Roman bridge. Finally the river is joined by the River Blackwater and soon becomes tidal, widening out into a considerable estuary that is lined on its northern bank by the container terminals and quays of the Port of Southampton. The Test estuary then meets that of the River Itchen and the two continue to the sea as Southampton Water.[5]

Between Chilbolton and Redbridge, the river was once paralleled by the Andover Canal, which was itself converted to a railway in 1865, and then in turn abandoned. Most traces of the canal have disappeared, although the remains of a stretch can still be seen between Timsbury and Romsey

The river plays a significant part in Richard Adams' novel Watership Down.

After Bigwig leads the break-out from Efrafa, the Watership rabbits are pursued by an Efrafan force led by their Chief, General Woundwort. Hazel carries out a plan devised by Blackberry which leads to their successful escape down the Test on a punt. In the text we are told that this plan would not have been possible on most rivers, but the Test's smooth-flowing, weed-free nature makes it an exception. Shortly afterwards, the punt becomes lodged on a low bridge, and the surviving rabbits are forced to swim under it to get out.

en.wikipedia.org/wiki/River_Test

Global - 74m - Lurssen & S/Y A - 143m - Nobiskrug by Raphaël Belly

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Name: Global

Length: 74m

World's largest yacht number: 138

Shipyard: Lurssen

Price: ~70 000 000€

World's largest sail-assisted motor yacht, this Philippe Starck design yacht include the world's tallest carbon masts, with the tallest standing at 100 metres above sea level.

Name: S/Y A

Length: 143m

World's largest yacht number: 9

Shipyard: Nobiskrug

Price: 430 000 000€

Pretty A-Line Sweetheart Mini/Short-Length Empire Nastye s Homecoming/Sweet Sixteen by Zou Eleanor

1

Pretty A-Line Sweetheart Mini/Short-Length Empire Nastye s Homecoming/Sweet Sixteen

www.dressv.com/product/10812741.html

Arm's Length Self Portrait by todd*

2 3

Hello!

PL600023 荒尾干潟残照 Arao Tidal Flat Sunset by 江藤経史 Keishi Etoh

by Voigtländer SUPER WIDE-HELIAR 15mm F4.5 Aspherical Ⅱ

30.0mm ( 35mm equivalent focal length )

P1010593 天保古大桜 Cherry Blossoms by 江藤経史 Keishi Etoh

5

by Voigtländer NOKTON 25mm F0.95

50.0mm ( 35mm equivalent focal length )

Freida Pinto by Eve76

Her star continues to rise higher and higher, and now Freida Pinto Pinto has scored the cover of Cosmopolitan India’s March issue.

Get celebrity gossip on famous people, find Hollywood celebrity pictures.

Womens-Black-Mid-Length-Asymmetrical-Lambskin-Real-Leather-Jacket1-600x720 by Mready store

Women’s Black Mid Length Asymmetrical Lambskin Real Leather Jacket

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Black mid length asymmetrical leather jacket designed for a modern and slim fit

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2022 The Apthorp Condominium Apt Building Female Warrior 7263 by Brecht Bug

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2022 The Apthorp a condominium apartment building on the Upper West Side of Manhattan New York City - The Italian Renaissance Revival building designed by architects Clinton & Russell for William Waldorf Astor was built between 1906 and 1908 it occupies the full block between Broadway West End Avenue and West 78th and 79th Streets - built around a large interior courtyard architecture lady gargoyles above the entrance full length standing figures 08/27/2022

Machu Picchu @ 12mm by Gerard Prins

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Nikon D200

Focal Length: 12mm

Optimize Image: Custom

Color Mode: Mode II (Adobe RGB)

Long Exposure NR: Off

High ISO NR: Off

2009/01/24 11:14:30.1

Exposure Mode: Aperture Priority

White Balance: Auto

Tone Comp.: Auto

Compressed RAW (12-bit)

Metering Mode: Multi-Pattern

AF Mode: AF-S

Hue Adjustment: 0°

Latitude: S 13°9.9'(13°9'54")

Image Size: Large (3872 x 2592)

1/800 sec - F/8

Flash Sync Mode: Not Attached

Saturation: Auto

Longitude: W 72°32.68'(72°32'40.8")

Color

Exposure Comp.: -0.3 EV

Sharpening: Medium high

Altitude: 2504.00 m

Lens: AT-X PRO 12-24mm F/4 G DX Tokina

Sensitivity: ISO 200

Tel.: (56) 22758 7209

F310 by Fashion Collection Middlesex University

Lace dress. Full length. 1930s. Mainly black lace with cream lace at bottom of skirt. Short sleeves. V-neck. Silk appliqué. Full swirly skirt especially from knee to hem.

Hanging: 1930s-1940s

Middlesex University Fashion Collection

Banded Demoiselle (female) - Calopteryx splendens by Steve

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Banded Damselfly

Length: 45mm

Only two species of damselfly in Britain have obviously coloured wings. They both belong to the genus Calopteryx. In this species the wings of the mature male have a dark blue-black band across the central portion and those of the female are iridescent pale-green. The body colour is metallic blue-green in the male and green with a bronze tip in the female. The flight is fluttering, butterfly-like and the male often perform a fluttering display flight in front of females.

Mainly found along slow-flowing lowland streams and rivers, particulary those with muddy bottoms.

Common. Most of England (south of the Humber), Wales and Ireland.

Main flight period is early May to end August

Similar species The Beautiful Demoiselle (C. virgo) is the only other British damselfly with coloured wings

click to see them in action

www.youtube.com/watch?v=Xm5nM93VScw

Full Length by Tammi Christine Morgan

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Front view #2.

Length of Service Ceremony | Dec. 13, 2013 by schweinfurtpao

The Planck Length by mbmanray

1 1

Quantum Mechanics

Right-click link. Select "Open in New Window

www.youtube.com/watch?v=iVpXrbZ4bnU

brass mount for Hermagis OBJECTIF CINEMA f=150 (sn132115) 10 by Dirk HR Spennemann

Hermagis Objectif Cinema f=150 (s/n132115)

Projection lens of Petzval design in brass focussing mount.—Based on the pencilled inscription on the side of the cells, the lens was manufactured in 1928.—The lens has an effective aperture of f/2.9 (calculated by diving focal length of 150mm by the width of the front glass of 52mm).

STATIC STATIC - Psychic Eyes by Keenan Keller

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The NEW Full Length 12' record by L.A.'s STATIC STATIC

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Static Static are to Los Angeles what a snow shovel is to Florida: out of place, but still sharp and heavy enough to fracture your skull if provoked, and enough angular and bent noise to cave in your prettiest features before you know whats happened....

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VoT

Raw, electrified power; high on industrial glue with black lightning bolts shooting from their collective third eye while driving a flaming car through the doors of oblivion.

-me

cover art by: John Henry Kelly

Forbidden City, Beijing, China by theunknown2023

Canon EOS 20D; 03/06/2009; 1/400 at f/13; ISO 400; white balance: Auto; focal length: 40 mm

Forbidden City

The Forbidden City was the Chinese imperial palace from the Ming Dynasty to the end of the Qing Dynasty. It is located in the middle of Beijing, China, and now houses the Palace Museum. For almost five centuries, it served as the home of the Emperor and his household, as well as the ceremonial and political centre of Chinese government.

Built from 1406 to 1420, the complex consists of 980 surviving buildings with 8,707 bays of rooms[1] and covers 720,000 square metres (7,800,000 square feet). The palace complex exemplifies traditional Chinese palatial architecture,[2] and has influenced cultural and architectural developments in East Asia and elsewhere. The Forbidden City was declared a World Heritage Site in 1987,[2] and is listed by UNESCO as the largest collection of preserved ancient wooden structures in the world.

Since 1925, the Forbidden City has been under the charge of the Palace Museum, whose extensive collection of artwork and artifacts were built upon the imperial collections of the Ming and Qing dynasties. Part of the museum's former collection is now located in the National Palace Museum in Taipei. Both museums descend from the same institution, but were split after the Chinese Civil War.

The common English name, "the Forbidden City," is a translation of the Chinese name Zijin Cheng (Chinese: 紫禁城; pinyin: Zǐjinchéng; literally "Purple Forbidden City"). Another English name of similar origin is "Forbidden Palace".[3]

The name "Zijin Cheng" is a name with significance on many levels. Zi, or "Purple", refers to the North Star, which in ancient China was called the Ziwei Star, and in traditional Chinese astrology was the abode of the Celestial Emperor. The surrounding celestial region, the Ziwei Enclosure (Chinese: 紫微垣; pinyin: Zǐwēiyuán), was the realm of the Celestial Emperor and his family. The Forbidden City, as the residence of the terrestrial emperor, was its earthly counterpart. Jin, or "Forbidden", referred to the fact that no-one could enter or leave the palace without the emperor's permission. Cheng means a walled city.[4]

Today, the site is most commonly known in Chinese as Gùgōng (故宫), which means the "Former Palace."[5] The museum which is based in these buildings is known as the "Palace Museum" (Chinese: 故宫博物院; pinyin: Gùgōng Bówùyùan).

The Forbidden City is the world's largest surviving palace complex and covers 72 ha. It is a rectangle 961 metres (3,150 ft) from north to south and 753 metres (2,470 ft) from east to west. It consists of 980 surviving buildings with 8,707 bays of rooms.[1] The Forbidden City was designed to be the centre of the ancient, walled city of Beijing. It is enclosed in a larger, walled area called the Imperial City. The Imperial City is, in turn, enclosed by the Inner City; to its south lies the Outer City.

The Forbidden City remains important in the civic scheme of Beijing. The central north-south axis remains the central axis of Beijing. This axis extends to the south through Tiananmen gate to Tiananmen Square, the ceremonial centre of the People's Republic of China. To the north, it extends through the Bell and Drum Towers to Yongdingmen.[29] This axis is not exactly aligned north-south, but is tilted by slightly more than two degrees. Researchers now believe that the axis was designed in the Yuan Dynasty to be aligned with Xanadu, the other capital of their empire.[30]

Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang

Brief Description

Seat of supreme power for over five centuries (1416-1911), the Forbidden City in Beijing, with its landscaped gardens and many buildings (whose nearly 10,000 rooms contain furniture and works of art), constitutes a priceless testimony to Chinese civilization during the Ming and Qing dynasties. The Imperial Palace of the Qing Dynasty in Shenyang consists of 114 buildings constructed between 1625–26 and 1783. It contains an important library and testifies to the foundation of the last dynasty that ruled China, before it expanded its power to the centre of the country and moved the capital to Beijing. This palace then became auxiliary to the Imperial Palace in Beijing. This remarkable architectural edifice offers important historical testimony to the history of the Qing Dynasty and to the cultural traditions of the Manchu and other tribes in the north of China.

Justification for Inscription World Heritage

Criterion (i): The Imperial Palaces represent masterpieces in the development of imperial palace architecture in China.

Criterion (ii): The architecture of the Imperial Palace complexes, particularly in Shenyang, exhibits an important interchange of influences of traditional architecture and Chinese palace architecture particularly in the 17th and 18th centuries.

Criterion (iii): The Imperial Palaces bear exceptional testimony to Chinese civilisation at the time of the Ming and Qing dynasties, being true reserves of landscapes, architecture, furnishings and objects of art, as well as carrying exceptional evidence to the living traditions and the customs of Shamanism practised by the Manchu people for centuries.

Criterion (iv): The Imperial Palaces provide outstanding examples of the greatest palatial architectural ensembles in China. They illustrate the grandeur of the imperial institution from the Qing Dynasty to the earlier Ming and Yuan dynasties, as well as Manchu traditions, and present evidence on the evolution of this architecture in the 17th and 18th centuries.

vanden plas princess r_MG_3227 by siandara

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Engine

2.9 L C-Series I6

Wheelbase

84 in (2,134 mm)[14] 1959 - 1961

86 in (2,184 mm)[15] 1961 - 1964

Length

187.75 in (4,769 mm)[14]

Width

68.5 in (1,740 mm)[14]

Height

59 in (1,499 mm)[14]

In October 1959 a new Austin A99 Westminster-based model was launched [16] under the name Princess 3-litre.[1] From July 1960[7] these vehicles bore the Vanden Plas name which became a badge-engineered brand in its own right (rather than being known as coachbuilder for the cars of other manufacturers). The car was a great deal smaller and less than 44 per cent of the price of the previous Princess IV Saloon and was instead largely identical to the Austin A99 Westminster and other models using the same Pininfarina-designed bodyshell. It featured a new distinctive Vanden Plas grille (fairly square, with a thick surround and vertical slats), round headlamps, and horn grilles on the front. The interior was lavish in typical Vanden Plas style, featuring burr walnut wood trim, leather seats and panels, and high-quality carpeting. A division between the driver and the rear compartment was an optional extra. Power was a 3-litre unit developing 108 hp (81 kW).[14]

A 3-litre Vanden Plas Princess with automatic transmission was tested by the British magazine The Motor in 1961 and had a top speed of 99.3 mph (159.8 km/h) and could accelerate from 0-60 mph (97 km/h) in 16.1 seconds. A fuel consumption of 21.1 miles per imperial gallon (13.4 L/100 km; 17.6 mpg-US) was recorded. The test car cost £1467 including taxes.[14]

This model was replaced in 1961 by the Vanden Plas Princess 3-litre Mark II. Styling was similar but the wheelbase was two inches (5 cm) longer[15] and anti-roll bars were added to the suspension at both ends of the car.[15] The engine was uprated to 120 hp (89 kW). Better brakes were fitted, and interior improvements included built-in drop-down "picnic tables" for the rear seat passengers. Options now included "Smith's air-conditioning".[15]

This model lasted until 1964

Wall Mile 7 by Mike Bishop

The A1/A69 junction, at the point where the Wall crosses the western bypass. Looking S

OMD06834 普光寺の石仏 Fukohji Temple Stone Buddha by 江藤経史 Keishi Etoh

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by NIKKOR-S Auto 5cm F2

100.0mm ( 50mm equivalent focal length )

[Occupational group portrait of four shoemakers, one full-length, standing, other three seated, holding shoes and shoe making equipment] (LOC) by The Library of Congress

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[Occupational group portrait of four shoemakers, one full-length, standing, other three seated, holding shoes and shoe making equipment]

[between 1840 and 1860]

1 photograph : sixth plate daguerreotype, hand-colored.

Notes:

Caption label from exhibit "American Treasures--Memory": Tools of the Trade. Louis-Jacques-Mandé Daguerre invented the daguerreotype process which was later announced in France on August 19, 1839. Although a complex and slow process, American photographers quickly capitalized on this new invention because of its capability of capturing a "truthful likeness." Typically portraiture in nature, celebrities, political figures, as well as tradesman were often invited and encouraged to have their pictures taken by daguerreotypists. Daguerreotype portraits of workers provide a revealing look at the nineteenth century American trades. Workers, proud of their skills and professions, chose to present themselves honestly, spending nearly one day's wage for their photographic portrait.

Photographer unidentified.

Case: variant of Rinhart 137.

Original served by appointment only.

Purchase/exchange; Gary Vroegindewey; 1981; (DLC/PP-1981:380R.13).

Forms part of: Daguerreotype collection (Library of Congress).

Exhibited: American Treasures of the Library of Congress. Washington, D.C., 2002-2003.

Exhibited: "The Sweat of Their Face : Portraying American Workers" at the Smithsonian Institution National Portrait Gallery, Washington, D.C., Nov. 2017 - Sept. 2018.

Subjects:

Shoemakers--1840-1860.

Format: Portrait photographs--1840-1860.

Daguerreotypes--1840-1860.

Rights Info: No known restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Daguerreotype collection (Library of Congress) (DLC) 95861318

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsca.51946

Call Number: DAG no. 1190

full length skirt by maryanna.smith

1 1

McCalls 5429

Red Headed Woodpecker - (Melanerpes erythrocephalus) by Michael Pancier Photography

7 31

Joe Overstreet Landing, Osceola County, Florida

Camera Canon EOS 7D + 500 4.0L + 1.4x TC

Exposure 0.004 sec (1/250)

Aperture f/5.6

Focal Length 700 mm

ISO Speed 400

Av Mode on Tripod

Exposure Bias +2/3 EV

Press "L" to view large on black

Bridesmaid Dress by AMY RICE

Trumpet/Mermaid Scalloped Neck Floor-Length Satin Bridesmaid Dress www.dressfirst.com/Trumpet-Mermaid-Scalloped-Neck-Floor-L...

6 Mkha gro tsho by HIGHPHOTOS369

1

Note: For full length video, see archive.org/details/OralAmdo

Written and read by Mkha gro tsho (b. 1992), an A Rig tribeswoman from Bzhag sdom Township, Mdzod dge Autonomous County, Rnga ba Autonomous Prefecture, Si khron Province, PR China.

Oral Tibetan 1 ཁྱེད་ཀ་ལུག་ཆི་འདྲ་ཡོད།

Literary Tibetan 1 ཁྱེད་ཚང་ལ་ལུག་ག་ཚོད་ཡོད།

How many sheep does your family have?

O2 ངེ་ཀ་ལུག་ཉིས་བརྒྱ་ཡོད།

L2 ངེད་ཚང་ལ་ལུག་ཉིས་བརྒྱ་ཡོད།

My family has 200 sheep.

O3 ཁྱེད་ཀ་ཟོག་ཆི་འདྲ་ཡོད།

L3 ཁྱེད་ཚང་ལ་ཟོག་ག་ཚོད་ཡོད་དམ།

How many yaks does your family have?

O4 ངེ་ཀ་ཟོག་སུམ་བཅུ་ཡོད།

L4 ངེད་ཚང་ཟོག་སུམ་བཅུ་ཡོད།

My family has thirty yaks.

O5 ཁྱེད་ཀ་རྟ་ཆི་འདྲ་ཡོད།

L5 ཁྱེད་ཚང་ལ་རྟ་ག་ཚོད་ཡོད།

How many horses does your family have?

O6 ངེ་ཀ་རྟ་བཅུ་ཐམ་པ་ཡོད།

L6 ངེད་ཚང་ལ་རྟ་བཅུ་ཡོད།

My family has ten horses.

O7 ཁྱེད་ཀ་ཁྱི་གུ་ཡོད།

L7 ཁྱེད་ཚང་ལ་ཁྱི་ཡོད་དམ།

Does your family have any dogs?

O8 ཡོད། ངེ་ཀ་ཁྱི་གཉིས་ཡོད།

L8 ངེད་ཚང་ལ་ཁྱི་གཉིས་ཡོད།

Yes, my family has two dogs.

O9 ཁྱེད་ཀ་ལུ་ཁོ་དུ་ཡོད།

L9 ཁྱེད་ཚང་ལ་ཞི་ལ་ག་ཚོད་ཡོད།

Does your family have any cats?

O10 མེད། ངེ་ཀ་ལུ་ཁོ་མེད།

L10 མེད། ངེད་ཚང་ལ་ཞི་ལ་མེད།

No, my family has no cats.

DSCF1119 by 江藤経史 Keishi Etoh

2

by Nikkor S.C Auto 55mm F1.2

82.5mm ( 35mm equivalent focal length )

Low-key, coloured background light full-length by Loz Saunders

Full-length with softbox key light, gridded rim light, coloured light on black background and a stobe used as a feature light to illuminate the feet.

Week 1 | At Arm's Length by Lindsay_NYC

1 21

1.10.13

Today it was finally cold enough in Beirut to wear this cute hat that my friend Iman knit for me. It was sorta kinda cold enough to wear this puffy jacket with fur on the hood. I felt something strange in the pocket and dug down to find some 3D glasses from when I went to Zoo Lights in Chicago back in December of 2010. So, yeah, this coat hasn't been worn in a while.

{I'm doing a 52 week self portrait project this year as part of the Now You workshops. The first week theme is an arm's length photo which I've certainly had a lot of practice with after 3 years doing a self portrait project. I'm excited for this year and this project!}

week 1 // at arm's length

Good Length :-) by Amber Lake

7 1

I really enjoy wearing this length in a short skirt :-)

SPOTTED TURTLE [SOLD] by Harvard Arts

Clemmys guttata

State Listed as Endangered in Vermont; Threatened in Maine, New Hampshire; Special Concern in Connecticut

The spotted turtle is one of the smallest breeds of turtle in the world, with a maximum length of 6 inches. The turtles live a long time, up to 40 – 80 years! The spotted turtle is dark, with a warm red underbelly. Their hard shells, heads, and limbs are splattered with yellow spots, the number of spots increasing with age. This particular species of turtle is semi-aquatic and found along the eastern coast of the United States. They inhabit marshes, wet meadows, ponds, forested and shrub swamps, slow-moving streams and rivers, low marshy flooded areas, and seasonal pools.

The spotted turtle does not reach maturity until the ages of 7-10. These turtles lay only 3-7 eggs per year. The eggs and young hatchlings have a high mortality rate due to human traffic and predators. Spotted turtles make their nests in sandy soils on land, and often the nests are accidentally destroyed by unsuspecting humans or off-roading vehicles. Another factor influencing the spotted turtles survival are natural predators, such as raccoons, dogs, foxes, and skunks.

Spotted turtles were listed as threatened in Vermont in 1989 and ten years later, as populations did not grow, was listed as endangered. Spotted turtles have been found in three locations in Vermont. Two of the sites are compromised by surrounding landuse. At one site, a railroad bisects the wetland. Twenty under rail crossings have been installed to allow safe passage of the turtles. A road parallels much of the other compromised site. Both are believed to have very small populations. The third known site is more robust and found within a large wetland complex, which provides some buffering from surrounding landuse. Spotted turtles are listed in Convention on International Trade in Endangered Species. According to a press release from the Center for Biological Diversity, over 2 million live turtles are caught in the wild in the United States and shipped to Asia. A recent study published in the journal Biological Conservation estimated that over half of all turtle species are threatened with extinction.

Warning! In Vermont anyone taking, possessing, transporting, buying, or selling threatened or endangered species shall be fined not more than $2,000.00 nor less than $500.00 or imprisoned for not more than 60 days, or both. Upon a second and all subsequent convictions or any conviction while under license suspension the violator shall be fined not more than $4,000.00 nor less than $2,000.00 or imprisoned for not more than 60 days, or both.

The Endangered Species Project: New England

Exhibition Dates: February 4 - April 14, 2019

Public Lecture and Closing Reception with the Artist: Saturday, April 13

Gallery Hours: M-F 10am - 8pm; Weekends 10am-5pm

Gallery 224 at the Ceramics Program, Office for the Arts at Harvard

224 Western Ave, Allston, Massachusetts 02134

Gallery 224 at the Ceramics Program, Office for the Arts at Harvard is pleased to present an exhibition of work from Montana-based potter Julia Galloway's most recent body of work, The Endangered Species Project: New England. Galloway works from each state's official list of species identified as endangered, threatened or extinct. She has created a series of covered jars, one urn for each species, illustrating the smallest Agassiz Clam Shrimp to the largest Eastern Elk.

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