View allAll Photos Tagged Problematic
As one would surmise, a "Marsh Zombie" is a reanimated corpse that has been decaying in a marsh or swamp. These zombies are given their own designation because of the particular impact of wetlands warfare.
Marshes, swamps and bogs present unique logistical problems to fantasy military forces as well as unique creature encounters. This creates a challenge to morale for troops having to enter these areas.
And nothing can destroy an already weakened morale more quickly or decisively than Marsh Zombies.
Though no different in attributes from other zombies, the particulars of the state of decay associated with the corpse decomposing in stagnant, tepid water produce a truly horrifying experience of sight, sound, and smell.
For this reason, evil forces will often cart bodies and dump them in marshlands of strategic value so that their necromancers can follow up with their vile reanimation processes.
As an added note, an evil baron or lord will sometimes use this same process with the moat around their castle, though this has consistently proved problematic to the living troops quartered there.
For the forces of good, only experienced troops of priests and paladins can both clear an infected marshland of the zombies and purge it of the evil.
👾 Happy 🏰 Heroclix 🏯 Friday! 🐉
__________________________
A year of the shows and performers of the Bijou Planks Theater.
Crail... is a former royal burgh, parish and community council area (Royal Burgh of Crail and District) in the East Neuk of Fife, Scotland. The civil parish has a population of 1,812 (in 2011). The name Crail was recorded in 1148 as Cherel and in 1153 as Karel. The first element is the Pictish *cair (c.f. Welsh caer) meaning "fort", though this word seems to have been borrowed into Gaelic. The second element may be either Gaelic ail, "rocks", or more problematically Pictish *al; no certain instance of this word exists in P-Celtic. However, if the generic element were Pictish, then this is likely of the specific. Quoted from Wikipedia
I don't want to go the usual way."
Etta likes to mix it up on our walks, so at intersections she will sometimes "ask" to take a different track. She seems to be doing this more & more ... getting bored with our usual?
Daily Dog Challenge: I don't want to
Although this happens often enough, getting a photo of her expression was more problematic 😁
Our Isabel (Orange tabby) died back in February at 17 years of age. This is the "coffin" containing her remains. What I have the most difficulty with is that Isabel was the last of a group of seven felines we had living with us for much of the past 15+ years, and with her death, a door has finally closed. I realized ten years ago that we had a group that was all aging at about the same pace, and their deaths would likely all happen in a fairly small window of time, and Isabel outlived them all by 2+ years. It makes me immensely sad that all seven of them are now gone.
One thing she absolutely hated was being brushed, and that became problematic as she got older, as she refused to groom herself properly (no doubt severe arthritis made that difficult for her). Occasionally - if she was in the right mood - she'd let me brush her for a couple minutes as long as I started with her face and gradually worked down. (Her flanks were thick with old hair that needed removal) If I had a successful grooming episode, I would gather the fur and roll it into a ball and put it into an old cigar box I had stored in the darkroom, thinking I might use them as props for a photograph someone day. Well, this is that day.
Photographed on Kodak Tri-X film with my Rolleiflex 2.8E, film developed in Xtol.
PS: About 18 months back we discovered that someone made "grooming gloves" for pets - full sized gloves you can wear that have rubber "tines" on the palms that you can brush an unwilling pet with. I was skeptical, but she actually tolerated the gloves and in fact, came to love being brushed with them. Many of the fur balls in the photo came about because of the grooming gloves.
Crail... is a former royal burgh, parish and community council area (Royal Burgh of Crail and District) in the East Neuk of Fife, Scotland. The civil parish has a population of 1,812 (in 2011). The name Crail was recorded in 1148 as Cherel and in 1153 as Karel. The first element is the Pictish *cair (c.f. Welsh caer) meaning "fort", though this word seems to have been borrowed into Gaelic. The second element may be either Gaelic ail, "rocks", or more problematically Pictish *al; no certain instance of this word exists in P-Celtic. However, if the generic element were Pictish, then this is likely of the specific. Quoted from Wikipedia
For those who are from or who frequent the Skagit Valley, you most likely know where I took these. It has become a favorite spot of mine during my eagle trips to photograph at during the day. In fact, I actually spent my entire last day at this location. I'm sure many know where it is, but due to the disrespect and problematic actions that took place here last year when a rare species was located here... I would rather not disclose where it is. It makes me sad to know that there are some photographers have such little respect for their subjects and only care about getting the shot... parts of their habitat were destroyed last year. Makes me sick :( STILL I absolutely love this place and for the first time ever I got more flight shots than I did stills... and I am so lucky to have gotten so many of these beautiful birds.
Don't eat this, obviously. Ironically the antidote for the toxin in this mushroom is the main toxin that is contained in Deadly Nightshade which seems rather problematic to me....(in other words do not consume Deadly Nightshade if you have consumed Deadly Fibrecap! Seek medical help!).
The Australian white ibis (Threskiornis molucca) is a wading bird of the ibis family, Threskiornithidae. It is widespread across much of Australia. It has a predominantly white plumage with a bare, black head, long downcurved bill and black legs. While its sister species is the African sacred ibis, the Australian white ibis is a native Australian bird - contrary to urban myth it is not a feral species introduced to Australia by people, and it does not come from Egypt.
Historically rare in urban areas, the Australian white ibis has established in urban areas right across Australia. Populations have disappeared from natural breeding areas such as the Macquarie Marshes in northern New South Wales. Management plans have been introduced to control problematic urban populations in Sydney.
Due to its increasing presence in the urban environment and its habit of rummaging in garbage, the species has acquired a variety of colloquial names such as "bin chicken", and in recent years has become an icon of Australia's popular culture, regarded with glee by some and passionate revulsion by others.
Press L to view large.
When you're having too much fun to go to sleep at 12:56am. Last week in Yosemite Valley at night.
Reflections are pretty easy to manage in daylight, but they get a bit more problematic at night. I used multiple exposures and Photomatix HDR software to pull this off.
I'll offer three photography workshops in Yosemite Valley in 2017:
Feb 23 - 26 - Yosemite Winter & Horsetail Fall
May 7 - 12 - Yosemite Spring Waterfalls, Dogwoods, Moonbows & Full Moon
Nov 1 - 5 - Yosemite Fall Colors & Full Moon Photography (4 days)
For more information and registration:
www.jeffsullivanphotography.com/blog/yosemite-national-pa...
Update: The Yosemite Conservancy selected this photo to share to their Facebook page... 2500 likes 450 shares adn counting! Just put your best Yosemite photo(s) in their group for the chance to have yours selected: www.flickr.com/groups/yosemiteconservancy/
Many requests have been received for example photos of asbestos ceiling tile and ceiling panels. Shown above is one example of an asbestos-containing suspended ceiling panel, one of many types, which are found in a seemingly countless array of surface patterns and textures. More examples of asbestos ceiling tile and panels will be offered for visual reference in some upcoming photos.
Ceiling tiles and panels are utilized to serve a variety of useful purposes, such as providing a level of fire-rated protection, absorb sound, conceal unsightly utility systems or cover over older building finishes, create air plenum spaces for HVAC operation, reduce total usable air volumes in occupied areas for HVAC efficiency, maintain a level of insulation value between building zones, and provide a simple decorative appearance.
This small section of non-descript ceiling panel with fractured edges is roughly about a quarter of a 2-ft. x 4-ft. panel that was formerly installed in a suspended ceiling grid or drop-ceiling system. A 1-inch cube has been placed for visual scale.
The panel section shows moisture staining on an otherwise smooth, white surface and also demonstrates a fairly common style of patterned perforations across its entire surface. The tiny pinholes and fissures provide an acoustic absorption value, one of the main purposes of practically all ceiling tiles and panels. Closer study of the panel's surface pattern reveals that there are two sizes of pinholes and that the fissures or crevices are oriented in a latitudinal direction.
Distinctions in a ceiling tile's appearance, however subtle, is an important factor when visually evaluating many tile materials with very similar visible charcteristics. Oftentimes, in the event that ceiling tiles and panels require replacement, building maintenance personnel attempt to match existing patterns as close as possible, which can be problematic to discern differences during an asbestos survey inspection.
Although not particularly evident about this rather ordinary-looking ceiling panel, especially from this view as most would see it suspended above their heads, it has been laboratory-tested and identified to contain approximately 5%-10% amosite asbestos.
To compound matters concerning ceiling tile and panels, as most who've dealt with this crumbly and messy material probably already know, the typical ceiling tile is indeed quite friable in its composition and is practically always considered a suspect material during an asbestos survey. The crumbly ceiling tile material can be very troublesome when contending with asbestos issues.
In the U.S., ceiling tile and ceiling panels are generally categorized by regulatory agencies as a "miscellaneous" material. When trying to deal with the removal of suspect ceiling tile/panels of unknown asbestos content, an accepted practice and conservative recommendation is to "assume" and treat the friable suspect ceiling tile material as asbestos until conclusive testing confirms either the presence or absence of asbestos via specialized laboratory microscopy methods (such as PLM), then treat accordingly.
Bulk samples of suspect asbestos materials should be collected by an experienced, trained, qualified, certified, and accredited inspector/surveyor for proper testing; proper removal and disposal of asbestos materials should be performed by trained, certified, and accredited/licensed asbestos abatement personnel.
The Mercedes-Benz 300SL was introduced in 1954 as a two-seat, closed sports car with distinctive gull-wing doors. Later it was offered as an open roadster. It was the fastest production car of its day.
Built by Daimler-Benz AG and internally numbered W198, the fuel-injected road version was based (somewhat loosely) on the company's highly successful competition-only sports car of 1952, the somewhat less powerful carbureted Mercedes-Benz 300SL (W194).
The road model was suggested by Max Hoffman. Being intended for customers in the booming post-war American market it was introduced at the 1954 New York Auto Show, unlike previous models introduced at either the Frankfurt or Geneva shows. In Mercedes-Benz fashion, the "300" referred to the engine's three litre cylinder displacement. The "SL" stood for "Sport Leicht" (Sport Light).
The 300SL was best known for both its distinctive gull wing doors and being the first-ever four-stroke car equipped with a Gasoline direct injection. The gull wing version was available from March 1955 to 1957. Production of the roadster ended in 1963 with the introduction of the 230SL.
New York Mercedes distributor Max Hoffman, Daimler-Benz's official importer in the USA, suggested to DBAG management in Stuttgart that a street version of the 300SL would be a commercial success, especially in America.
The racing W194 300SL was built around a tubular chassis to offset its relatively underpowered carbureted engine. Designed by DBAG's chief developing engineer, Rudolf Uhlenhaut, the metal skeleton saved weight while still providing a high level of strength. Its unique architecture gave birth to the model's distinctive gull wing doors, as part of the chassis passed through what would be the lower half of a standard door. Even with the upward opening doors, the 300SL had an unusually high sill, making entry and exit from the car's cockpit problematic. A steering wheel with a tilt-away column was added to improve driver access.
The 300SL's body was mainly steel, except for the aluminum hood, doors and trunk lid. It could also be ordered with an all-aluminium outer skin at tremendous added cost, saving 80 kg (176 lb).
More than 80% of the vehicle's total production of approximately 1400 units were sold in the US, making the Gull wing the first Mercedes-Benz which sold in bulk outside its home market and confirming the validity of Hoffman's suggestion. The 300SL is credited for changing the company's image in America from a manufacturer of solid, but staid, automobiles to that of a producer of sporty cars.
The 300SL's engine, canted at a fifty-degree angle to the left to allow for a lower hoodline, was the same 3.0 litre straight-6 as the regular four-door 300. Fitted with a Bosch mechanical Gasoline direct injection system it had almost double the power of the original 86 kW (115 hp) carbureted version.
While not the first fuel-injected car - Mercedes engineers who had developed the principle for the DB 601 fighter aircraft engine had used fuel injection in the tiny 2-stroke Gutbrod they had designed after the War - it was the first to inject fuel directly into the cylinders. This innovation allowed a top speed of up to 260 km/h (161 mph) depending on gear ratio and drag, making the 300SL the fastest production car of its time.
The engine's maintenance requirements were high. Unlike the current electrically-powered fuel injection systems, the mechanical fuel pump would continue to inject gasoline into the engine during the interval between shutting off the ignition and the engine's coming to a stop; this gasoline was of course not burned, and washed the oil from the cylinder walls and ended up diluting the engine's lubricating oil, particularly if the engine was not driven hard enough nor long enough to reach a temperature high enough to evaporate it out of the oil.
Exacerbating the problem were the large oil cooler as well as the large volume of oil (10 liters), both oriented more to racing than to street driving, which virtually guaranteed that the oil would not reach a high enough temperature. In practice, many street drivers would block off airflow through the oil cooler, and the recommended oil change interval was 1,000 miles (1,600 km). Operation of the clutch was initially very heavy, later roadsters having an improved clutch arm helper spring which reduced the pedal force. From March 1963 to the end of production, a light alloy crankcase was used on a total of 209 vehicles.[2]
Aerodynamics played an important role in the car's speed, Mercedes-Benz engineers even placing horizontal "eyebrows" over the wheel openings to reduce drag. Unlike many cars of the 1950s, the steering was relatively precise and the four-wheel independent suspension allowed for a reasonably comfortable ride and markedly better overall handling. However, the rear swing axle, jointed only at the differential, not at the wheels themselves, could be treacherous at high speeds or on imperfect roads due to extreme changes in camber.
In 1952, the original 300SL (model Mercedes-Benz W194) [3] scored overall wins at the 24 Hours of Le Mans, in Bern-Bremgarten, in the sportscar race of the Eifelrennen at the Nürburgring, and in Mexico's Carrera Panamericana. It also managed second and fourth places at its first outing, the Mille Miglia in 1952.
These successes, especially those on the high speed open road races, were rather surprising as the engine then was fitted only with carburetors, producing 175 hp (130 kW), which was not only less than the competing cars by Ferrari and Jaguar, but also less than the road car of 1954. Low weight and low aerodynamic drag made the 300SL fast enough to be competitive in endurance races.
Excerpt from www.thestar.com:
The Steam Canoe, a student entry from OCAD University, features a sort of smoke machine at the back.
The team pre-built the structure inside a factory on even ground, but reassembling it atop a sandy shoreline was a little problematic. “The wind and cold today has been an extra challenge,” Shahi said.
Expired film: The subject... well, we call him 'stripey dog' instead of `Hero' these days. He does what the dogs do, he eats what the dogs eat and he's a hooligan.
The poor little Voigtlander Vito B has only been used to finish part used and very expired rolls of film so far and it is giving a really good account of itself in that role. This was a roll of Kodak Gold ii that came out of the inside of a Ricoh YF20 with furry batteries etc. I can't establish the precise age of the film but likely early nineties. There were around 8 frames exposed, but these were blank after processing, the rest of the film though didn't do too badly. I exposed it for ISO50, working on the 1 stop per decade principle. Seems to have worked, although another two thirds of a stop wouldn't have gone amiss. The images needed a bit of coaxing in the scanner and post, to get the colours back somewhere close to normal and anything shot in lower light levels was more problematic. That's to be expected, expired films do seem to like plenty of strong sunlight. It's quite contrasty in most of the shots, but I might scan again and see if that can be changed a little.
The little Ricoh has been cleaned up, battery compartment restored and I gave it to a friend with a roll of Kentmere 100... process that in the next few days to see if that one works.
This is without a doubt the most famous scene from that show, and an iconic scene in TV/comedy history, we all know this. Some basic context: it’s from an episode called “Job Switching” (1952), wherein “Ricky and Fred get upset about the girls’ spending, and Lucy and Ethel go work in a candy factory while the boys do the housework.” So kind of problematic politics there, but it’s worth noting that the script was written by Jess Oppenheimer (the deceptively-named man who created the show)
The Lucille Ball Desi Arnaz Museum & Center for Comedy is a museum at 2 West 3rd Street, Jamestown, New York, dedicated to the lives and careers of Lucille Ball and Desi Arnaz. The museum officially opened in 1996 "to preserve and celebrate the legacy of Lucille Ball and Desi Arnaz and enrich the world through the healing powers of love and laughter". Lucille Ball was born in Jamestown on August 6, 1911.
Das historische Stadtzentrum von Stade bietet neben dem alten Stadthafen noch viele weitere vorbildlich sanierte Straßenzüge. Häufig stören jedoch parkende Autos, Baulücken und immer mehr Handysüchtige den historischen Eindruck... aber in dieser Seitenstraße war davon zum Glück gerade nichts vorhanden.
The historic city of Stade, Lower Saxony has many refurbished streets and places which arosed in the hanseatic era in the 17. century.
Problematic is, that often cars, construction gaps or more and more people with cellphones ruin the historical view... in this little street I had luck that nothing of that were there for a moment.
STAX Museum of American Soul Music
926 E. McLemore Ave.,
Memphis, TN 38106.
Phone: 901-946-2535
Founded in 1957 as Satellite Records, the name Stax Records was adopted in 1961. The label was a major factor in the creation of the Southern soul and Memphis soul music styles, also releasing gospel, funk, jazz, and blues recordings. While Stax is renowned for its output of African-American music, the label was founded by two white businesspeople, Jim Stewart and his sister Estelle Axton, and featured several popular ethnically-integrated bands, including the label's house band, Booker T. & the MG's.
Following the death of Stax's biggest star, Otis Redding, in 1967 and the severance of the label's distribution deal with Atlantic Records in 1968, Stax continued primarily under the supervision of a new co-owner, Al Bell. Over the next five years, Bell expanded the label's operations significantly, in order to compete with Stax's main rival, Motown Records in Detroit. During the mid-1970s, a number of factors, including a problematic distribution deal with CBS Records, caused the label to slide into insolvency, resulting in its forced closure in late 1975.
In 1977, Fantasy Records acquired the post-1968 Stax catalog, as well as selected pre-1968 recordings. Beginning in 1978, Stax (now owned by Fantasy) began signing new acts and issuing new material, as well as re-issuing previously recorded Stax material. However, by the early 1980's no new material was being issued on the label, and for the next two decades, Stax was strictly a re-issue label.
After Concord Records acquired Fantasy in 2004, the Stax label was reactivated, and is today used to issue both the 1968–1975 catalog material and new recordings by current R&B/soul performers. Atlantic Records continues to hold the rights to the vast majority of the 1959-1968 Stax material.
"Is there a pessimism of strength?
An intellectual inclination for what in existence is
hard, dreadful, evil, problematic, emerging from what is healthy, from overflowing well being,
from
living existence to the full?
Is there perhaps a way of suffering from the very fullness of life?
A tempting
courage of the keenest sight which demands what is terrible as the enemy, the worthy enemy,
against
which it can test its power, from which it wants to learn what “to fear” means?"
Friedrich Nietzsche
The Birth of Tragedy Out of the Spirit of Music
Folks wouldn't normally expect to find significantly damaged asbestos materials in their very own workplace, inside a return-air plenum just feet above their heads, hidden from view by a suspended ceiling system...or would they?
This particular pipe insulation material has four distinct layers: two layers that contain asbestos and two that don't. The thin black-felt inner liner and the outer grey paper underneath the canvas, contain asbestos. The brown, thick, perforated mid-layers and thin outer canvas are cellulose-based and do not contain asbestos.
This pipe insulation material was designed to insulate colder pipe systems to prevent sweating or condensation, such as on the pictured galvanized cold water pipe.
Similar pipe insulation material, with a thin asbestos felt liner, has also been known as: "Duplex". Sampling this type of pipe insulation has been known to be problematic for less experienced surveyors/inspectors, sometimes missing the thin asbestos felt layer below the dense bulk of the non-asbestos cellulose layers.
Keys View, Joshua Tree National Park, California
A Joshua Tree stands in a dusting of snow in a high area in the Joshua Tree National Park. This snow is good for Joshua Trees. In fact they don't bloom unless there's a winter freeze. This is going to be problematic as the average temperatures increase in the years to come.
Back in the day, before humans showed up on this continent, the giant Shasta ground sloth helped Joshua Tree disperse their seeds. We know this because the leaves, fruits, and seeds of the Joshua Tree have been found in ground sloth dung in caves. But the ground sloths were hunted to extinction during the great megafauna extinctions over 10,000 years ago. So the Joshua Tree is now handicapped when it comes to moving to more climatically acceptable areas. By the end of the 21st century researchers estimate that much of Joshua Tree National Park will not be suitable for Joshua Trees.
My prediction is that we humans will give the Joshua Tree a hand by establishing it in new areas, becoming very light handed gardeners.
66785 approaches Cockspin level crossing near Fordham, working 4L28 08.10 Doncaster iPort - Parkeston SS. [Pole, 5/6 sections (~6.8m)]
Having done the 37s on the NRIM train at Beggar's Bridge, I decided to head across to Thurston for the RHTT - although that wasn't due until about 3pm (I reckoned there would still be enough light, with sunset about 3.45pm today). I would, however, get there in time for 4M29 heading west (to Birch Coppice) at about 12.40, and with ex-DRS 66302 at the head. With plenty of time, I stopped for a coffee at Chatteris, and then realised this was on its way - and the sun angle would be perfect here, a spot I was pretty much driving right past. I did wonder, however, whether I might end up cutting it fine for the shot at Thurston (especially if 4M29 was early), but I'd done that one before and this was a new location... (In the event, 4M29 was a few minutes late, but I made it with a good 15 minutes to spare.)
The lineside hedge here was cut right down a few months ago, opening up opportunities for those with only ladders, but it also makes the shot easier for pole users as there are no problematic shadows.
Visit Brian Carter's Non-Transport Pics to see my photos of landscapes, buildings, bridges, sunsets, rainbows and more.
It didn't take long for me to reach the days objective and cross it off the list. I reached Chippewa Falls and headed right to Norma. The morning handoff of cars between Wisconsin Northern and Union Pacific was just wrapping up with the UP departing to head back to Altoona. I headed right across the river to set up for my shot. The air was still and holding at about -15 as I scrambled up to the bridge. Thankfully it wasn't a long wait and I could see the train as they made their way across the river and eased into the curve approaching the diamond.
LTS82 didn't have any cars from the WN this day, only 5 gondolas destined for the Alter Metal scrap yard at Eau Claire making the trip up in order to be spotted there on the way back. The empties provided imperceptible resistance yet the frigid air had the exhaust lingering above the train. The crossing with the CN is seen in the background.
In putting together a book about the Minneapolis Sub I knew I wanted to show this crossing yet through many visits I had never caught a train here. While CN makes more moves over the diamond in a week their schedule is pretty problematic. Road trains are at night, the local is also at night, heading out before dark in the longest days of summer, but heading away and always coming back in the dark. The UP local out of Altoona on the other hand is a much more reliable play, making a morning run up to Norma on weekdays (3 times a week I believe). Much of the year, this mid-day return happens in high sun but you can't go wrong in January.
I knew the crossing was a location worth showing but in writing the book I learned what a pivotal place this has been for Chippewa Valley railroading going back to the beginning. At different points in time, 7 different alignments have radiated out from this spot. I had summarized the history and put together a map showing what went where though the years, the only thing missing was a present day photo. I was pretty trilled to get it once my fingers thawed out. January 20, 2025.
Amtrak 20, the eastbound Crescent, is almost 40 min out of the station already as it finally picks up some real speed cruising along Lake Pontchartrain on the way out of the Big Easy. Standing on top of the levee between the Lake and the City the problematic elevation difference is readily apparent. 9/28/19
Crail... is a former royal burgh, parish and community council area (Royal Burgh of Crail and District) in the East Neuk of Fife, Scotland. The civil parish has a population of 1,812 (in 2011). The name Crail was recorded in 1148 as Cherel and in 1153 as Karel. The first element is the Pictish *cair (c.f. Welsh caer) meaning "fort", though this word seems to have been borrowed into Gaelic. The second element may be either Gaelic ail, "rocks", or more problematically Pictish *al; no certain instance of this word exists in P-Celtic. However, if the generic element were Pictish, then this is likely of the specific. Quoted from Wikipedia
The Investiture of king Narseh is carved into the rocks near the tomb of Darius I the Great. The king, the second large figure from the right, receives the cydaris ring from a female figure. A young prince is standing between them; to the left are imperial grandees.
Narseh, a younger son of the great Shapur I, had served as ruler of the eastern provinces (e.g., Sistan) during the reign of his nephew Bahram II, but had come to power by a coup d'état, deposing Bahram's son, Bahram III. That he was not a lawful ruler may explain that he does not receive the cydaris from Ahuramazda, but from a women: she may be Shapurdokhtak, the king's wife, through whom Narseh was entitled to the throne.
Alternatively, she may be Anahita, the goddess of the waters, families, and fertility, but the fact that king Narseh does not salute her as befits a worshipper in front of a deity, seems to contradict this interpretation of the ancient relief. On the other hand, it is often assumed that the cult of Anahita became popular during the reign of Narseh.
The identity of the little prince is less problematic: he must be the king's son Hormizd II, who succeeded his father.
Behind the king, we can see several important courtiers, making the gesture with the fist and index finger that expresses respect for the king. This gesture can be seen on countless Sasanian reliefs.
There is no triumph relief of Narseh, neither at Naqš-i Rustam nor at another place. This comes as no surprise, because the king was defeated in 297 by the Roman emperor Galerius and was even forced to give up parts of Armenia. It was a sign of the times: after the reign of Shapur I, the Sasanian empire was weak and divided, which can also be deduced by the rapid succession of kings.
Source: www.livius.org/na-nd/naqsh-i-rustam/naqsh-i-rustam_relief...
Pinus mugho.
It's natural place is at the upper forest limit around 2000 meters.
It grows well everywhere, but it's wood is not rigid, designed to be pressed on the soil by the meters of snow and so, to creep on the soil. The snow cover protect it then during the winter. But at low altitude, this doesn't work. It's soft wood becomes problematic as it becomes taller.
Differentiating Brown Argus and Common Blue from their undersides can be problematic.
The undersides differ in that the Brown Argus has almost vertical twin spots (figure of eight) on the top edge of the hindwing, and has no cell spot on the forewing.
Excerpt from Wikipedia:
The Horseshoe Reef Lighthouse is a dilapidated lighthouse in Lake Erie between New York State and Canada near Buffalo, New York and at the head of the Niagara River, which empties Lake Erie into Lake Ontario.
The United Kingdom ceded one acre of territory surrounding Horseshoe Reef, an underwater hazard, to the United States on December 9, 1850. As such, the lighthouse played a minor role in the territorial evolution of the United States. On March 3, 1851 the US Congress allocated funding to build a lighthouse there, a contingency agreed upon for the transfer of the land. Construction was problematic but first light was finally achieved on September 1, 1856 using a Fresnel lens.
Operation ceased on August 1, 1919 or in 1920 and the lighthouse has been so far simply left to the elements and most of the house has rotted away.
The lighthouse is on the "Doomsday List" of the Lighthouse Digest magazine.
At present, the remains of the lighthouse serve as a habitat for cormorants.
Excerpt from lighthousefriends.com:
The water intake’s primary purpose is to provide clean water to the city of Buffalo from a spot where Lake Erie flows into the Niagara River. Water is brought in through grates and collected in a central pool. From there, gravity takes it down a twelve-foot diameter tunnel that extends for 6,600 feet beneath the bottom of the lake to the Colonel Ward Pumping Station, located on Porter Avenue in Buffalo, where it is purified and distributed. The intake gathers up to 125 million gallons of water every day.
Buffalo’s intake crib or “roundhouse” is a much larger structure than the Horseshoe Reef Light it replaced, so it was a simple matter to affix an automatic beacon atop its tiled roof. The light has a characteristic of two white flashes at five-second intervals.
“Lovely picture. Nine boats!” he said happily.
“I’m sorry?” I replied.
"Nine boats!"
"What?"
"Nine boats. In the photo. There's Nine boats in the photo. Nine!”
He looked at me as if I should understand his excitement.
“No.” I said, “There are eleven boats in the photo. Not nine. Count again."
"Eleven boats?"
"Yes. Eleven boats."
"Not Nine?"
"No. Not nine."
He paused, and looked down to his left.
"It's a nice number though, isn't it, Nine,” he said brightly, “Special.”
"If you say so. Is that why you capitalise your nines, because they’re special?”
"Yes. They're special, Nines."
"I see. Why?"
"Well," he said, "take any number you like, say, 457251 for example, then reduce it to a single digit number by adding all of the numbers together; so, 4+5+7+2+5+1=24, and then 2+4=6. So 457251 reduces to 6."
"Yes, but what's that got to do with a nine?" I asked, somewhat bemused.
"Well," he answered, again with a distinct note of excitement in his voice, "did you spot that both the 4 and the 5, and the 7 and the 2 both add up to 9? And also, that those two Nines add up to 18 and that 1+8=9? So then it's just 9+5+1=15 and 1+5=6!!"
“Err, well, no, I didn't spot that, what's the point though?"
"The point is that when you're trying to reduce any number to a single digit using the addition method, you can just ignore any numbers that either are Nine or that add up to Nine. Just forget them and add up what's left. So for 457251 just add up the last two digits to get your answer."
"In fact," he continued, "you could add to that 457251 any combination of numbers that add up to Nine and it would still resolve to a six! Like, 922545725163 still adds up to six!"
He went on to add all the numbers up, to prove his point…
"Look - 9+2+2+5+4+5+7+2+5+1+6+3=51 and then 5+1=6! Or, if you just ignore that first Nine you get 2+2+5+4+5+7+2+5+1+6+3=42 and then 4+2 = 6. Or ignore the 22545 because that all adds up to Nine and you’re left with 9+7+2+5+1+6+3=33 and 3+3=6!”
He practically shouted “You can just ignore all of the Nines and the numbers that add up to Nine!"
I looked at him, unable to deny his logic, but equally unable to fathom why it was that anyone would want to reduce big numbers to a single digit number. So I asked, with just a little bewilderment, "Why would you want to do that - the reduction? What purpose does it serve?”
"Oh, well, to make decisions." he said.
"To make decisions?”
"Yes, you know when you can't decide what to do; one thing or the other.”
“You use it to make decisions?”
“Yes.”
“Meaningful decisions?
“Sometimes, yes.”
“But, how? How can a single digit number possibly influence a decision?”
“Well, obviously, if the result’s a good number then that’s a positive affirmation of your choice of action; you’ll likely get a positive result from your decision, and vice-versa.”
“But,” I paused briefly and rubbed my eyebrow, “but what governs whether a number is good, or bad? And how are they linked to a particular decision?”
“Oh, you just use any numbers that might be associated with your problematic choices, and the good numbers are one, three, seven and of course Nine. All the others are bad, except for eight, which can be good sometimes, especially if you add a one. And, of course if you add a two to a seven then you get a Nine, so that two’s good; likewise a four added to a five, they’re good too. A six with a three. It’s all quite simple really.”
“Simple.” I said quietly.
“Yes. Easy. But I don’t like your photo anymore” he said, shaking his head as he spoke, “It adds up to two.”
--
Don't ask.
Usual caveats etc.
Boats at Dell Quay, Chichester, West Sussex.
The Investiture of king Narseh (293-303) is carved into the rocks near the tomb of Darius I the Great. The king, the second large figure from the right, receives the cydaris ring from a female figure. A young prince is standing between them; to the left are imperial grandees.
Narseh, a younger son of the great Shapur I, had served as ruler of the eastern provinces (e.g., Sistan) during the reign of his nephew Bahram II, but had come to power by a coup d'état, deposing Bahram's son, Bahram III. That he was not a lawful ruler may explain that he does not receive the cydaris from Ahuramazda, but from a women: she may be Shapurdokhtak, the king's wife, through whom Narseh was entitled to the throne.
Alternatively, she may be Anahita, the goddess of the waters, families, and fertility, but the fact that king Narseh does not salute her as befits a worshipper in front of a deity, seems to contradict this interpretation of the ancient relief. On the other hand, it is often assumed that the cult of Anahita became popular during the reign of Narseh.
The identity of the little prince is less problematic: he must be the king's son Hormizd II, who succeeded his father.
Behind the king, we can see several important courtiers, making the gesture with the fist and index finger that expresses respect for the king. This gesture can be seen on countless Sasanian reliefs.
There is no triumph relief of Narseh, neither at Naqš-i Rustam nor at another place. This comes as no surprise, because the king was defeated in 297 by the Roman emperor Galerius and was even forced to give up parts of Armenia. It was a sign of the times: after the reign of Shapur I, the Sasanian empire was weak and divided, which can also be deduced by the rapid succession of kings.
Source: www.livius.org/na-nd/naqsh-i-rustam/naqsh-i-rustam_relief...
A Do-It-Yourself asbestos sampling kit designed for use by home occupants.
While there are several concerning issues about this test kit, the basic premise of having untrained laypersons disturbing suspect (or moreover, actual) asbestos materials in their own home seems most problematic.
The idea of the general public unwittingly contaminating themselves and their families by potentially digging into asbestos materials in their own homes seems flawed, at the very least.
Hello all, I hope to all my friends and Flickr contacts that spending time with family and loved ones this Christmas will still be enjoyable, even if its via Zoom. in these challenging times.
Work for me this year has been full on with a change of job role and additional responsibilities that this brings. This has made the photography and getting out even more problematic this year which is now quickly ending.
Although its a little before the 31st, I thought I'd take a look back on the year, and pick a selection of images that have not been shown before, for what ever reason that may be :) yet capture the last 12 months and the adventures I have been fortunate to share with my mate Mark.
Thank you one all, for the continued support you have show my adventures with the camera. Clockwise from the top left Jan - Dec 2020 Centre - Personal Favourite
The Venetian fortress of Koules dominates the entrance to the Venetian harbour of Heraklion, Crete. The Venetians called it the “Sea Fortress” (Rocca al Mare), but today it is known by its Turkish name, Koules.
The mid-15th century found Heraklion inadequately fortified and the harbour tower, the Byzantine Castellum Comunis, weak and useless for purposes of defence. In 1462 the Venetian Senate approved an ambitious programme of fortification of the city, which was to defend both Heraklion and the burgs (suburbs) outside it, according to the principles of the new bastion front system. As part of this project, the harbour tower was demolished in 1523 and replaced by the Koules fortress still standing today.
The natural rocky outcrop at this point of the harbour was banked up extensively to form the platform on which the fortress was to be built, covering an area of 3,600 m2. The work was carried out in a very interesting way: old ships were filled with stone from the island of Dia and sunk off the north side of the mole, forming a breakwater and increasing the space available.
The fortress is a two-storey building with 26 rooms. There were originally five casemates (special areas for cannon) on the ground floor. It soon became apparent, however, that the use of guns indoors was problematic, due to the limited field of vision through the narrow embrasures, and the choking smoke produced on firing. Thus the cannon were moved to open platforms on the upper storey and the casemates were abandoned.
The ground floor also housed a prison and various storage areas for food and munitions.
On the north side of the upper storey, which formed a spacious square, was the lighthouse tower. There were also quarters for the soldiers, the officers and the governor. The fortress also contained its own mill, oven and chapel, ensuring the autonomy of its garrison.
The fortress of Koules did not play a particularly important part during the Turkish siege of Chandax (1646-1669), as the Turkish batteries, strategically placed, were able to neutralise its firepower fairly early on and the Turks gained control of the harbour entrance.
It seems that I just can't leave this image alone! I decided that it needed something else in the sky - so I added the seagulls. It's somewhat problematic that the boy is facing a slightly different direction than he would be if her were actually looking at them, but hopefully it can be imagined that if there are seagulls there in the image there could be something else "implied" that the boy is looking at way in the distance to the left.
Revolutionary War Reenactment
Cantigny Park
Wheaton, Illinois 41.855441, -88.160089
November 15, 2008
This is a redux of this picture
www.flickr.com/photos/jimfrazier/3033899272
I've always liked the emotion of this picture. However my execution was....problematic. Since I'm in redux mode, I thought I'd give it a try, but nothing I did could make much of a difference. Then I tried monochrome and yay! I wish I could have kept even the muted colors, but it just didn't work. I also adjusted contrast, exposure, sharpening, and cropping.
COPYRIGHT 2008, 2021 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
frazier-jim-081115c-nef0791366x768
Posability is always problematic when building large characters which is one of the reasons I chose to do the throne.
Blackfriars rail and road crossing of the river Thames in London. The road bridge of 1869 is on the left (there was an earlier bridge of 1769 which became problematic and was dismantled being replaced by the current bridge opened by Queen Victoria). The pillars of the original Jason Cubitt designed rail bridge are clearly visible, opened in 1864 it survived until 1985. The second rail bridge beneath which I have taken this image, was opened in 1886, originally called St Paul's it later became Blackfriars along with the railway station atop of it.
Of the 5 remaining C430s in the world, the Western New York & Pennsylvania family of railroads owned 4 of them. #432 was built as New York Central #2054 in November of 1967, as a group of 10 units. The NYC had tested the C430 against EMD's GP40 and GE's U30B to see which locomotive would be best suited for their needs. While all 3 of the locomotives performed well, NYC would order just 10 C430, while eventually rostering over 100 GP40s and close to 60 U30Bs.
The C430 was the most powerful production 4 axle diesel electric unit in the world when it was first cataloged as part of Alcos Century series in the mid 1960s. Unfortunately for Alco, the company did not receive any orders for C430s until 1966, when EMD and GE were both releasing their own 3,000 HP B-B units. Technically, the C430 was the better locomotive, featuring an AC alternator and an advanced wheel slip control system. Its 16 cylinder 251E engine was more fuel efficient than EMD's 645 or GE's FDL. However, the units featured a complicated aftercooling system that would prove to be quite problematic, and most railroads complained about the rough ride afforded by Alco's new 2 axle high adhesion truck. EMD's GP40 and GE's U30B far outsold the C430, of which there were only 16 built when all was said and done. Though the aforementioned issues were eventually corrected, the writing was on the wall for Alco, who would exit the locomotive business completely by 1970.
WNYP and LA&L's 4 C430s, #430-433, were the last operating examples left (the 5th surviving unit, Green Bay & Western #315, is preserved at the National Railroad Museum in non-operable condition). With WNYP recently investing in newer power in the form of EMD GP15s and SD60s, the railroad has begun purging their Alco fleet. #430, #431, and #432 have all been recently sold to the Adirondack Scenic RR, who has even restored the #430 to is as-delivered NYC #2050 look.
During my visit to the WNYP, we caught #431 working the Farm job. #430 was inside the shop, and #432 was sitting here out back. While it wasn't running, I'm happy to say that we did have a good chase of the #431.
Geckos are ubiquitous throughout the Hawaiian Islands today, but that was not always the case. Though lizards can colonize islands by clinging to drifting trees and plant material, the Hawaiian archipelago’s extreme isolation in the middle of the Pacific Ocean likely prevented any terrestrial reptiles from reaching our shores. It was only after humans arrived in Hawaiʻi that reptiles and amphibians found passage aboard canoes, ships, and eventually planes. Thus began the waves of introduced geckos, skinks, frogs, and chameleons that came and spread throughout the Islands.
The first lizards stowed away with Polynesians in large oceangoing canoes. Mourning geckos, stump-toed geckos, tree geckos, Indo-Pacific geckos, snake-eyed skinks, moth skinks, copper-tailed skinks, and the now-extinct azure-tailed skinks were already established in Hawaiʻi when Captain Cook arrived.
Though it may be impossible to measure the impact these small lizards had, the arrival of voracious, insect-eaters in an ecosystem that evolved over millennia without lizards or amphibians would inevitably result in a decline in native insects. This is problematic for Hawaiʻi, which has tens of thousands of unique invertebrates—many of which exist nowhere else on Earth and have yet to be described by science.
The giant Madagascar day gecko was illegally introduced to the state. Any sightings of the large 12 inch long moʻo should be immediately reported to the Hawaii Department of Agriculture at 634-PEST (7378). Photo by MrTinDC, Flikr.
The giant Madagascar day gecko was illegally introduced to the state. Any sightings of the large 12 inch long moʻo should be immediately reported to the Hawaii Department of Agriculture at 643-PEST (7378). Photo by MrTinDC, Flikr.
The eight Polynesian-introduced geckos and skinks are still present in Hawaiʻi, but a few recent introductions have stolen the spotlight. Common house geckos only showed up in the last 60 years or so. They most likely hitchhiked to Hawaiʻi in the 1940s in cargo moved around the Pacific. Aggressive and territorial, they’ve outcompeted mourning geckos and others for the prized perch near the porch light
Jazz is 8 years old today. He’s looking a bit out of sorts in this photo because he just came in from being out in the rain. He’s doing well, all things considered. His back legs (one surgically repaired twice; one problematic) don’t cause him to limp anymore, but they’re not strong. Luckily, he doesn’t know that, and he gets around just fine. One of my favorite things I love about him is that when I’m in the living room, on the recliner on which he sat for this photo, he usually lies down against or on my feet, providing warmth and comfort. He’s a good boy.
*******************
copyright © Mim Eisenberg. All rights reserved.
See my photos on fluidr: www.fluidr.com/photos/mimbrava
I invite you to stroll through my Galleries: www.flickr.com/photos/mimbrava/galleries
The Human Family
Today we had breakfast out and a plan to visit a current art exhibition in Winchester. As we left Wetherspoons, I said hello, in passing, to another customer just finishing his breakfast at the next table. He looked at my walking poles and asked me if they help.
I assured him that they do help and explained I can walk further more comfortably now and he told me of his knee problem and the dilemma of what action to take, saying that his daughter works in the medical profession and can help him to decide.
A short discussion ensued between the three of us on hip/knee operations and the variable success rate of the latter which can be problematic.
I held out my poles to him and suggested he have a try, expecting a response of withdrawal and refusal. However he stood up, and took them, had a short walk along the carpet, thought they might be a good idea.
My iPhone was in my pocket so I asked for a portrait, introducing myself and explaining The Human Family group on Flickr. Meet Bernard, who readily agreed to my request.
I set the iPhone camera to 'portrait' mode and took a few shots. Bernard told me that, although now retired, his career had been as a lecturer in economics in a sixth -form college, and that he had also taught worldwide, including two years in China. As well as enjoying walking, he is a keen cyclist.
I showed Bernard the photos and, before we said our goodbyes, Ray took his email address for me to send some shots to him, also the link to his story here.
We continued to The Arc to visit 'Rising Splendour' an exhibition of the work of Fred Appleyard, an artist new to us, who lived the last part of his life in Hampshire.
www.arcwinchester.org.uk/event/rising-splendour-fred-appl...
This is my #140 submission to the Human Family Group. To view more street portraits and stories visit:
The day today is grey, but the garden is already colorful, with Tulips and blossoms!! ❤ Springtime!!! ❤
And Liza, as most of the Springs, is busy gardening hard!! Weeding is the major occupation, which I perform on my knees, turning the soil right afterwards, in each spot where I work. This action helps eliminate most of the weeds, even the tiniest ones, because it destroys the plant, drying it off at the same time…I should not water right afterwards, for better results…
Gardening is a major healing occupation for mind, and body, and spirit!! For the body, because movement is always beneficial for us, unless it is against a certain physical problem of ours…For the mind, because we are concentrated fully to the land and our job while working, something that takes us away from problematic areas of our lives during this creative occupation!! For our spirit, because we become one with the Existence and Creation of Life! And, I must say, its Rebirth now in Spring!! Therefore, we refill our beings with beneficial, uplifting, Earth Force Energy!! The Energy of Life itself! ❤❤!
❤️ youtu.be/MxvUcVKf3AY ❤️
This decoration is at the side of the choir of the church Saint-Nicolas in Beaumont-le-Roger. I noticed again today, that the church really has a problematic mass of pigeon residents. The place under the bell tower is full of pigeon droppings. The roof was half full of pigeons. I honestly don't know why they live there. In this region some towns with similar problems have decided to shoot the pigeons.
With its classically beautiful and majestic inflorescence, the arum is always an enchanting sight to behold.
It is however, highly toxic to humans and can cause serious illness and even death if ingested. All parts of the plant, especially the flower, are poisonous.
A native to South Africa and other regions close by, it has naturalized here in Australia and is now a significant environmental weed in WA and VIC, also problematic in NSW, SA and Tasmania.
Spathe 25 cm in height
© All rights reserved.
F-35 unintentional loop at takeoff on a carrier
This guy clearly has brass balls and you know the sailors on the flight deck had a cow when they saw this unfold in front of them.
Unintentional?
This is unbelievable!
F-35 unintentional (?) loop at takeoff a real "check your laundry" event. A supremely well-trained US Navy pilot, ice running in his veins instead
of blood, fully regains control of his $70 million, F-35 joint strike force fighter, after a problematic vertical take-off attempt... Watch as the rear vertical thruster fires to cause the problem.
There's nothing about this the pilot enjoys. If he could have ejected at 100' upside down and lived, he would have. Looks like the afterburner kicks in while still vectored for vertical takeoff. Lockheed would call this a "software malfunction" and do a little more "regressive testing". This is a good demonstration of power-to-weight ratio of this aircraft! And talk about stability control...
If he didn't come out of the loop wings-level, it probably would have been bad news; maybe taking some of the carrier with him!
Add to this flying through your own exhaust, which can lead to equipment malfunctions, as in "flame out". The F-35 is single engine aircraft with vertical takeoff/landing capability, but it has the aerodynamics of a Steinway piano at zero airspeed. This is themost unbelievable piece of flying you will ever see in your life.
This Guy deserves a Medal for saving a 70 Million Dollar Aircraft!
You'll watch it at least 2 times!
Excerpt from agb.life/visit/exhibitions/a-vessel-to-bend-water:
A Vessel to Bend Water
Drawing from digital archives and physical postcards, Leila Fatemi explores the connection between photographic representation and props, which often symbolize societal status. In A Vessel to Bend Water, she critically engages with the historical representation of women from the SWANA (South West Asia and North Africa) region in photography, particularly in Orientalist imagery, by focusing on the vessel—a recurring motif that reinforces colonial ideologies and constrains women’s roles.
The vessel is often used as a metaphor for confinement, while also suggestive of ideas related to domestic labour, nourishment, and gathering. Photographic depictions of vessels underscore broader issues of gendered representation and systemic marginalization and, in the histories of women from SWANA regions that were, in the nineteenth century, problematically depicted in opposition to the West and in relation to European powers as “the Orient”—highlight how women’s bodies were defined and controlled through the lens of colonial power. A Vessel to Bend Water demonstrates how imagery of women holding, hoisting, carrying, and leaning on water vessels was frequently used to undermine women’s agency, subjecting them to imposed identities and societal expectations.
The project spans various mediums, including collage, textiles, cyanotypes, lenticular prints, ceramics, and photolithography on clay, reinterpreting and disrupting conventional forms of photographic representation. These interventions challenge the objectification of women by questioning the power dynamics and limitations imposed on their bodies. Through images drawn from Fatemi’s personal collection and the Getty Institute’s Ken and Jenny Jacobson Orientalist Photography Collection, the work engages in a dialogue with historical visual artifacts, emphasizing the need to deconstruct and reinterpret oppressive narratives. Using collage techniques like redaction, tearing, and erasure, Fatemi disrupts the preciousness of these images, forcing viewers to reconsider their implications.
During a residency in the AGB clay studios from January to April 2025, Fatemi explored new methods of making and presenting her work for the exhibition. Working alongside the studio technicians and artist-educators, she further experimented with integrating printmaking techniques into her practice, merging photography with ceramics.
In addition to testing image manipulation, Fatemi began reimagining the idea of the vessel itself by pulling the form, as depicted in an archival image, and re-constructing it into a living object. Over the course of the exhibition, unfired clay vessels will slowly disintegrate under the weight of water, returning them to a raw state. Water vessels, once muted in photographers’ studios, now become active agents in their own story. By erasing the utility of the physical vessel, Fatemi underscores its futility in the original archives, breaking down what constitutes a photographic prop to erode the historical narrative.
5th January 2022
Camera: Rittreck Six SLR.
Lens: Rittron 80mm f/2.
Film: Ilford FP4 Plus ISO 125 120 black & white negative.
Exposure: 1/500 @ f/2.8. MLU.
Development: ID-11 1 + 4 20C/25 minutes.
Made at close range (approximately 0.9 metres) at f/2.8 to verify accurate focus after calibrating the back focus of the 80mm Rittron lens for this Rittreck Six SLR. As originally assembled by Musashino Kōki the lens was focusing rather beyond its optimum infinity setting. I had to hand make a suitable shim from a sheet of 0.25mm steel shim stock, to move the lens just far enough away from the body to prevent the lens focusing past its sharpest infinity focus.
Having dialled the lens in so that its sharpest infinity image actually coincided with the infinity stop: the next step (in the interests of being thorough, and ensuring that the unforgiving wide open depth of field of the 80mm Rittron f/2 lens would not be problematic at close range) was to open the lens up, focus as closely as possible, and then, inspect the resulting negative, to see if where I had set critical focus through the viewfinder, was, in fact, the sharpest part of what would otherwise be an unsharp image.
The exact focus point for this subject was the word "Electric" in "LINCOLN ELECTRIC CO. (AUST.) PTY. LTD."
Looks sharp. I think film plane and focusing screen are in harmony.
See this folder for more images of and by the repaired Rittreck Six:
www.flickr.com/photos/tasmania_film_photography/albums/72...
Copyright 2022 Tasmania Film Photography
ALL RIGHTS RESERVED
In Explore, February 9th, 2022
www.flickr.com/photos/tasmania_film_photography/518700059...