View allAll Photos Tagged One
They seemed to be just waiting for me to record their stories!
This capture is the "Forgotten Ones" that are a treasure for me to find.
Just a quick shot taken on the Northwestern campus in the Gold Coast where Victoria had just recently graduated from. It was brutally hot out and as such I only had 5 minutes to shoot her.
Strobist info: Camera left one ranger quadra S head bare shot through a 32" lastolite trigrip. triggered by skyport.
Model: Victoria T.
Photographer: Peter Tsai
Grip: John Cousert
"Surgeons' Hall in Edinburgh, Scotland, is the headquarters of the Royal College of Surgeons of Edinburgh (RCSED). It houses the Surgeons' Hall Museum, and the library and archive of the RCSED. The present Surgeons' Hall was designed by William Henry Playfair and completed in 1832, and is a category A listed building.
Surgeons' Hall Museum is the major medical museum in Scotland, and one of Edinburgh's many tourist attractions. The museum is recognised as a collection of national significance by the Scottish Government.
The museum reopened in September 2015, after being closed for an eighteen-month period of redevelopment.
The Royal College of Surgeons of Edinburgh was incorporated in 1505, when it received its Seal of Cause or charter and became styled as 'The Incorporation of Surgeons and Barbers of Edinburgh'. The Museum at Surgeons Hall, Edinburgh dates from 1699 when the Incorporation announced that they were making a collection of ‘natural and artificial curiosities’. and advertised for these in the first edition of a local paper, the Edinburgh Gazette. Daniel Defoe, an early visitor in 1726, wrote in his Tour thro' the whole Island of Great Britain that the 'chamber of rarities' contained many curious things too numerous for him to describe. Much of this early collection was given to the University of Edinburgh in the 1760s.
By the early years of the 19th Century, the Incorporation had received a Royal Charter to become the Royal College of Surgeons of Edinburgh. The College saw its primary role as the teaching of anatomy and surgery, the training of surgeons, and examination of their acquired knowledge. Anatomy and pathology specimens were crucial to that function. The museum expanded dramatically with the acquisition of two large collections. John Barclay, a successful anatomy demonstrator in the extramural school of medicine donated his collection, while Sir Charles Bell, Professor of Surgery in the University of London and latterly in the University of Edinburgh sold his collection to the museum. These collections were much too large to be housed in the original 1697 Surgeons' Hall, and so the surgeons commissioned the leading Edinburgh architect William Playfair to build the present day Surgeons Hall, which opened in 1832. At first the entire upper floor of the building was devoted to the museum collections, which were open to the public and attracted large visitor numbers. Throughout the 19th and early 20th century the collection expanded as it became customary for surgeons and pathologists to donate not only specimens which they regarded as interesting or instructive, but surgical instruments and equipment. With the great scientific and technical advances of the time, the museum began to acquire anaesthetic equipment, histology slides, X-rays and photographs.
Edinburgh (/ˈɛdɪnbərə/; Scots: Edinburgh; Scottish Gaelic: Dùn Èideann [ˈt̪uːn ˈeːtʲən̪ˠ]) is the capital of Scotland and one of its 32 council areas. Historically part of the county of Midlothian (interchangeably Edinburghshire before 1921), it is located in Lothian on the Firth of Forth's southern shore.
Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the supreme courts of Scotland. The city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education, particularly in the fields of medicine, Scots law, literature, philosophy, the sciences and engineering. It is the second largest financial centre in the United Kingdom (after London) and the city's historical and cultural attractions have made it the United Kingdom's second most visited tourist destination attracting 4.9 million visits including 2.4 million from overseas in 2018.
Edinburgh is Scotland's second most populous city and the seventh most populous in the United Kingdom. The official population estimates are 488,050 (2016) for the Locality of Edinburgh (Edinburgh pre 1975 regionalisation plus Currie and Balerno), 518,500 (2018) for the City of Edinburgh, and 1,339,380 (2014) for the city region. Edinburgh lies at the heart of the Edinburgh and South East Scotland city region comprising East Lothian, Edinburgh, Fife, Midlothian, Scottish Borders and West Lothian.
The city is the annual venue of the General Assembly of the Church of Scotland. It is home to national institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of four in the city, is placed 20th in the QS World University Rankings for 2020. The city is also known for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles, Greyfriars and the Canongate, and the extensive Georgian New Town built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage site, which has been managed by Edinburgh World Heritage since 1999." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Capture in Kolkata - India
| Facebook | Twitter | My Space | 500px | website | Director's Cut | Tumblr | gettyimages |
Please don't use this picture on websites, blogs or other media without my permission.
█║▌│█│║│█║mimmopellicola 2O|2
This beautiful Pete leased to Duplainville Transport was taking a rest when I photographed it in Menomonee Falls northwest of Milwaukee, Wisconsin in September 1990.
Sometimes it's not the grandeur of a scene that makes a photo, it's the story. Or, as Scott would describe it, the "human element."
Walt Disney World * Hollywood Studios
________________________________
I just posted interior and exterior shots of this really unusual out building. There is a one-time door in the back corner and I wonder if Ramey used this to bring dairy cows in for milking. Across the way, Broley was a dairy farm. I have posted the old Longmont Creamery image and I wonder if that was the target of Ramey milk. I see that the door latch was long gone from this shot. I expect that this property became unprofitable some time early on even though there were no gravel pits on the land. It's all pit now.
The wall in this shot is the back corner of the interior wall on the left. It certainly appears to be a different building in the two previous shots. This is something I did not expect and just found after a few trips out. The floods were hardly slowed by this wall when the flood hit on this side. Leaky walls also account for the Broley barn being little more than cleaned up. I always look at the Ramey farm house and stone back house for their appeal but got interested by the sheds north across another fissure. I still wonder if the stone house were the uoriginal dwelling. The Ramey story is becoming ever more intriguing to me. It would be amazing if anything could be learned about the farm life out here. Just south of here, Hygiene Road carried travelers and wagons to the Foothils Highway where there is a good connection to Jamestown, Gresham up James Creek and the small mining camps up Lefthand all the way to Ward. Here, they could pasture and keep stock for feeding the mining camps.
These sheds were already rebuilt before the floods and now they are on their last legs. BoCo rescued the sheds but I guess their efforts are for naught now. I have no idea why the county decided to prop the old sheds. The out buildings are not so good after the river washed through and undercut them. I think back to the working days of the farm and wonder how busy and productive the Ramey place might have been?
Find several shots of Ramey in a photeoset. On this day, I parked at the Broley gate and walked down to Ramey. Apparently, the water streamed up to 4 feet high over Ramey. The pond south of Broley overflowed everywhere including Ramey after the floods cut through the gravel pits around Broley and sliced through 61st Street and rejoined the original St.Vrain.
There are piles of detritus laying about in what was left of the pastures. Some folks are convinced the river ought to be moved back to some of its original, some places empty, course. Darwin should chime in on that idea; he allowed forebears to make a mess of it in the first place. The farmers are screaming about rebuilding ditches before spring. Have at it guys. The bridge, roads and private holdings are still going to require some serious work. Today they were working on the dirt road south of Broley but I instead walked the river route..
Interior Burnt One.
The interior of Ross Mayes '32 Ford Tudor Burnt One.
SummerNats 2018.
Canberra, Australia.
This week's FlickrFriday theme is: #One
Le thème de ce FlickrFriday est: #Un
O tema desta FlickrFriday é: #Um
本次 FlickrFriday 主題: #一
FlickrFriday-Thema der Woche: #Eins
El tema de FlickrFriday es: #Uno
One of my favourite things is my love of music.
There was always singing and music in my house when I was growing up.
This is my first record player, an old Dansette Viva from the 60's with a couple of my old Beatles albums.
These albums and many others have given me so much pleasure over the years.
There is not a day that goes by that I don't have music in my life.
This old Dansette has played records at 33, 45 and 78 rpm but I never did find any that needed the 16rpm speed.
I understand that they were very long playing educational and training records at the time.
The Sgt. Pepper's album cover from the Summer of Love in 1967 still fascinates me today.
Sgt. Pepper's Lonely Hearts Club Band - "We hope you have enjoyed the show."
58 years of memories. Where does the time go?
We were out on our Narrow boat and having moored up for the night I walked down the line of boats. On the front of one I saw this delightful little chap sitting in a plant pot. I couldn’t resist taking the shot especially as I was trying out my new Fujifilm 16mm f1.4. What a cracking lens it is.
I was in town (Philly) and about to take a photo of the building across the street when this fellow said, "Hey, you tryin' to take my picture? Let's do this right. Get ready and I'll start walking." Then he displayed his Eagles shirt and I snapped the shot. And he just kept on walking. You gotta love this guy!
I forgot all about taking the photo of the building. :o)
Years of waiting, days of driving, and countless hours of planning all led to this one moment on May 4th, 2019, where after so long, we got the first look at the operational Big Boy #4014. They sure weren't holding back when it left from Cheyenne that morning - it felt like it was only there for a second at the most. Distant smoke and a small earthquake was the signal to us it was coming, and it was gone in a flash. But for just one second, we got to witness it, and that was incredible.
One Direction performing at the Bournemouth International Centre, UK 03.01.12
© www.charlieraven.com www.facebook.com/charlieravenphotography
All rights reserved
Came across this perfect setting of nature when we were touring in Wilpaththu early 2015. One of the magical & stunning encounters witnessed ever.
My Facebook: www.facebook.com/QentmartStyleArts
My website: quentinmartinezart.wix.com/qentmart-style
The Assumption of the Blessed Virgin, Ufford, Suffolk
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Boulder, Colorado. The wild turkeys crossed my path again this morning as I was driving to work. I'm worried they are going to be killed crossing the road during rush hour! This one is braver that the others (not shown in this photo). While the cars were stopped by the traffic light, it tried to walk between them to the other side of the road.