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Devil May Cry 5
Otis_Inf's injectable camera system; hotsampling via SRWE (24MP); bicubic smother resampling; reshade 4.5.4
Included in a lot of unwanted lenses given to me by a friend was this 135mm f/3.5 MC Tele-Rokkor-QD lens, shown here with my home-made Nikon / Minolta adapter. Having adapted an old Isco Tele-Westanar 135mm pre-set lens for use on my Nikon D40 and D60 with great results, I decided to see if I could do the same with this lens.
The first problem to overcome was how to get a Minolta mount lens to fit on a Nikon body. An old Nikon / T-mount adapter got me halfway to my goal. My junk lens / body mount drawer provided a mount salvaged from an old Minolta tele-converter. With a bit of filing followed by careful press fitting in a vise, I was able to fit the Nikon and Minolta parts together. Some black plastic electrical tape was used to cover several holes that would have caused light leaks. Using this home-made adapter results in the loss of infinity focus... not a problem for close-up photography.
The second problem was something I hadn't thought of. I wanted to use this lens for macro shooting where focusing is critical. Hand-holding makes stop-down shooting difficult where you need the aperture open wide to focus accurately, then stop down to the taking aperture to get the shot. Because the lens wasn't mounted on a Minolta body, no aperture coupling lever linkage was available. I had planned to use the lens depth of field preview button to stop down an instant before tripping the shutter, as I do with the old Tele-Westanar with its "pre-set" button, but the Rokkor's DOF
button was inactive... the aperture remained wide open. I could stop down to focus, but accurate focusing with the resulting exceedingly dim viewfinder image became nearly impossible.
An easy solution came in the form of a tiny 1 inch long craft store clothespin. Opening the clothespin by its gripping end closes the end that you normally squeeze. Moving the Rokkor's aperture lever to the right as far as it could go allowed the pin's squeeze tabs to fit in the lever's slot. Releasing the clothespin resulted in it gently locking the aperture lever at its limit of travel. This resulted in the depth of field preview button working as it should, despite the absence of any lens / camera body linkage. The depth of the home-made adapter keeps the clothespin from protruding within the mirror box of the Nikon body. Now it's a simple matter to use the Rokkor as you would any normal pre-set lens. The aperture remains open for easy focusing, then the DOF preview button is pressed to close down to the taking aperture immediately before hitting the shutter.
Results are excellent when used for macro shooting and creating this adaptation was definitely worth the effort.
Because the adapter extends the lens out from the camera body, infinity focus isn't available. When the lens is set for infinity, the actual focus distance is 30 inches, with a field width of 5 inches. Mounting a Raynox DCR-150 with the lens still set at infinity, gives a field width of 1 inch at a lens to subject distance of 6 inches. A Raynox DCR-250 drops the field width to 5/8 inch at a distance of 3.5 inches. Reverse mounting the objective from a Cimko 75-200mm lens produces even more magnification with the field width shrinking to 1/2 inch at a working distance of 2.5 inches.
DSC-4727
John 1: 5 (The Voice)
A light that thrives in the depths of darkness, blazes through murky bottoms. It cannot and will not be quenched.
| Agasthiyar Falls | Tirunelveli Dt.| 2014
The heavy rains at the western ghats region had brought in heavy flow of water in almost all the falls in this region. All dams had attained its maximum storage capacity.It is just awesome to visit places near this area ..
Mythological Creatures - Guardian Spirits and Archetypes - The Elementals – Element of Air by Daniel Arrhakis (2026)
Mythological Creatures - Guardian Spirits and Archetypes - The Elementals – Element of Air
Air Elementals (Sylphs and Fairies)
The Guardians of Inspiration and Wisdom
Air is linked to the mind, communication, freedom, and the breath of life (spirit). They represent spiritual elevation, overcoming earthly gravity, and the immortality of consciousness.
Archetype: Transcendence and Panoramic Vision.
Function: They elevate human consciousness above earthly problems, bringing clarity and new ideas.
Attributes: Light, joyful, invisible to the human eye, and messengers between worlds.
Manifestation: Griffins, giant eagles, sylphs, Pegasus, and creatures with translucent wings that guard the mountain peaks and wind currents.
Main Manifestations in Classical Mythology and Folklore
Sylphs: Pure elemental beings of air created by the alchemist Paracelsus. They control the winds and inspire human thoughts.
Pegasus: The winged horse of Greek mythology. The beating of its hooves created the Hippocrene spring, which gave poetic inspiration to those who drank from it.
Griffins: Creatures with the body of a lion and the head/wings of an eagle. They were guardians of sacred treasures and hidden wisdom in the mountains. The griffin (half eagle, half lion) acts as an archetype of synthesis and guardian in Rovingian animism. It unites the sovereignty of the Earth (lion) with the perspicacity of Heaven (eagle), representing the harmony between the material and spiritual realms, as well as symbolizing the transition between dimensions and spiritual elevation.
Historically associated with Persian and Greek mysticism, the griffin was seen as a guardian of the divine and protector of hidden wisdom. In animism, this archetype protects the boundaries between the physical and spiritual worlds, acting as a guide on the path of personal evolution.
Garuda: In Hindu and Buddhist mythology, it is the king of birds and Vishnu's mount. It represents courage and spiritual elevation that destroys ignorance. In animism, Garuda acts as the archetype of the winged guardian spirit, representing freedom, dominion over the element of air, and the victory of awakened consciousness (the Sun) over earthly illusions and primal instincts (the serpent or Naga);
Garuda is the eternal enemy of serpents (Nagas).
In animism, Garuda illustrates the balance between opposites: heaven versus earth, the divine versus the chthonic (underground), and light versus darkness.
Because of its ability to travel between worlds, it is seen as a messenger between Man and the Divine, often associated with major deities in Hinduism and Buddhism (such as Vishnu).
The Winged Lion: To understand the symbol as a whole, it must be seen as a bridge connecting physical power (Earth) with mental and spiritual expansion (Air). The archetype of the Winged Lion is one of the most revered, along with the Griffin, in Rovingian Animism, for its symbolism of the union between Earth and Air. It represents the fusion of instinct and material force (Lion/Earth) with elevated consciousness, spirituality, and freedom (Wings/Air).
In ancient Eastern mythologies (such as Persian and Assyrian) and in the Christian tradition (associated with Saint Mark the Evangelist), wings represent spiritual elevation, the divine, and the overcoming of purely earthly nature.
Angels and Seraphim: Celestial entities with wings that serve as divine messengers, connecting the human mind to the higher spiritual plane.
In Rovingian Animism, angels and seraphim abandon the traditional Abrahamic winged human form and manifest as fractal light patterns and pure energetic frequencies. These entities function as quantum bridges that elevate and align human consciousness with higher spiritual planes, through universal harmonic resonances.
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Criaturas Mitológicas - Espíritos Guardiões e Arquétipos - Os Elementais – Elemento Ar
Elementais do Ar (Silfos e Fadas)
Os Guardiões da Inspiração e Sabedoria
O Ar está ligado à mente, à comunicação, à liberdade e ao sopro da vida (espírito). Eles representam a elevação espiritual, a superação da gravidade terrestre e a imortalidade da consciência.
Arquétipo: A Transcendência e a Visão Panorâmica.
Função: Elevam a consciência humana acima dos problemas terrenos, trazendo clareza e novas ideias.
Atributos: Leves, alegres, invisíveis ao olho humano e mensageiros entre mundos.
Manifestação: Grifos, águias gigantes, silfos (ou sílfides), Pégaso, e criaturas com asas translúcidas que guardam os cumes das montanhas e as correntes de vento.
Principais Manifestações na Mitologia e no Folclore Clássico
Sílfides (ou Silfos): Elementais puros do ar criados pelo alquimista Paracelso. Eles controlam os ventos e inspiram os pensamentos humanos.
Pégaso: O cavalo alado da mitologia grega. O bater dos seus cascos criou a fonte Hippocrene, que dava inspiração poética a quem dela bebesse.
Grifos: Criaturas com corpo de leão e cabeça/asas de águia. Eram guardiões de tesouros sagrados e da sabedoria oculta nas montanhas. O grifo (metade águia, metade leão) atua como um arquétipo de síntese e guardião no animismo rovingiano. Ele une a soberania da Terra (leão) com a perspicácia do Céu (águia), representando a harmonia entre o reino material e o espiritual, além de simbolizar a transição entre dimensões e a elevação espiritual.
Historicamente associado ao misticismo persa e grego, o grifo era visto como guardião do divino e protetor de sabedorias ocultas. No animismo, este arquétipo protege os limites entre o mundo físico e o espiritual, atuando como um guia no caminho da evolução pessoal.
Garuda: Na mitologia hindu e budista, é o rei dos pássaros e montaria de Vishnu. Representa a coragem e a elevação espiritual que destrói a ignorância. No animismo, o Garuda atua como o arquétipo do espírito alado guardião, representando a liberdade, o domínio sobre o elemento ar e a vitória da consciência desperta (o Sol) sobre as ilusões terrestres e os instintos primários (a serpente ou Naga);
o Garuda é o eterno inimigo das serpentes (Nagas).
No animismo, Garuda ilustra o equilíbrio entre opostos: o céu contra a terra, o divino contra o ctónico (subterrâneo), e a luz contra a escuridão.
Pela sua capacidade de viajar entre os mundos, é visto como um mensageiro entre o Homem e o Divino, frequentemente associado a divindades maiores no hinduísmo e budismo (como Vishnu).
O leão Alado: Para compreender o símbolo no seu todo, ele deve ser visto como uma ponte que conecta o poder físico (Terra) com a expansão mental e espiritual (Ar). O arquétipo do Leão Alado é um dos mais reverenciados a par do Grifo, no Animismo Rovingiano, pelo simbolismo da união entre a Terra e o Ar. Ele representa a fusão do instinto e da força material (Leão/Terra) com a consciência elevada, a espiritualidade e a liberdade (Asas/Ar).
Nas antigas mitologias orientais (como a persa e a assíria) e na tradição cristã (associada a São Marcos Evangelista), as asas representam a elevação espiritual, o divino e a superação da natureza puramente terrena.
Anjos e Serafins: Entidades celestiais com asas que servem como mensageiros divinos, ligando a mente humana ao plano espiritual superior.
No Animismo Rovingiano, anjos e serafins abandonam a forma humana alada tradicional abraâmica e manifestam-se como padrões de luz fractal e frequências energéticas puras. Estas entidades funcionam como pontes quânticas que elevam e alinham a consciência humana com planos espirituais superiores, através de ressonâncias harmónicas universais.
In a sea of its own leaves, this white water lily quietly waits the attention of bees, wasps, flies and even ants.
Visit my blog for more info about this wildlife area - wickeddarkphotography.com/2019/09/22/crex-meadows-wildlif...
Kilchurn Castle, Loch Awe
A non-starter for our way into Glencoe, we tried to shoot the Castle but the weather was truly awful.
Waiting around for a few hours and an aborted attempt we were finally given a break in the rain and an opportunity to shoot the remote Kilchurn Castle.
El verdadero combate empieza cuando un debe luchar contra una parte de sí mismo. Pero uno sólo se convierte en un hombre cuando supera estos combates.
- André Malraux -
En busca del camino
The real battle begins when a fight should one part of himself. But one only becomes a man when overcomes these fights.
- André Malraux -
I am overcome with emotion, in all truth words escape me how can this be?
With every twist and turn another incarnation is born before my very eyes. It seems she changes with every passing hour.
Will ever remember who i once was? Not that i really want too when I have become this what you see before you.
How many ships would send to rescue this Helena?
Berlin, "Municipal Baths Reloaded", Video Art and Light installations in the Lichtenberg Municipal Baths": Small Hall with video work between the changing rooms and on the plinths on the parquet cover of the pool
Als Lichtenberg 1907 in den Rang einer Stadt erhoben wurde und sein erstes Rathaus besaß, plante die Stadtverwaltung auch die entsprechenden städtischen Einrichtungen wie ein Amtsgericht, ein Krankenhaus, ein Entbindungsheim, Schulen und ein Volksbad. Die Kommune erwarb ein 3800 m² großes Grundstück an der Frankfurter Allee und gründete eine Kommission für die Erbauung einer Volksbadeanstalt, besetzt mit sieben Stadtverordneten und sieben Bürgerdeputierten. Architekten lieferten sogar in der Zeit des Ersten Weltkriegs Baupläne für eine solche öffentliche Badeeinrichtung. Der erste Spatenstich erfolgte im Jahr 1919 und die Fundamente wurden gelegt. Weil Lichtenberg 1920 als Bezirk nach Groß-Berlin eingemeindet wurde und seinen Stadtstatus verlor (und sicherlich auch wegen knapper Kassen unmittelbar nach dem Krieg), wurden die Bauarbeiten eingestellt. Erst 1925, nach Überwindung der Inflation, wurde weitergebaut, nachdem die Ingenieur-Architekten Rudolf Gleye und Otto Weis die vorhandenen Pläne aktualisiert hatten. Es entstand ein mehrgliedriger kubischer Baukörper im Stil des Expressionismus mit – nach damaligen Vorstellungen – sehr modernen Ausstattungen:
Die Einweihung des Hubertusbades nahm der Berliner Oberbürgermeister Gustav Böß am 2. Februar 1928 vor. Im Zweiten Weltkrieg beschädigte eine Sprengbombe das Gebäude an der Nordwestseite, es blieb aber noch funktionstüchtig. Außerdem gingen durch die Druckwellen die meisten Scheiben zu Bruch. Das Bad wurde notdürftig repariert. Als im Zusammenhang mit der Errichtung kompletter Neubauviertel in den östlichen Stadtbezirken ab Ende der 1960er Jahre dort auch neue lichtdurchflutete Schwimmhallen entstanden, verlor das Hubertusbad seine über den Bezirk hinausgehende Bedeutung. Hinzu kam, dass nun Baumängel, die bereits seit der Fertigstellung vorhanden waren, immer gravierender wurden, 1988 musste deshalb zunächst die große Halle geschlossen werden. Grund war ein Defekt an der Wasseraufbereitungs- und Heizungsanlage, der sich nicht mehr beheben ließ. Nach dem Mauerfall und dem schrittweisen Zusammenwachsen der gesamten Stadt galten die bisherigen bundesdeutschen Vorschriften für solche Einrichtungen, Geld für Reparaturen stand nun auch nicht mehr bereit. Als 1991 die Hauptwasserzuführung kaputtging, mussten auch die kleine Halle und alle anderen Badeinrichtungen geschlossen werden. Die kleine Halle diente dann zweckentfremdet als Lagerhalle.. Im Jahr 2016 fasste der Senat von Berlin einen Entschluss, der einer Wiederbelebung des Bades einen großen Schritt näher kam: der Komplex bleibt Eigentum des Landes Berlin. Im Auftrag der Stadt kümmert sich seitdem das Unternehmen Berliner Immobilienmanagement (BIM) um Möglichkeiten der Nachnutzung.
Eine Wiederaufnahme des Badebetriebes ist wegen der hohen Investitionskosten und der Unwirtschaftlichkeit eines laufenden Betriebes nicht mehr vorgesehen. Daher soll das Stadtbad Lichtenberg sowohl Veranstaltungsort als auch Begegnungszentrum im Kiez werden. Zur langfristigen Erreichung dieses Zieles wurde ein Zwei-Stufen-Plan beschlossen und unter Beteiligung der Öffentlichkeit in einem Konkretisierungs- und Planungsworkshop vertieft: Im ersten Bauabschnitt, der Anfang des Jahres 2022 abgeschlossen war, wurden aus dem Haus mehrere Tonnen Bauschutt entfernt sowie Elektroanschlüsse und Sanitäranlagen im linken (östlichen) Gebäudeteil wieder hergerichtet. Über das Becken der ehemaligen Frauenschwimmhalle wurde ein Holzboden gezogen, auf dem seit 2022 Ausstellungen und andere Events stattfinden können. Auf diesem Parkettboden können bis zu 200 Personen platziert werden. Hier finden temporäre Veranstaltungen statt, wie die, die wir besucht haben. Sie heißt "Stadtbad Reloaded" und führt die Gäste auf einen spannenden Rundgang durch das Haus, welches mit beeindruckenden Lichtinstallationen und über 157 digitalen Kunstwerken in allen Ecken wieder zum Leben erwacht.
Quelle: Überwiegend Wikipedia
When Lichtenberg was elevated to the status of a town in 1907 and had its first town hall, the town council also planned the corresponding municipal facilities such as a district court, a hospital, a maternity home, schools and a public swimming pool. The municipality acquired a 3,800 square metre plot of land on Frankfurter Allee and set up a commission for the construction of a public baths, consisting of seven city councillors and seven citizen deputies. Architects even provided construction plans for such a public bathing facility during the First World War. The ground-breaking ceremony took place in 1919 and the foundations were laid. Because Lichtenberg was incorporated into Greater Berlin as a borough in 1920 and lost its city status (and no doubt also due to a shortage of funds immediately after the war), construction work was halted. It was not until 1925, after the inflation had been overcome, that building work resumed after the engineer-architects Rudolf Gleye and Otto Weis had updated the existing plans. The result was a multi-storey cubic building in the Expressionist style with - according to the ideas of the time - very modern fixtures and fittings. The Hubertusbad was inaugurated by the Lord Mayor of Berlin, Gustav Böß, on 2 February 1928. During the Second World War, a high-explosive bomb damaged the building on the north-west side, but it remained functional. Most of the windows were also broken by the blast waves. The baths were provisionally repaired. When new, light-flooded swimming pools were built in the eastern boroughs at the end of the 1960s in connection with the construction of entire new neighbourhoods, the Hubertus Baths lost its importance beyond the borough. In addition, construction defects, which had been present since completion, became increasingly serious, and in 1988 the large hall had to be closed. The reason was a defect in the water treatment and heating system that could no longer be repaired.
After the fall of the Berlin Wall and the gradual merging of the entire city, the regulations for such facilities in vigour in West Germany applied and there was no longer any money available for repairs. When the main water supply broke in 1991, the small hall and all other bathing facilities had to be closed. The small hall was then misused as a warehouse. In 2016, the Berlin Senate took a decision that brought the revitalisation of the baths a big step closer: the complex remains property of the state of Berlin. Since then, the Berlin Real Estate Management Administration (BIM) has been working on behalf of the city to find ways to reutilise the site. Due to the high investment costs and the inefficiency of the operation of the pools, it is no longer planned to resume bathing activities. The Lichtenberg Municipal Baths are therefore to become both a venue for events and a meeting centre in the neighbourhood. In order to achieve this goal in the long term, a two-stage plan was adopted and further developed with the participation of the public in a concretisation and planning workshop:
In the first construction phase, which was completed at the beginning of 2022, several tonnes of rubble were removed from the building and electrical connections and sanitary facilities were restored in the left-hand (eastern) part of the building. A wooden floor was laid over the pool of the former women's swimming pool, which has been used for exhibitions and other events since 2022. Up to 200 people can be seated on this parquet floor. Temporary events take place here, like the one we visited. It is called ‘Municipal Baths Reloaded’ and takes guests on an exciting tour of the building, which comes back to life with impressive light installations and over 157 digital artworks in every corner.
Source: Mainly Wikipedia
“The greater the obstacle, the more glory in overcoming it.”
- - Molière
"Life will find a way."
- - Dr. Ian Malcolm, "Jurassic Park
Best viewed LARGE.
This is ritual undertaken by Hindu during the dushera festival wherein devotees get their cheecks and tongues pierced with thrishool and mostly they cover their face with a hanky once they have pierced the tongue , they follow the procession to the Muthumaran Temple.Once in their costumes, the devotees have to beg for alms to sustain themselves, an exercise, they believe that the overcome the ego before taking the blessing of Deity.
Kulasekharapatnam | Tamilnadu
The forest takes over the traces of the ancient Maya civilization. Quintana Roo, Mexico. March 2017. ©Eduardo Mendoza.
This view is one I have shot before, but it is significant in that 24 hours earlier the whole area was covered in snow. All of Texas was affected, in fact; and, many people are still suffering from the after-effects of an unusually strong winter storm last week. With temperatures around 12ºC on Saturday, snow still on the ground, the disc golf course was bustling with people who needed to get out, myself included.
#FlickrFriday #FunInTheSun
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FULL-SIZE VERSION: farm8.staticflickr.com/7007/6739429369_271671b3e3_o.png
Some friends were discussing their frustration with the floppy Obitsu body used by JerryBerry dolls, so I tried a method recommended by Obitsu and Pullip fans to fix the problem. Hopefully this tutorial will help JerryBerry fans everywhere overcome the body flop!
The writing's on the wall
All empires and tyrants will fall
Too many of us have been killed
We don't need another wake-up call
Out in the streets we gave it our all
Watered by blood and tears, the streets bloomed with rage
The cavalry came, how can we forget
We were the ones they were ordered to attack
All the tear gas made it clear
What we can do when we overcome our fear
Justice and humanity are the truths that inspire
Our desire to set the night on fire
If you’re into biking a cool thing to do is to head to a mountain pass right before it opens for the summer after being closed for the winter. It may be a little cold but the road will be plowed and not a car will be in sight. The uphill can be steep and long but the downhill is awesome. Just remember to check your brakes, watch for ice, and bring some warmer close for the downhill depending on the outside temperature.
This shot is from the Going to the Sun Road in Glacier National Park, Montana, which I believe is about 16 miles to the top. When I was there it wasn’t fully plowed so I biked only about half way. The farther you get the less and less people there are, which there are not that many to begin with, so you can pull over at anytime and get some spectacular views.
“You are from God, little children, and have overcome them; because greater is He who is in you than he who is in the world” – 1 John 4:4
The suspension bridge between Covington, Kentucky and Cincinnati, Ohio opened to traffic on January 1, 1867. Its central span of 1057 feet was the longest in the world. John A. Roebling had spent most of the previous two years in New York and at his home in New Jersey vigorously planning for his next proposed project – a bridge over the East River connecting New York City and Brooklyn. The work at Covington had been under the supervision of his son, Washington, since early in 1865.
The first charter for the Ohio River bridge had been granted to the Covington-Cincinnati Bridge Company by the Kentucky Legislature in 1846. Due to opposition chiefly from ferryboat operators and steamboat companies, the Ohio legislature delayed approval. There was also concern that the bridge would possibly facilitate the movement of Negroes attempting to escape slavery.
The Bridge Company had selected John Roebling as chief engineer to design and build the bridge. Construction began in September 1856. The initial work was to prepare the foundations for the Ohio tower. With both towers under construction, work halted in 1858 as additional funding became unavailable after a widespread financial downturn in 1857.
The bridge project sat idle as the bridge company had difficulty selling stock and the nation moved toward civil war.
The war began in the spring of 1861, and by September of 1862, Confederate forces under General Kirby Smith invaded Kentucky and threatened to move on Cincinnati. Union General Lew Wallace organized the defense of the city, and built a series of fortifications on the hills in northern Kentucky. A pontoon bridge using coal barges was assembled across the Ohio River to expedite the movement of troops and supplies. Some old engravings showing this floating bridge also depict the stubs of the suspension bridge towers jutting out of the river.
This threat renewed interest in the bridge. Additional stock was sold and by the spring of 1863, the state legislatures had amended their charters to reduce the required clearance of the bridge over the river. John Roebling returned to Covington to restart construction. Work on the towers resumed as excavation began for the anchorages.
The project continued through 1864, and early the following year, Washington Roebling joined his father as assistant chief engineer. He had recently married after his discharge from the Union army where he had risen to the rank of colonel.
Spinning of the cables began in November 1865 using wrought iron wire imported from England. John Roebling returned to the east coast, and supervision of the Ohio River bridge project was turned over to Washington. The cables were completed in June 1866, and installation of the hangers, beams, wood floor, and diagonal stays proceeded with only minimal delays.
As a member of the Board since 1856, Amos Shinkle had always been among the staunchest supporters of the bridge project. He was elected President of the Bridge Company in March 1866, a position he continued to hold until his death in 1892.
The bridge was opened to pedestrian traffic on the first weekend of December, 1866. The opening was signaled with a one-hundred-volley salute by two cannons from the Newport Barracks. It was reported that 46,000 people crossed the bridge on Saturday, and 120,000 on Sunday.
The formal opening of the bridge was on January 1, 1867. The date was earlier than planned because ice on the river had prevented ferryboat operations. Completion of final details, including painting, extended until late June 1867, under Washington Roebling’s direction. The color of the paint has been described as “Spanish Brown”. John Roebling reported the total cost of the bridge as 1.8 million dollars.
John Roebling was appointed Chief Engineer of the New York Bridge Company later in 1867. Wilhelm Hildenbrand was hired as a draftsman to prepare detailed drawings. He also provided illustrations to promote the “East River”, or “Brooklyn” bridge. Meanwhile, Washington Roebling was touring bridge projects and reviewing the latest construction methods in Europe.
In June1869, John Roebling’s foot was crushed on the Fulton Ferry slip in Brooklyn while surveying the centerline for the proposed bridge. Twenty-four days later, he died of lockjaw at age 63. The following month, Washington Roebling was appointed to succeed his father as chief engineer on the Brooklyn Bridge.
Construction began on the Brooklyn Bridge in 1870. Although stricken with caisson disease in 1872 – which made him a partial invalid – Washington was able to overcome many difficulties to complete the bridge in 1883. With a central span of 1595 feet, it became the world’s longest bridge, surpassing its forerunner at Cincinnati.
There was record flooding on the Ohio River in 1883, and the following year was even worse with water here reaching the 71-foot level. The Ohio approach to the bridge then ended at Front Street and it was under water. The bridge company provided skiffs to transport pedestrians between the bridge and a point on Walnut Street.
In 1891, moisture problems were discovered in the southeast anchorage. Local Civil Engineer Gustave Bouscaren was consulted and he devised reinforcing collars with friction clamps to restore the strength of the cables.
With electric streetcars replacing horse-drawn cars, there was concern about the load capacity of the bridge. In 1894, six engineers were asked to inspect the structure and submit proposals. All, but Wilhelm Hildenbrand, suggested replacing the bridge with a non-suspension structure.
With Washington Roebling’s help and advice, Hildenbrand received the contract and began reconstruction in 1895. His plan included adding two steel cables, which required four new anchors, and removal of the turrets to position additional saddles on the towers. Hildenbrand installed a new steel truss and floor beam system, and widened the wooden floor. The Ohio approach was extended to Second Street. The reconstruction was completed in 1899. Electric lighting was installed on the bridge in 1901.
A flood in 1913 put the extended Ohio approach under water, and a temporary wooden trestle was built to maintain traffic to Walnut Street. This resulted in the Bridge Company developing plans and acquiring additional property to continue the approach to Third Street. This extension was completed in 1918. A later modification of the approach permitted streetcar ramps over Third Street to connect to the Dixie Terminal.
During the great flood of 1937, the river crested at 79.99 feet. It was necessary to construct a sandbag, gravel, and timber causeway in Covington to connect diagonally from the bridge approach to a point on Greenup Street. The bridge was the only highway river crossing between Steubenville, Ohio and Cairo, Illinois that remained open -- a distance of over 800 miles.
The Commonwealth of Kentucky purchased the bridge from the bridge company in 1953. Improvements by Kentucky included installation of a steel-grid deck to replace the wooden floor. Toll collection continued until late in 1963.
The 100th anniversary of the bridge opening was celebrated with a ceremony on Court Street at the Covington approach in the fall of 1966.
The bridge was recognized as a National Historic Landmark in 1975. An advocate for small businesses, Ed Wimmer, Sr., cited the construction of the bridge as a prime example of the free enterprise system. Mr. Wimmer founded the Covington-Cincinnati Suspension Bridge Committee (CCSBC), and urged the state to paint the bridge red, white, and blue in honor of the Nation’s bicentennial. The bridge was green at that time, and the decision was made to paint it blue.
At the time of the Bicentennial, the CCSBC obtained permission to begin flying flags on a continual basis from the poles atop the bridge towers. The Bennington Flag, with thirteen stars and a ’76 in the field, is flown over the Kentucky tower, and the fifty-star flag over the Ohio tower. The appropriate state flag is flown beneath the American flags.
The bridge was designated as a National Historic Civil Engineering Landmark in 1982. In June of the following year, the Kentucky Transportation Cabinet officially renamed the structure as the “John A. Roebling Bridge”.
In 1984, the CCSBC was successful in raising funds to install the decorative cable lighting. The lighting system is a memorial to Julia Langsam, a president of the CCSBC, who worked tirelessly to see this vision become a reality.
A “yoke” roadway system connects the bridge approach in Covington to Scott and Greenup Streets. It was completed in 1991; the project included lowering Second Street to go under the approach.
The Commonwealth of Kentucky undertook a massive renovation of the bridge itself as we moved into the final decade of the twentieth century. In addition to needed structural repairs and vastly improved roofing for the anchor houses, the renovation included adding modified replicas of the original turrets (saddle houses) atop the towers. The CCSBC suggested that the turret finials should be gold-leafed, and this was done. The total cost of this renovation exceeded ten million dollars.
A final phase to paint the bridge was funded and accomplished in 2010. This cleaning and painting project, which included taking all portions of the trusses and cables down to "bare metal", cost an additional 16.24 million dollars. A major portion of this expense was to encapsulate the work area to prevent lead paint and other impurities from contaminating the air and the river. The Kentucky Transportation Cabinet had a special acrylic paint formulated to match the desired color of the bridge. This shade is now known as " Roebling Blue".
An annual inspection of the bridge in 2007 determined the need to reduce the weight limit to eleven tons. This was necessary based on its condition and to preserve the structure for years to come. The Southbank Shuttle vehicles are now the heaviest permitted on the bridge.
Reconstruction of the Fort Washington Way segment of I-71, and the resulting development of The Banks, has again altered the Ohio approach to the bridge. It now begins at a tight traffic circle at the intersection with Ted Berry Way.
The CCSBC has labored for years to raise funds and develop the enhanced decorative lighting system now installed. Celebrating nearly 150 years of service as a river crossing, the John A. Roebling Bridge now serves as the iconic symbol of the entire Tri-State Region.
— Ralph G. Wolff
2004 (Updated 2016)
Credit for the data above is given to the following website:
Caitlin Gilligan is born in Galloway and based in Manchester folksinger who will be releasing her EP in January. Some of her tracks can be found on Soundcloud if you care for great music.
Aug. 8, 2012
"Overcome with emotion, eight-year old Make-A-Wish child Janiya Penny reacts just after meeting the President as he welcomes her family to the Oval Office." (Official White House Photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
"After months of overcoming barriers to transporting fresh bamboo to feed its giant pandas, the Calgary Zoo announced today that it will be relocating giant pandas, “Er Shun” and “Da Mao”, back home to China where bamboo is abundant and local." That was sad news to read this afternoon. We have been so fortunate to have these amazing Pandas visiting Calgary. A sad day especially for the zoo keepers who have been looking after them, and for everyone involved.
The day before yesterday, I made a car repair appointment (have to wait till 20 May!). Need my winter tires off but, more urgently, they need to look at why my car died the other day, east of the city, with a new, 3-month old battery. Exactly the same thing happened back in February, when the car died south of the city (with the old battery). The other day, I did eventually manage to get the car started, but it definitely should not have died the way it did. I daren't drive out of the city, because if it happens again, even if I am able to get my vehicle towed back to the city, the truck drivers are not allowed to have anyone in the cab with them, because of the virus. So, I would be totally stranded, standing there, out in the middle of nowhere, which I just can't risk! My sanity is dwindling - fast : )
Wedesday, 13 May 2020: our temperature at noon is +8C (windchill +7C). Sunrise is at 5:47 am, and sunset is at 9:18 pm. A mix of sun and cloud.
Most days, I am having to post photos from my archives, as I have been basically staying home, away from everyone and everything (apart from food shopping and just a few short drives out of the city over the last couple of months). For each archive photo, I am adding the description from under a previously posted photo from the same trip.
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"On 11 July 2019, it turned out to be such a great day, with some much-appreciated sightings. I must have spent about 9 hours driving and almost every inch of my body ached like crazy at the end of it. Total distance driven was 461 km, leaving home at 8:45 am and arriving back home 12 hours later, at 8:45 pm. Now, each summer, I try and do two or three longer (for me) drives, to make sure I don't lose the courage to do this.
Weather-wise, it was a beautiful, sunny day, with plenty of white clouds Unlike when I did this drive in August 2018, there was no smoke from any wildfires, thank goodness.
It was a good day for Hawks, seeing some on the way south and a few on the way home. I did spot one Ferruginous Hawk, but it was perched on a very distant fence post. I'm also wondering if one of the 'hawks' was actually an immature Golden Eagle - seen in photo #4 posted this morning. (NOTE: yes, it was a Golden Eagle!). I saw it from a fair distance and I remember thinking what a large hawk it was. Stopping at an angle in the middle of the road, I managed to get one shot before it took off and a couple just as it was doing so.
A couple of Common Nighthawks also helped make my day. For several years, I had longed to see one of these unusual birds and, finally in 2017, I managed to find four of them. In 2018, I was able to find just one. These birds are 9½ inches from the tip of bill to the tip of tail. Very strange looking birds, and always a thrill to see one.
My actual destination on 11 July 2019 was the Alberta Birds of Prey Centre, near Lethbridge. I know some people feel that photographing birds that are not out in the wild is cheating. I kind of agree, though I think it's fine as long as someone says where a photo was taken.
This Centre is a wonderful place that rehabilitates and releases (whenever possible) various birds of prey - hawks, owls, Bald Eagles, Turkey Vultures, and Golden Eagles. Some of these birds act as Wildlife Ambassadors, too, including educating the public away from the Centre. Sometimes, a bird is used as a foster parent, too.
I love the changing scenery as one drives south, and my drive was timed perfectly to catch the golden Canola fields. Maybe half way, I pulled over to take a few photos of an old barn and there was a truck just pulling away. I thought the guy might have been taking photos, too. We got talking and one of the things we both said was that we had never seen a blue field of Flax. Later in my drive, guess what I found : ) Looked beautiful, with blue on one side of the road and a field of yellow Canola on the opposite side.
This was definitely a rewarding day, full of sightings of all kinds. My favourite kind of day!"
The kit and its assembly:
This build is the result of a long gestation and the use of several kitbashing remains from former projects – incidentally all German donors. At the core was a leftover but complete MPM Ju 87 A fuselage, a typical early short-run kit with thick sprues and massive attachment points of the parts, lack of locator pins on the parts, dubious fit, and a very thin and wobbly vacu canopy. Nothing you really want to work with…
I also had wings and landing gear from an Italeri Hs 126, and recently it struck me to combine these with the Ju 87 fuselage into a mid-war recce/spotter aircraft.
However, as simple as this sounds, closer inspection of the hardware revealed several flaws in my plan, and overcoming these required more planning. This led eventually to more/extra donor parts in the form of Fi 156 wings (Academy kit) to bring the concept to fruition, because the deep Hs 126 wings and their elliptical shape would not match well with the rest of the Ju 87, and especially not with its cockpit position and glazing. As a bonus, though, the Fi 156 wings also had the benefit of a square shape which would match well with the Ju 87 stabilizers, and they also had a kinked root for a direct attachment to the fuselage instead of the Hs 126’s indirect struts arrangement. The Hs 126’s spatted landing gear was to be retained, though, because it would fit very well under a Ju 87.
Work started with the chunky fuselage, and I kept it mostly OOB. The only major change is the addition of an adapter for the propeller mounted on an axis (OOB there is NOTHING – you are supposed to glue the spinner to the hull, and that’s it!), and I added some struts inside of the cockpit (inspired by the Westland Lysander’s construction) because the wings would require some support in real life. Major PSR and body work was required to make the Ju 87 wing roots disappear on the fuselage, a ventral display holder adapter was added, as well as camera fairings behind the cockpit. On the original Ju 87 stabilizers simpler support struts were used (actually from the Ju 87 A’s landing gear), and the Hs 126 landing gear and its spats were glued to the lower hull behind the engine.
The biggest challenge became the attachment of the wings, though, because they had to be mounted somehow to the glazing. This would already be tricky with a styrene canopy, but the Ju 87’s thin vacu canopy – due to its instability and the material as such – called for a scratched solution/construction! I initially tried to use the clear parts from the Fi 156 kit, but they would not fit. My solution eventually was again inspired by the Westland Lysander, or better the Matchbox kit’s construction: I cut two slits into the vacu canopy and placed a horizontal styrene bar through them, so that the Fi 156 wings could be mounted on their original attachment points. However, they ended up quite ahead, but at least I had them in a plausible position, even though the whole thing was not stable.
The next problem arose through the canopy itself: mounting a thin and rather flexible vacu piece on the OOB Ju 87 would already have been a stunt, but now it also carried very fragile and instable wings! With much patience and after several failed attempts I was able to fix the vacu canopy in place (with super glue and white glue), and once it was in position I added the wings support struts from the Hs 126 to stabilize the whole parasol construction and somewhat relieve the canopy from the wings’ weight. Never again…!
Painting and markings:
Putting the Ao 175 into the MTO was a good excuse to apply a German North Africa paint scheme, brought to Northern Italy with withdrawing units. The plan was to create an aircraft with field camouflage over a standard paint scheme, and to this end the painting process became a bit more complex than usual.
The core scheme is a simple, uniform RLM 78/79 (Himmelblau and Sandgelb) livery with a low and straight waterline, plus white MTO markings on fuselage and wing tips. For the Sandgelb I used Modelmaster 4789, which is a nice brownish tone that is not too bright and yellow-ish, and Tamiya XF-23 for Himmelblau, which is a tad darker and more greyish than RLM65. At this stage the white wingtip undersides were painted, too.
For the post-camouflage look the markings were added now – puzzled together from various sources. The tactical code is a mix of the Academy Storch’s individual “BA” code, which is a staff code with an unusual green letter, with a smaller unit code. The underwing “Bs” came from the Storch, as well as the fuselage Iron Crosses. The national markings above and under the wing came from a TL Modellbau aftermarket sheet, the Iron Crosses on the upper side lack black edges, so that there is no stark contrast with the Sandgelb around them. The unit badge under the windscreen is fictional, IIRC from a late German Bf 109, though. A light black ink washing was used to emphasize some seams, esp. for the flaps, and a light post-shading was done to add surface structure.
After that the tedious process of adding a meander pattern with RLM 80 (Olivgrün) over the Sandgelb base, around all markings. For the sake of easy application, I used acrylic Revell 65 (Bronzegrün, RAL 6031). Everything was done with a relatively small brush and took some time and several turns to cover area by area with the green wiggles. Some wet sanding was later used to simulate some wear and tear around the leading edges.
The propeller spinner became green with a white spiral, repeating the staff marking from the individual code letter. The propeller blades were painted with a very dark mix of green-grey and black.
As finishing steps some soot stains were created with graphite behind the exhausts, the position lights were made with clear paint on a silver base, the camera lenses (black decal material) received a glossy finish with ClearFix, and the wire antennae from the wingtips to the fin were created with heated black sprue material.
Esperit de Superació © Espirítu de Superación
Elda (Alicante - Comunidad Valenciana - Pais Valencià - Spain)
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Word spread quickly across Lenfald of High Lord Triphian's stand against the other leaders of Roawia. News soon reached even the westernmost cities and towns, and Darrenspur was no exception. The first messengers rode in just after nightfall on the eve of the Frülingsfest, a yearly tradition celebrating the arrival of spring and the start of the growing season.
Late in the night, a heavy knock fell upon Abner's door.
"Abner, waken yourself! We haven't a moment to waste."
Abner was instantly wide awake, his soldier's instincts springing him immediately into awareness. Serena mumbled something in her sleep as Abner quietly slipped out of bed. He turned, kissed her softly, and hastily whispered, "I love you," before moving toward the hall.
Icarus, the younger of Abner's two dogs, lifted his head questioningly as his master left. Halberd did not even stir.
"Some watchdogs you are," thought Abner with a smile.
He hurried to the front door, grabbing his bow and quiver on his way out. His sword was already with him- it never left his side.
Abner stepped out onto the stoop and closed the door softly behind him, then turned questioningly to the man who awaited him.
"What brings you at this hour, Konrad?" queried Abner.
Konrad was an old friend who had enlisted with Abner. They had both been selected to become rangers around the same time as well and had fought together every time they had seen combat.
"Abner, listen to me. The High Lord just denied Chartres the throne. The boy wanted to marry the daughter of that witch Galainir."
Abner was appalled. "What?? I know this will play well into that rat Jarius' hand, but tell me the Jarl at least had enough sense to see the folly in this decision!"
Konrad shook his head gravely. "Nay, friend. In this we stand alone. The Captain himself met our patrol after nightfall and ordered us to rouse the whole company." Konrad paused. "Abner, you know what this means... we may be gone for some time. Do you need some time to talk to Serena?"
Abner shook his head. "You know she's used to it by now. She can say goodbye in her sleep and know it happened in the morning."
"Then let's be off with haste."
The two men took off at a run down the path to Darrenspur.
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The day of the Frülingsfest dawned a much more somber one than most had been expecting. The people had been eager for a hopeful celebration after years of war and hardship, only to be met once again with grim news.
Darrenspur's militia had been mustered and was busy with various tasks, from sharpening weapons and fletching arrows to helping workers mine stone for new fortifications.
The Rangers had been briefed the night before and had dispersed to perform their various duties. Abner and Konrad were sent to the local army recruiting station to seek out potential enlistees who possessed the skills to join the Rangers. Everyone knew that war with Loreos was a distinct possibility, and more men would be needed for that fight.
Inside the recruiting station, Abner and Konrad watched as the fancifully dressed recruiter spoke with potential enlistees.
"Yes, it's exactly like how you imagined it! You'll slay a dragon for sure and you're bound to meet a beautiful dame in a foreign land who will be eager for you to take her away! Now, just sign this parchment saying that you are now property of the Province of Lenfald..."
"Think he's seen a day of combat in his life?" muttered Konrad.
"He's probably one of those supply types. Just sits back and drinks all of our mead while we fight," chuckled Abner. "Can you believe the nonsense he's feeding these poor boys?"
"They'll learn soon enough," replied Konrad. "They'll figure out what they signed up for and they will overcome their fears. We did."
Abner nodded in agreement. "Still, there are fewer men here than I was expecting. Looks like we're scraping the bottom of the barrel. Not too many prospects to choose from."
"Most of those who were capable died in the last two wars," commented Konrad.
"Looks like we may be reporting back to the Captain empty-handed then," replied Abner.
"Let's hope not."
"I sat on the swing ..
Hoping itll carry me away ..
Make me fly ..
Make me smile ..
But for the first time ..
Gravity wont stop pulling me down .."
Nouf Alfadl
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We shall overcome,
we shall overcome,
we shall overcome some day.
Oh, deep in my heart, I do believe
we shall overcome some day.
We shall live in peace,
we shall live in peace,
we shall live in peace some day.
Oh, deep in my heart, I do believe
we shall overcome some day.
We'll walk hand in hand
we'll walk hand in hand
we'll walk hand in hand some day.
Oh, deep in my heart, I do believe
we shall overcome some day.
Black and White together,
black and white together.
black and white together some day.
Oh, deep in my heart, I do believe
we shall overcome some day.