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Note on reverse : Vieil Armand, coté allemand (German side).
This view of the eastern slope of the Aussichtsfelsen shows a significant part of the German infrastructure not far from the ridge line and partially sheltered from French artillery.
In the center of the image, one of the emblematic constructions, the Felsenkaserne. Just above, with its wooden frame, the arrival station of the D2 funicular.
The imposing wall on the right is the Müheburg.
To the left of the Felsenkaserne, the Wartburg and above it, the bunker which housed Maschinenpersonal (personnel in charge of the machines). The latter is partially collapsed today while the other buildings are still in fair condition.
The photo was probably taken after the war, before August 1920 (inauguration of the Volunteer Cross), and from the Serpentine Way, between Curves 6 and 7. It could not be reproduced today, the vegetation having resumed its straight and completely blocks the view.
Note au verso : Vieil Armand, coté allemand.
Cette vue du versant Est de l'Aussichtsfelsen montre une partie importante des infrastructures allemandes non loin de la ligne de crête et partiellement à l'abri de l'artillerie française.
Au centre de l'image, l'une des constructions emblématiques, les Felsenkaserne. Juste au dessus, avec son ossature de bois, la station d'arrivée du funiculaire D2.
L'imposant mur à droite est le Müheburg.
A gauche des Felsenkaserne, le Wartburg et, au dessus de celui-ci, le bunker qui abritait le Maschinenpersonal (personnel préposé aux machines). Ce dernier est partiellement effondré aujourd'hui alors que les autres constructions sont encore dans un état correct.
La photo a probablement été prise après guerre, avant août 1920 (inauguration de la Croix des Engagés Volontaires), et depuis la Voie Serpentine entre les Courbes 6 et 7. On ne pourrait pas la reproduire aujourd’hui,hui, la végétation ayant repris ses droits et bouche complètement la vue.
Made from lined & plain office paper, as well graph paper. Double sided decorative scrapbook paper from MME. File folders altered as well as pink paper bags fill this album which include many additional journaling cards. Binding is hand sewn pages. Fabric binding on outside. Covers are recycled cardboard. Handmade flowers, paper doilies & stickers adorn front & back. Silver beads hand from 2 bookmarks & from outside binding.
Cuadernitos ecológicos
9.7x11.2 cm
120 hojas
Papel Capuccino (Bond 100% reciclado)
Pasta dura
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Eco mini notebooks
9.7x11.2 cm
120 sheets
Capuccino Paper (100% Recycled Bond paper)
Hard Cover
From: Ibn al-Arabi's "Metaphysics of Imagination....
The Sufi Path of Knowledge"
By William C. Chittick
day 99.
Seriously. i was bored out of my mind in my personality class... so i drew some figures.. =]
no joke... i am yawning thinking of class.
as the basement used to house a ceramics studio, the place was lousy with shelving from wall to wall and ceiling to floor. these shelves tucked away in a closet look to have rarely, if ever, have been used.
patterns emerge: unintentional colour scheme quotation
Note paper on the brown board
You can find and purchase/license this image and other my images at high resolution at microstosk agencies.
See links to my portfolios on my homepage: skobrik.com
1990 Academy Awards
NOTE: Permission granted to copy, publish, broadcast or post any of my photos, but please credit "photo by Alan Light" if you can. Thanks.
Scanned from the original 35MM film negative.
Add a small note on the shots you like the best. It's ok not to like all of them.
Or tell me if you like the "Flat" or the "Angled Zoomed" shots.
Rothstein, Arthur,, 1915-1985,, photographer.
Greenbelt schoolchildren studying map. Greenbelt, Maryland
1939 Apr.
1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller.
Notes:
Title and other information from caption card.
Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
Subjects:
Greenbelt--Maryland
United States--Maryland--Prince George's County--Greenbelt.
Format: Safety film negatives.
Rights Info: No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Photograph Collection (Library of Congress) (DLC) 2002708960
More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsa.8b17544
Call Number: LC-USF34- 027094-D
The lovely Leonie from Ensemble con Fuoco warming up before a recital in Brighton Beach, Victoria, Australia in August 2014.
Death Note Photoshoot 2.0 (The Succesors)
Cosplayers: Arturo Pozo as Mello from Death Note
Photography: Anna Calderon
Note that the rudders are full size- the YF-117A wearing this scheme actually had the undersize, prototype, rudders, and was rebuilt. So I cut these down after I painted. Here's after a coat or two of the Gunze Sanyo beige PollyS green and brown.
April 25, 2004
100-0013_IMG
When inserting yourself into the picture for some perspective, it's always a good idea to pay attention to what you look like from behind. In this case, I completely forgot about my hat, which I had turned around backwards so it wouldn't get in the way of the camera viewfinder.
An example of my handwriting, notetaking style and what I think is important to write down while hearing a lecture. Notice the backwards writing in upper left hand corner; I use both sides
p, td { line-height: 1.3; }
p { padding-bottom: 1em; }
a { color: #3697b3; font-weight: bold; text-decoration: none; }
a:hover { color: #000; text-decoration: underline; }
a:active { color: #000; text-decoration: underline; }
From Evernote:
Untitled Clipped Note
Clipped from: jeanjeanie61.tumblr.com/post/39200214998
Ursula Andresshttp://www.starsday.ru
Untitled Clipped Note
Untitled Clipped Note
Untitled Clipped Note
FASHR11
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Source URL: 2.bp.blogspot.com/-aoAk82V5SNM/TYsd7Xi3PSI/AAAAAAAAJbA/XL...
FASH11OPIUM
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screen-capture-112
campari_thumb1
pearltrees • ineootat88 • Contemporary • Youthquaker
concept2.jpg (JPEG Image, 502x552 pixels) - Scaled (89%)
water19.jpg (JPEG Image, 800x340 pixels)
concept2.jpg (JPEG Image, 709x669 pixels) - Scaled (74%)
Liner Notes
I remember an old photo of my grandfather. It was undated, but probably taken a few years after he returned from his service in Europe during World War II. He was walking towards the camera on the street where he and my grandmother lived. He was carrying a dull metal lunch box and a tired smile. From his short sleeved work shirt to the full bloom of the oak trees which lined their block it must have been high summer. If it were winter snow would have covered the ground.
My grandfather worked as a shift supervisor at a factory that manufactured household appliances, stuff designed to make the home life better. Early air conditioners, boxy refrigerators, washing machines, stuff like that. I suppose after the war the idea of personal comfort and ease held enormous appeal. He got the job because an army friend of his recommended him to his father who co-owned the company. Since my grandfather was a Staff Sergeant and a man whose mere presence commanded respect he was hired on as a shift supervisor although he had no previous manufacturing experience. Discipline, hard work and practical intelligence can keep open those doors you somehow manage to squeeze through by fortune’s kind hand. That job enabled him to buy a modest house, send his three children to college (my mom among them), take a week-long vacation every August, and eventually retire in modest comfort. Both he and my grandmother died when I was a baby. I rely on stories and myths to imagine what his life – and those of his generation – were like. They certainly seem like golden times, but memories are tricky that way.
The factory where he worked is long gone, a familiar story. So are many other American factories and businesses, either torn down or abandoned, pockmarks on the blighted landscape. Blame is easy to come by, solutions are not. I look into the eyes of those currently being left behind, those whose lives are ripped apart by the swirling forces of greed and wonder, wonder how my grandfather might have handled the reality of today’s American life. No doubt he would have managed somehow. At his core he was a survivor. But if he were a young man now and I could snap a photo of him walking home after a day in the jungles of 2013 his smile would be gone, replaced by rage and fury about what has happened to the homeland which gave him so much promise.
Pete Cale, Sourland Mountain, January 2013