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Every winter well over 100 Bald Eagles gather at Conowingo Dam, along the lower Susquehanna River in northern Maryland to feast on fish which are sucked through the giant turbines as this dam generates electricity for the Baltimore area.
A bald eagle dives toward a glint of silver in the Susquehanna River. It leans back, spreads its wings like a drag chute and snatches a wriggling fish from the water. With a few flaps of its massive wings, the eagle is high in the air again, but not high enough to avoid being dive-bombed by another hungry eagle. Startled, the first eagle drops the fish which, just before hitting the water’s surface, is snatched by a third eagle, which lands in a nearby tree and gulps down its lunch.
Eagle is the common name for many large birds of prey of the family Accipitridae. Eagles belong to several groups of genera, not all of which are closely related. Most of the 60 species of eagle are from Eurasia and Africa. Outside this area, just 14 species can be found—2 in North America, 9 in Central and South America, and 3 in Australia.
Eagles are large, powerfully built birds of prey, with heavy heads and beaks. Even the smallest eagles, such as the booted eagle (Aquila pennata), which is comparable in size to a common buzzard (Buteo buteo) or red-tailed hawk (B. jamaicensis), have relatively longer and more evenly broad wings, and more direct, faster flight – despite the reduced size of aerodynamic feathers. Most eagles are larger than any other raptors apart from some vultures. The smallest species of eagle is the South Nicobar serpent eagle (Spilornis klossi), at 450 g (0.99 lb) and 40 cm (16 in). The largest species are discussed below. Like all birds of prey, eagles have very large, hooked beaks for ripping flesh from their prey, strong, muscular legs, and powerful talons. The beak is typically heavier than that of most other birds of prey. Eagles' eyes are extremely powerful. It is estimated that the martial eagle, whose eye is more than twice as long as a human eye, has a visual acuity 3.0 to 3.6 times that of humans. This acuity enables eagles to spot potential prey from a very long distance. This keen eyesight is primarily attributed to their extremely large pupils which ensure minimal diffraction (scattering) of the incoming light. The female of all known species of eagles is larger than the male.
Eagles normally build their nests, called eyries, in tall trees or on high cliffs. Many species lay two eggs, but the older, larger chick frequently kills its younger sibling once it has hatched. The dominant chick tends to be a female, as they are bigger than the male. The parents take no action to stop the killing.
Due to the size and power of many eagle species, they are ranked at the top of the food chain as apex predators in the avian world. The type of prey varies by genus. The Haliaeetus and Ichthyophaga eagles prefer to capture fish, though the species in the former often capture various animals, especially other water birds, and are powerful kleptoparasites of other birds. The snake and serpent eagles of the genera Circaetus, Terathopius, and Spilornis predominantly prey on the great diversity of snakes found in the tropics of Africa and Asia. The eagles of the genus Aquila are often the top birds of prey in open habitats, taking almost any medium-sized vertebrate they can catch. Where Aquila eagles are absent, other eagles, such as the buteonine black-chested buzzard-eagle of South America, may assume the position of top raptorial predator in open areas. Many other eagles, including the species-rich genus Spizaetus, live predominantly in woodlands and forest. These eagles often target various arboreal or ground-dwelling mammals and birds, which are often unsuspectingly ambushed in such dense, knotty environments. Hunting techniques differ among the species and genera, with some individual eagles having engaged in quite varied techniques based their environment and prey at any given time. Most eagles grab prey without landing and take flight with it, so the prey can be carried to a perch and torn apart.
The bald eagle is noted for having flown with the heaviest load verified to be carried by any flying bird, since one eagle flew with a 6.8 kg (15 lb) mule deer fawn. However, a few eagles may target prey considerably heavier than themselves; such prey is too heavy to fly with, thus it is either eaten at the site of the kill or taken in pieces back to a perch or nest. Golden and crowned eagles have killed ungulates weighing up to 30 kg (66 lb) and a martial eagle even killed a 37 kg (82 lb) duiker, 7–8 times heavier than the preying eagle. Authors on birds David Allen Sibley, Pete Dunne, and Clay Sutton described the behavioral difference between hunting eagles and other birds of prey thus (in this case the bald and golden eagles as compared to other North American raptors):
They have at least one singular characteristic. It has been observed that most birds of prey look back over their shoulders before striking prey (or shortly thereafter); predation is after all a two-edged sword. All hawks seem to have this habit, from the smallest kestrel to the largest Ferruginous – but not the Eagles.
Among the eagles are some of the largest birds of prey: only the condors and some of the Old World vultures are markedly larger. It is regularly debated which should be considered the largest species of eagle. They could be measured variously in total length, body mass, or wingspan. Different lifestyle needs among various eagles result in variable measurements from species to species. For example, many forest-dwelling eagles, including the very large harpy eagle, have relatively short wingspans, a feature necessary for being able to maneuver in quick, short bursts through densely forested habitats. Eagles in the genus Aquila, though found almost strictly in open country, are superlative soarers, and have relatively long wings for their size.
These lists of the top five eagles are based on weight, length, and wingspan, respectively. Unless otherwise noted by reference, the figures listed are the median reported for each measurement in the guide Raptors of the World in which only measurements that could be personally verified by the authors were listed
from Wikipedia
Not sure what I was doing with this shot. I liked the light and colours and saw potential for bokeh, but......must try harder!
A Merry Christmas holds all the colours of the visible spectrum and all those in the electromagnetic spectrum that are not visible to the human eye. Somewhere between the waves forms within the move through Dawn, Noon, Evening and Midnight we have heat and light set to bring us much both outside our potential to change and enough inside ourselves for to fuel the potent ways we weave about our worlds to find a smile and warm a heart, to share a moment and to greet and depart. Within the weave there is great chance for good and both determined and happenchance for bad. The strongest and weakest forces all around us continue whether we either make the bad, or create the good. The feeling self glows and empowers our souls towards the better places and we have the chance to give fates warm threads to leave as our traces in a vast cosmos seemingly uncaring we can find love for giving and sharing.
© PHH Sykes 2022
phhsykes@gmail.com
You put strike-anywhere matches in the little dish, and then you to actually strike the matches on the side of it. Neat, eh?
The marks from the match strikes become decorative.
Well been meaning to go to this local wood to see what it may be like for autumn and think it could be a good place to go to
This is the 1st time in ages that I`ve actually done any landscape photography
And this wood had loads of potential for the coming months when it`ll only get better as the seasons change
This is one of my favourite images from my own efforts from 2018. I had not posted it before because I could not work out which was my favourite version. Like many photographers who see the potential for a strong image, I made a series of different exposures of the same scene. In the end, I went with this one because I liked the drips that were landing in the water in the foreground. I just felt that little detail put the scene in context - a very damp and misty December morning at Attenborough Nature Reserve.
SIne the I began photography I have liked the idea of a small camera with the quality of bigger cameras. I am not overly keen on the bulk and noise of SLR cameras yet do appreciate their versatility. I use mostly Olympus OM and a Pentax MX for SLR photograpy.
What I like best is a pocketable camera offering control and a good lens. In 1980 I heard of the Olympus XA cameras and was saving up for one then lost my after school job and had to wait some years before buying an XA.
The Minox EL has needed attention to give it a working shutter and reliable metering, when working well it's lens produces immages full of detail and feel.
Yoshihisa Maitani did not like the complexity and potential for unreliability pop out lenses give, both the XA and Pen D have fixed lenses and are spot on for reliability. Of the two I prefer the Pen D it is designed like the Rollei 35 to be operated first from the view of the top plate, the exposure and focus are set this way on both then its up to the eye and the phograph is made.
Heinz Waaske used innavative design with quality engineering for the Rollei 35. Like the Pen D the Rollei 35 feels good with a satisfying mechanical feel in use.
The aperture priority automatic cameras here offer convinience of setting exposure and in most circumstances are accurate. The XA's rangefinder patch is small and I use it as a distance estimation camera most of the time like the other three. Maitiani thoughtfully designed the distance scale window to be viewed from the top and it works well like this.
I recently saw a joke online about how when fathers go out to get coffee for the family on vacation it's like the modern day equivalent of our ancient ancestors going out to hunt and provide for the family. Definitely made me think, since I basically do that every weekend. Might be some type of primal instinct inside me that propels me to go out and pick up a dozen bagels on a Saturday morning.
This photo is a sister photo to the one I shared last week, "Coffee Run." I made that one when we went to grab coffee and pastries for breakfast, and I made this one when I went out with my daughter to grab pizza and beer for dinner. Both were shot on the same day and both were of trees that I had spotted earlier and identified as potential subjects earlier in the vacation weekend. We drove by this one a couple times per day and it was super vibrant. When we were leaving to go get the food I suspected the light and conditions would be right, so I packed my camera and tripod. Stopped for two minutes en route to make a few frames and the rest was history.
(After writing this, I subsequently found the joke online and I saw it on instagram as a repost from @thedad of a joke by @winomommas).
Stranger #118’s portrait was a pane….literally (spelling correct).
I was at the Cleveland Museum of Art walking through a glass encased corridor from one section of the building to another. Looking out the window, I saw Stranger #118 across a small courtyard and herself inside of a glass encased gallery of sculptures. It was her hat that initially grabbed my attention, but through the multiple glass barriers I thought she looked like a potentially compelling subject. The first challenge was to find her. I had to make my way through a maze of an ancient Asian gallery before I finally found the entrance to the secret sculpture gallery.
Along with my potential model, there was one other woman in the room (who I thought might be with her although I was not certain) and a museum worker. The museum worker concerned me as there was no discreet way to approach a stranger in this relatively small echo chamber. I feared he might take issue with turning the gallery into an impromptu portrait studio, so I decided to bide my time and hope that the worker exited the room before my stranger. It was my lucky day. About two minutes later he casually strolled out leaving me alone with the ladies.
I wasted no time and made my approach. My inclination was correct…the two ladies were together. The other woman was my stranger’s mother. This made for a little bit of a new (and slightly awkward) situation for me, but it turned out that I think the mother was more intrigued by my project than my model. Her name was Maya, and although I had eyed her up through the refraction of several layers of glass, now that I was face to face with her I could see that as a stranger model she was all that I could have hoped for. Everyone was on board for the portrait and we still had this unique room to ourselves, so we got straight to work.
There was a slight temptation to incorporate the sculptures into the portrait (they were ancient Indian works). If I had time to think about a composition I am sure I could have dreamed up something cool and unique, but working on the fly I was concerned that a sculpture might appear to be a forced and out-of-place prop. So instead, I decided to simply incorporate all of the glass walls that were already integral to this encounter. We went to the corner of the gallery, and I positioned Maya so that not only was she backed by the glass walls of our gallery, but also behind that was the glass corridor from which I had initially spied her. I thought the vertical lines from the seams between the myriad of glass panels would make for a decent backdrop. What I did not anticipate was the fantastic turquoise color. It did not appear particularly blue when we were standing there. I did do some minor tweaking of the cyan levels in pp, but clearly my camera sensor was picking up color through all of that refracted glass that we could not see with our eyes. What a pleasant surprise.
Check out the rest of the stranger street portraits in my project at Paco's 100 Strangers Project and find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page.
many times we look at dead dandelions as just that, dead weeds. But in all reality, it only takes on little wind to come by and release the seeds. Soon they will sprout and start growing again.
In life you must choose a path before the lights of opportunity burn out...
So happy I can finally upload this (I shot it last week). I think for future reference all of my 52 week project stuff will be from the week before.
Model is actor Ryan S Scott
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Any Great Central railway gala, i always look at the best pace for these types of passing shots. Both locos facing the right way. In reality they were around 45 seconds from passing each other at this location. With the wonders of Photoshop, I have made it happen. Standard 5 No. 73156 and 9F No. 92214 at the A6 roadbridge in Loughborough.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not in Lettice’s flat. Instead, we have followed Lettice south-west, through the neighbouring borough of Belgravia to the smart London suburb of Pimlico and its rows of cream and white painted Regency terraces. There, in a smart red brick Edwardian set of three storey flats on Rochester Row, is the residence of Lettice’s client, recently arrived American film actress Wanetta Ward.
Now that the flat is completely redecorated under Lettice’s deft hands, Miss Ward has vacated her suite at the Metropole Hotel* and has been living at her Pimlico address for a few weeks now. As a thank you to Lettice, the American has invited her to afternoon tea. And so, we find ourselves in the beautifully appointed, spacious drawing room.
“Now, darling girl!” Miss Ward says as she sweeps into the drawing room through the green baize door that leads from the service area of the flat. “You must try my own brew of coffee!” She enthusiastically hoists a beautiful china coffee pot decorated with cherry blossoms in the air. “I promise you that you’ll never go back to that sludge you British call coffee after you’ve had this.”
Lettice smells the rich aroma from the pot’s spout as Miss Ward places it with an appropriately theatrical swoop, enhanced by the brightly coloured Spanish shawl draped over her bare shoulders, onto the silver tray on the cherrywood table between the Queen Anne style settee and the matching pair of Chinese armchairs. “It smells divine, Miss Ward.”
“Darling!” Miss Ward enthuses. “Divine isn’t the word for this!”
“I look forward to tasting it, then.” Lettice replies with a bemused smile. “And afternoon tea, Miss Ward?”
“I know! I know!” the American brandishes her hands in the air. “I admit I said it was a quaint observance, but it’s one that I’ve come to enjoy since living here in England. We might not have petit fours like they do at the Metropole, but trust me, Harriet has found the most wonderful little local bakery that makes an amazing selection of cookies. Try one!” She indicates to the plate piled generously with an assortment of brightly coloured and delicious looking biscuits.
“Harriet, Miss Ward?”
The American picks up a biscuit as she speaks and then pauses with it to her lips. “My new maid, Miss Chetwynd.”
Lettice considers the woman with a rather angular face in black silk moiré afternoon uniform and lace collar, cuffs, cap, apron and cap who answered the door. She didn’t strike her as having such a lovely name. She looked to be more of an Augusta or Bertha.
Miss Ward’s American voice interrupts Lettice’s contemplation. “Oh, I must thank you too, for the number of that domestics employment agency you gave me.”
“You can thank my mother, Miss Ward.” Lettice selects a small pink macaron and takes a ladylike bite from it before depositing the remainder on her plate. She feels the pastry and filling melt in her mouth. “She and I may not agree about a good many things, but Mater certainly knows the best agency In London for staff.”
“Well, Harriet is perfect!” Miss ward exclaims. “She fits in here so well, and she doesn’t throw a fit with all my comings and goings at all hours to and from the studio, taking telephone messages for me with the efficiency of a secretary, and she doesn’t even seem to mind the unannounced arrivals when friends come to pay call.”
“I do hope you told her about me coming today, Miss Ward.” Lettice remarks in alarm.
“Oh I did, Miss Chetwynd! It’s quite alright!” She stuffs the biscuit into her mouth, rubbing her fingers together to rid them of crumbs which tumble through the air and onto her lap where they disappear amidst the fuchsia coloured georgette of her dress. “Mind you,” she continues, speaking with her mouth full. “I don’t think Harriet likes it when I insist on making my own coffee.” She gulps loudly. “She doesn’t like it when I go onto the kitchen. She says it’s her domain.” She looks across at Lettice perched elegantly on the settee, dressed in a pretty pastel yellow frock that matches the trim of her straw hat. “I imagine your maid is the same.”
“I’m sure I haven’t asked Edith, Miss Ward.”
“Well, perhaps you should, Miss Chetwynd.”
“What a ridiculous notion!” Lettice laughs. “Of course she wouldn’t mind! It’s my flat. I can come and go where and when I please.”
“If you’ll pardon me, my dear girl,” Miss Ward picks up the coffee pot and pours the steaming, rich golden brown liquid first into Lettice’s cup and then her own. “But it’s a ridiculous notion that you don’t. If I may be so bold: it may be your flat, but you’re a lady, and even I, the egalitarian American in the room, knows that masters and servants don’t mix. You probably vex the poor little mouse when you swan into her domain, rather than ring the servant’s bell. Not that she would tell you that of course! Your maid is much to meek to speak her mind, whereas Harriet tells me that god invented servants’ bells, so I don’t have to go into her kitchen.” She smiles cheekily. “Mind you, I draw the line at her making coffee for me or my guests.” She indicates to the milk jug and sugar bowl. “Now, there is cream in the jug and sugar in the bowl Miss Chetwynd. Do help yourself.” She picks up the jug and glugs a dollop of cream into her coffee before scooping up two large heaped teaspoons of sugar.
After Lettice has added a small amount of cream and a flat teaspoon of sugar to her own coffee, she looks around the drawing room observantly whilst she stirs her cup’s contents. To her delight, and no little amount of surprise, the room remains as she designed it. She was quite sure that Wanetta would rearrange her well thought out designs as soon as she moved in, yet against her predictions the furniture remains where she had them placed, the gold and yellow Murano glass comport still standing in the centre of the mantelpiece, the yellow celadon vase with gold bamboo in place on the console table. Even the small white vase, the only piece left over from the former occupier’s décor, remains next to the comport on the mantle. The American was ready to throw it into the dustbin at every opportunity, yet it happily nestles between the comport and a large white china vase of vibrant yellow roses and lilies. It is as she notices the celadon vase that she sees the painting of Wanetta, which only arrived at the flat when its sitter did.
“So that’s the famous yellow portrait, Miss Ward,” Lettice remarks, admiring the likeness of the dark haired American, draped in a golden yellow oriental shawl, sitting languidly in a chair.
“Oh yes!” gasps Miss Ward as she turns around in her armchair to look at the painting hanging to the right of the fireplace, above a black console table. “You haven’t seen it, have you? Do you like it?”
“Yes I do,” acknowledges Lettice. “It’s a remarkable likeness, and the artist has captured the light in your eyes so well.”
“Thank you, darling girl! I think it’s beautiful.”
“So is your coffee!” Lettice remarks. “It’s quite delicious, and not at all what Bramley makes for me at Glynes**.”
“I told you, you British drink sludge.” She takes an appreciative, if overly large, gulp of her own coffee. “Now this, is real coffee.”
“So, have you christened your cocktail cabinet, yet?”
“Yes I have. I threw a cocktail party for the actors, actresses, director and crew when we wrapped up ‘After the Ball is Over’. It was quite the occasion!”
“Oh I could well imagine, Miss Ward.”
“Of course,” the American quickly adds. “I’m sure it wasn’t anywhere near as extravagant as your cocktail party that you threw for Mr. and Mrs. Channon.”
“You heard about that then, Miss Ward?”
“Heard about it? My darling girl,” Her eyes widen and sparkle with excitement. “I immersed myself in the article published by the Tattler, drinking in every little detail of your fabulous soiree. You looked stunning, darling!”
Lettice blushes and shuffles awkwardly in her seat on the settee at the brazen compliment. “Thank you, Miss Ward.”
“So did Mrs. Channon, of course! And wasn’t Lady Diana Cooper’s*** robe de style**** to die for?”
“Err, yes… quite, Miss Ward.” Lettice replies awkwardly. Anxious to change the subject and move away from her own private life, and thereby avoid the American’s potential attempts to try and gather some gossip to share with her fellow actors and actresses at Islington Studios*****, Lettice asks. “And what’s the next moving picture you will be making, Miss Ward? Another villainess role in a historical romance?”
“Oh, the studio is shutting for Christmas, so I’m sailing on the Aquitania****** on Monday, back to the States to visit my parents. I haven’t seen them in an age, and, well, they aren’t getting any younger. Besides, Islington Studios are paying for the journey and are organising for me to promote ‘After the Ball is Over’ at a few functions whilst I’m back home.”
“That will be lovely for you, Miss Ward.”
“Oh don’t worry, I’ll be back in the new year, when we start filming ‘Skating and Sinning’.”
“’Skating and Sinning’, Miss Ward?”
“Yes!” the American gushes as she picks up the coffee pot which she proffers to Lettice, who declines, and then proceeds to fill her own cup. “It’s the first picture planned for 1922. Another historical drama, set in London in the Seventeenth Century, when the Thames froze over.”
“Yes, 1607 I believe.”
“You’re a font of knowledge, Miss Chetwynd!” Miss Ward exclaims, clapping her ring decorated hands in delight. “You never cease to amaze me! A first-class interior designer and a historian!”
“Knowing trivial historical facts is just part and parcel of an education in a family as old as mine, Miss Ward.” Lettice deflects, taking another sip of her coffee. “And the sinning?”
“The sinning, Miss Chetwynd?” the American woman queries.
“Well, I assume the frozen Thames explains the skating part of the film’s title, Miss Ward.”
“Oh, the sinning!” Miss Ward settles back in her armchair with a knowing smile, placing her coffee cup on the black japanned table between the two Chinese chairs. “Well, that’s me, darling!” She raises both her arms dramatically, the Spanish shawl gathering about her shoulders as she does. “I will be playing a merry young, recently widowed, Duchess, with her eyes on our heroine’s young betrothed!”
“And do you succeed, Miss Ward?”
“Ah-ah! That,” She wags her finger playfully at Lettice. “Would be telling, darling girl. I can’t go giving away the ending, or you won’t come see the film.”
Lettice smiles at the actress. “Well, I’m glad that London has entranced you enough to return from the delights of America.”
“Well of course it has! And anyway, I have to come back to enjoy and show off my beautiful new home!”
Lettice blushes at the compliment.
“I’ll have you know Miss Chetwynd, that at my cocktail party, I had so many compliments about this beautiful room, the furnishings and the décor. You’ll be hearing from directors and future starlets in the new year, I’ll guarantee!”
“I shall have to see whether I can accommodate them, Miss Ward.” Lettice replies. “As you know, I will be decorating some of the principal rooms of Mr. and Mrs. Channon’s country house in the new year, and I have a few other potential commissions currently under negotiation.”
“Oh, I’m sure you’ll be able to squeeze them in, darling! When the moving pictures come knocking, you just won’t be able to say no.”
“Well…” Lettice begins, imagining her mother’s face drained of colour, and her father’s flushed with anger, if she takes on another commission from a moving picture actress.
“Oh, and thinking of my flat. The other reason why I asked you here.” Miss Ward interrupts, standing up and walking over to the console table beneath her portrait, where some papers sit beneath the base of one of the Murano glass bottles. She fumbles through them and withdraws a small slip of paper. Walking over to Lettice she hands it to her. “A cheque to settle my bill before I set sail for home, darling girl.”
“Thank you, Miss Ward.” Lettice replies, opening her lemon yellow handbag sitting between her and her black and yellow straw hat on the settee and depositing the cheque safely inside. “I appreciate your prompt payment.”
“It’s my pleasure, Miss Chetwynd.” the American replies. “And thank you again for all that you have done.” Her glittering eyes flit about the room. “I just love being here! It’s so perfect! It’s so, so me! A mixture of the old, and the new, the oriental and the European, all of which I love.”
“I’m so pleased you approve, Miss Ward. It is your home, after all.”
“I even have to concede that you were right about having touches of white in here. It adds a touch of class. And that wonderful wallpaper you suggested,” She indicates to the walls. “Well, it is the pièce de résistance of this room’s décor!” Stepping over to the fireplace, she picks up the small white vase. “This puzzles me though.” Her face crumples. “Why were you so anxious that I keep this vase?”
“Well, “ Lettice explains. “Call me sentimental, but I felt that it is part of your home’s story and coming from an old family home surrounded by history, I thought it would be a shame to see it just tossed away. I hope you don’t disagree.”
Miss Ward considers the small Parian vase in her manicured hands for a moment before replacing it. “Not at all, you sentimental girl you!”
The pair smile at one another, happily.
*Now known as the Corinthia Hotel, the Metropole Hotel is located at the corner of Northumberland Avenue and Whitehall Place in central London on a triangular site between the Thames Embankment and Trafalgar Square. Built in 1883 it functioned as an hotel between 1885 until World War I when, located so close to the Palace of Westminster and Whitehall, it was requisitioned by the government. It reopened after the war with a luxurious new interior and continued to operate until 1936 when the government requisitioned it again whilst they redeveloped buildings at Whitehall Gardens. They kept using it in the lead up to the Second World War. After the war it continued to be used by government departments until 2004. In 2007 it reopened as the luxurious Corinthia Hotel.
**Glynes is the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie.
***Born Lady Diana Manners, Diana Olivia Winifred Maud Cooper, Viscountess Norwich was an English aristocrat who was a famously glamorous social figure in London and Paris. As a young woman, she moved in a celebrated group of intellectuals known as the Coterie, most of whom were killed in the First World War. She married Duff Cooper in 1919. In her prime, she had the widespread reputation as the most beautiful young woman in England, and appeared in countless profiles, photographs and articles in newspapers and magazines. She was a film actress in the early 1920s and both she and her husband were very good friends with Edward VIII and were guests of his on a 1936 yacht cruise of the Adriatic which famously caused his affair with Wallis Simpson to become public knowledge.
****The ‘robe de style’ was introduced by French couturier Jeanne Lanvin around 1915. It consisted of a basque bodice with a broad neckline and an oval bouffant skirt supported by built in wire hoops. Reminiscent of the Spanish infanta-style dresses of the Seventeenth Century and the panniered robe à la française of the Eighteenth Century they were made of fabric in a solid colour, particularly a deep shade of robin’s egg blue which became known as Lanvin blue, and were ornamented with concentrated bursts of embroidery, ribbons or ornamental silk flowers.
*****Islington Studios, often known as Gainsborough Studios, were a British film studio located on the south bank of the Regent's Canal, in Poole Street, Hoxton in Shoreditch, London which began operation in 1919. By 1920 they had a two stage studio. It is here that Alfred Hitchcock made his entrée into films.
******The RMS Aquitania was a British ocean liner of the Cunard Line in service from 1914 to 1950. She was designed by Leonard Peskett and built by John Brown and Company in Clydebank, Scotland. She was launched on the 21st of April 1913 and sailed on her maiden voyage from Liverpool to New York on the 30th of May 1914. Like her sister ships the ill fated Lusitania and the renown Mauritania, she was beautifully appointed and was a luxurious way for first and second-class passengers to travel across the Atlantic between Britain and America.
This upper-class 1920s Art Deco drawing room scene may be different to how it may appear, for the whole scene is made up entirely with pieces from my 1:12 miniatures collection, including pieces I have had since I was a teenager and others that I have collected on my travels around the world.
Fun things to look for in this tableau include:
The cherry blossom patterned tea set, which if you look closely at the blossoms, you will see they have gilt centres, I acquired from an online stockist on E-Bay. It stands on a silver tray that is part of tea set that comes from Smallskale Miniatures in England. To see the whole set, please click on this link: www.flickr.com/photos/40262251@N03/51111056404/in/photost.... The wonderful selection of biscuits on offer were made by Beautifully Handmade Miniatures in Kettering.
The wooden Chinese dragon chairs and their matching low table ,that serves as Wanetta’s tea table, I found in a little shop in Singapore whilst I was holiday there. They are beautifully carved from cherrywood.
The Queen Anne settee made by the high-end miniature furniture maker, JBM with great attention to detail.
The black japanned cocktail cabinet with its gilded handles was made by the high-end miniature furniture maker, Bespaq.
All the glass comport on the mantlepiece has been blown and decorated and tinted by hand by Beautifully Handmade Miniatures in Kettering. The white and gold Georgian Revival clock next to it is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England. The ginger jar to the right of the clock is hand painted. It is an item that I bought from a high street doll house stockist when I was a teenager.
The yellow celadon vase with gold bamboo painted on it, I bought as part of a job lot of small oriental vases from an auction many years ago. The soapstone lidded jar in the foreground came from the same auction house, but from a different job lot of oriental miniature pieces.
Lettice’s black straw hat with yellow trimming and a yellow rose, which sits on the settee is made by Mrs. Denton of Muffin Lodge. It is an artisan miniature made just like a real hat! 1:12 size miniature hats made to such exacting standards of quality and realism are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. Lettice’s lemon yellow purse is also an artisan piece and is made of kid leather which is so soft. It is trimmed with very fine braid and the purse has a clasp made from a piece of earring. It come from Doreen Jeffries’ Small Wonders Miniatures in the United Kingdom. Lettice’s furled Art Deco umbrella is also a 1:12 artisan piece made of silk, acquired through an online stockist on E-Bay.
The vases of flowers on the mantle piece and side table are beautifully made by hand by the Doll House Emporium.
The stylised Art Deco fire screen is made using thinly laser cut wood, made by Pat’s Miniatures in England.
The black Bakelite and silver telephone is a 1:12 miniature of a model introduced around 1919. It is two centimetres wide and two centimetres high. The receiver can be removed from the cradle, and the curling chord does stretch out.
Wanetta’s paintings, including the yellow portrait, were made in America by Amber’s Miniatures.
The miniature Oriental rug on the floor was made by hand by Mackay and Gerrish in Sydney
The Georgian style fireplace I have had since I was a teenager and is made from moulded plaster.
The striking wallpaper is an art deco design that was very popular during the 1920s.
i have a studio in my home, and lately, it makes me feel very cooped up. walking around san diego, i happened upon this building with studio space for rent. it seemed like it was calling to me with its charley harper esque front door mural, so i made an appointment to go check out the interior later today.
hoping for the best!
do any of you have studio spaces in or out of your home? i'm finding that at home, sometimes i'm not able to focus or stay motivated & it has become quite frustrating. also, i love the idea of having a space where i do work not related to my shop or business. like, it could be my painting studio only. not my design studio - and definitely not my EMAIL studio. good god.
on a side note, if any creatives in san diego would like to potentially share a studio, please email me at susie[at!]boygirlparty.com -- not sure if the offices here are big enough to share, but i like the idea of sharing.
Maybe, it’s a time for brief reveal.
It started with potential Boondoggle comics. Then a Enøshima one shot.
It is confirmed. My personal series will debut somewhere in Q1 2019.
A Matchstick series is coming along the way.
Maybe even more.
A car casually stopped at the open section between the two tunnels on the road from Furnas to Ribeira Quente, to check out the waterfall that can be seen from this spot, Cascata da Ribeira Quente. Despite being just 8km from Furnas, this small civil parish was only served by dirt roads, horses or cattle carts until 1935! The construction of the two tunnels seen here, referred to locally as the Tuneis de Liberidade, between 1935 and 1939, marked the end of the community’s isolation. This short drive is wonderful and although one has to go back the way they came from, since the road stops at Ribeira Quente, it is definitely worth it.
Planets around other stars need to be prepared for extreme weather conditions, according to a new study from NASA’s Chandra X-ray Observatory and ESA’s (European Space Agency’s) XMM-Newton that examined the effects of X-rays on potential planets around the most common type of stars.
Astronomers found that only a planet with greenhouse gases in its atmosphere like Earth and at a relatively large distance away from the star they studied would have a chance to support life as we know it around a nearby star.
Wolf 359 is a red dwarf with a mass about a tenth that of the Sun. Red dwarf stars are the most common stars in the universe and live for billions of years, providing ample time for life to develop. At a distance of only 7.8 light-years away, Wolf 359 is also one of the closest stars to the solar system.
This artist’s illustration represents the results from a new study that examines the effects of X-ray and other high-energy radiation unleashed on potential exoplanets from Wolf 359, a nearby red dwarf star. Researchers used Chandra and XMM-Newton to study the impact of steady X-ray and energetic ultraviolet radiation from Wolf 359 on the atmospheres of planets that might be orbiting the star. They found that only a planet with greenhouse gases like carbon dioxide in its atmosphere and at a relatively large distance away from Wolf 359 would have a chance to support life as we know it.
Credit: X-ray: NASA/CXC/SAO/S.Wolk, et al.; Illustration: NASA/CXC/SAO/M.Weiss; Image processing: NASA/CXC/SAO/N. Wolk
#NASAMarshall #NASA #astrophysics #NASAChandra #NASA #ESA #XMM-Newton #exoplanet #star
How I wish you could see the potential,
the potential of you and me.
It's like a book elegantly bound but,
in a language that you can't read.
Just yet.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
There are days when outside your window
I see my reflection as I slowly pass,
and I long for this mirrored perspective
when we'll be lovers, lovers at last.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
I will possess your heart.
I will possess your heart.
You reject my... advances... and desperate pleas...
I won't let you... let me down... so easily.
So easily.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
You gotta spend some time, Love.
You gotta spend some time with me.
And I know that you'll find, love
I will possess your heart.
I will possess your heart.
I will possess your heart.
* I Will Possess Your Heart * ~ Death Cab For Cutie
Warszawa, Poland
Commercial profile for a local business. Often, I am asked to photograph businesses in the same style that I work the street so that a portfolio of images can be built to showcase a business by showcasing the human element and connect their business to potential clients.
Links to all of my work. Instagram. Website. Behance. linktr.ee/ewitsoe