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My travels around the UK by car for three weeks with my son. June/July 2019 Scotland.
Day fifteen ..Ullappool on our journey to Helmsdale where we are staying the night.
Ullapool is a village of around 1,500 inhabitants in Ross and Cromarty, Scottish Highlands, located around 45 miles north-west of Inverness. Despite its small size it is the largest settlement for many miles around, and an important port and tourist destination.
On the east shore of Loch Broom, Ullapool was founded in 1788 as a herring port by the British Fisheries Society. It was designed by Thomas Telford. Before then the town was only an insignificant hamlet of just over 20 households. The harbour is still the edge of the town, used as a fishing port, yachting haven, and ferry port. Ferries sail to Stornoway in the Outer Hebrides.
The village was historically in Cromartyshire, a county made up of many separate enclaves scattered across northern Ross-shire. Cromartyshire was abolished and combined with surrounding Ross-shire in 1890.
Many of the pivotal discoveries of the Victorian era that contributed to the development of the concept of plate tectonics were made in this area, and there are still regular international geological conferences. It is described as the top geological hotspot in Scotland.
Parliament granted permission in the 1890s for a railway from Ullapool to the main Highland network at Garve, but the scheme was abandoned due to insufficient funds.
The name is possibly derived from the Norse for "Wool farm" or "Ulli's farm".
The region surrounding Ullapool is dominated by rugged mountains, and especially by Bheinn Ghobblach to the west, An Teallach to the south-west (both across the loch), Beinn Dearg to the south-east close to the head of Loch Broom, and Ben Mhòr na Còigich to the north. An Teallach is a massive mountain which dominates the area and consists of Torridonian sandstone, which is layered nearly horizontally. It is an easy climb but is several miles from the nearest road, so a long trek is needed before the ascent begins. The walker will be rewarded by magnificent views of the surroundings, especially to the sea and the islands to the west, but also to the south, and the desolate Whitbread wilderness.
For More Info: en.wikipedia.org/wiki/Ullapool
Robyn and I first connected on Model Mayhem. I still use that site sometimes but it has little value anymore (at least to me). Anyway, once Robyn and I started talking about a photo session, it took a while to pull it all together mostly because of unpredictable wook schedules. But it was defintely worth the effort.
Robyn loved this dance/blur/motion style image I always try to explore. I wish we could have shot again after tnis to be able to do more of this style.
Secret spot is out of water, instead of the river I found a barking dog. Just enough time to take this shot. Luckily, I'm a fast runner.
Thanks for stopping by and view this photo. The reason for posting this photo on Flickr is to learn so if you have constructive feedback regarding what I could do better and / or what should I try, drop me a note I would love to hear your input.
View on Black the way it should be seen!
-- Let the sound of the shutter always guide you to new ventures.
© 2022 Winkler
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IAPP Member: US#12002
Taken during last winter's rainy season. The summer growth is so tall and thick now, I can't hardly find any of these rusty fence posts to get any new shots of them.
HFF
Lady kittens , the new kid on the block is here ;-)
Sorry my dear and faithful Flickr friends if i dont go to your stream today ..i will catch up
It's not ass day, but whatever...
It's a good thing my camera has a "2 picture timer" (one shot at 10 seconds, another shot at 20 seconds).
Image taken at Aberdulais Falls and Tin Works - 11.Aug.2015 - on a day out with our Camera Club.
I spotted this display in the window of the cafeteria, while stuffing my face with a 'Ploughman's Lunch' and a bottle of Ginger Beer !!!
Derby lightweight single car DMU temporarily dumped out of use at Radhill sidings. The scrap man awaits.
1:76 scale, OO Gauge.
Non powered plastic model.
Thorndon, Essex | April 2011
Polaroid SX-70 [Red] | TheImpossibleProject PX100 SilverShade FirstFlush
[Losing Focus] | [Twitter]
[All photographs © Toby Marsh. Please do not re-use without permission.]
SX70Red_PX100FF_06-04-2011_08_edit_web
The Almighty - Out Of Season | Powertrippin' | 1993
For the group Collective 52 Group. The prompt this week was "out of focus". I want to explore this more, because as I worked on processing this I kept wanting to fix the focus.
www.flickr.com/groups/2483477@N21/pool/with/11755426743/#...
Sometimes it is refreshing to get something else on your normal route than the bog standard B9, Lothian Buses 697 brings a change to service 31 today seen here heading to East Craigs. 04th June 2015.
Leider war das Konzert von Bonnie Raitt im Chicago Theatre ausverkauft. Hätte ich mir sehr gerne angeschaut. Nicht nur wegen der Musik von Bonnie, sondern auch wegen des tollen Interieurs im Theatre.
1921 von Rapp & Rapp entworfen, gehörte das Chicago Theatre über lange Zeit mit 3800 Sitzplätzen zu den großen Filmpalästen der U.S.A.
1980 stand das Teater kurz vor dem Abriss, konnte aber mit umfangreichen Renovierungsarbeiten gerettet werden. Das große Chicago-Schild gehört heute zu einem der Wahrzeichen Chicagos.
a german soldier of the
Neo-war was cought in
a white out and he could only see
10 feet away when out of the snow
he saw a dark figure, he thought that it
could be bear or a large wolf.
He fired off a shot from his gun,
but what he hit was not a animal
nor human.To his suprise it was a
zombie, he couldn't tell were it came from but he new one thing for sure
he needed to make a fire.
he used he lit some cloth
that he had riped off the zombies suit
luckly he killed a chicken with the shot he fired trew the zombie.
the son of my father's friend xD
he's so freaking cute xD
Keep laughing (:
New lens hehehehe faves if u like it
Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.