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Colour vibrancy and saturation is a contentious issue amongst photographers and it’s my observation that there are two distinct groups, projecting scorn from different sides of the fence. But why?
Photographer verses viewer
In flickr land over the last few years, I’ve observed that the desaturated images that I’ve posted, have been more successful with the, let’s call them, ‘advanced photographers’. The people that I have growing respect for their skills, vision, composition and generally their intelligent approach to photography. Coincidently the more vibrant images that I’ve posted, (many naturally so) have been dismissed by the very same group, as unreal, (even thought they are not, but I’ll get to that soon).
Now unusually in a direct countering to this view, the vibrant images I’ve posted have been very well received by the wider flickr community and comparatively received substantially more traffic. This disparity between in-depth respected attention, verses overwhelming faves and view counts is intriguing, as to how it affects my photographic development. It seems as though I have a choice as to whether I let myself be influenced by this observation and if a clear evaluation is formulated then how do I steer a course within these mixed messages. On one side, if the views and comment counts are to be valued, then the richer images are what I should be producing, as they get by far the biggest attention, but what of the desaturated images? I greatly appreciate the critical affirmation I receive from such skilled mentors and deeply respect the personal development that is catalysed. Hmm I want my cake and the ability to eat it. I want quality and quantity, the grass is always greener!! Any more clichéd analogies anyone? There then seems to be distinct camps, common / elite, commercial/ quality, in your face/ subtle, male/ female. Hmmm!
Now this difference in photographic tastes is only a problem, if, I want recognition from either group (which clearly I do), and again problematic, if, I let market forces dictate my future. Man my ego really wants this, but I’m not sure I should let it. Now not wishing to conclude this text too hastily, and definitely not too simplistic, but, in the end my personal vision has to be put firmly before these differing values, trends and fashions. I have to follow my own path; I have to decide my own direction. Let me focus this text, as usual it’s in danger of spiralling out of control, or should I say ‘word count’ if I let my disorganised mind float off. So let’s look at some reasons for the current trend to desaturate.
Trends
At the moment in popular culture there is a retro revival, (it occurs to me that this is cyclic and no real surprise to the older members amongst us. In fact one of my favourite quote of all time comes from Nick Cave, “every 10 years or so I become fashionable again”. what a genius (sorry for my sycophantic hero worshiping...) anyway at the moment there are many adverts on TV and in the press that attempt to offer us a retro feel and one way of subtly doing this, is to try to emulate old film stock, (ironically artificially for the realists amongst us). Anyway generally the way this is implemented, is a slight de-saturation and colour toning that gives it a different feel, paradoxically initiating deeper textural depth. Part of the reason for doing this is to create visuals that are out of the ordinary, that stand out against the rest. To say, hey look at me aren’t I different and creatively unique. Well not really for many reason that fall outside this text. Anyway as members of this contemporary culture the consumers of art, in whatever form, are then influenced sometimes subconsciously, into emulating other mediums. We do not live in a cultural bubble and I would argue that it’s near impossible to be unaffected by the power from other disciplines when producing your own work. Hence borrowing the de-saturation look from other artistic disciplines is inevitable, postmodernism springs to mind.
Simplification
Removing or desaturating colour from the image simplifies the viewing experience, enabling the viewer to streamline their thoughts and focus deeper attention on other elements such as composition, subject, texture and form. Ironically less is often more in this regard, as the ability of the photographer to influence the viewer is greater with fewer distracting elements. Simplification as a photographic tool is then a conscious distillation of key elements, seeking to edit the weaker distractions in the pursuit of viewing power. Ironically the colour image has greater potential for significant depth in texture and form, but at the expense of unambiguous visual communication.
Reality
Reality is a matter of perception. The myth that there is one common reality in my belief is born out of the scientific community influence upon the wider society reliance, on imperially centred evidenced based thinking. Sciences rejection of the slightest assumptions, only giving credence to factual law based evaluations, has influenced the wider communities thinking to reject ides outside its magnifying glass. This doesn’t mean that because we haven’t yet the tools to see and therefore measure, that infinite discoveries don’t exist outside our current enquiry.
I believe that the idea that reality is in some way is the same for everyone is an assumption further added to by our psychological need to be part of a likeminded community. Does it really matter if we see the very same world slightly differently? Well to me it offers greater opportunities to be surprised creatively when I see through somebody else’s vision, gain differing insights to the world outside my own perception. But sadly some people subconsciously reject others visions, only make sense of the world from their own set of limiting rules dictating what makes an ‘accurate’ or acceptable photograph based on reality .
We all experience the world differently based on our unique prior experience and subsequently the way we observe images is no different. Can you remember when you first snapped a photograph? I bet since that early image your observational skills are now much more developed than the first time you glanced over the results...subsequently the greater you look, really look, the more depth and colour you bring to your conscious. You actually see more, appreciate more; your reality with the very same images develops over time and changes. This is no different when looking at colour, you actually see more colour the more experienced you become (unless your heavily influenced by simplification to the point of BW) and this very fact has been used to justify the criticism of the perceived over vibrant image as fraud. Take this image as an example. I received criticism that I oversaturated the rainbow when in fact I didn’t. What I find interesting here is the viewers need to desaturate the view to fit in order to fit with their own perception on an assumption based reality. The fact that they needed to see the image as too saturated over my own view is interesting. I would also argue that that kind of viewer would need to choose subjects that were consistently desaturated and images such as the one I’ve posted with this text would be outside their personal photographic vision.
On a final point about reality I also find it intriguing that people champion film photography as being real over digital, but ironically the choice of many landscape photographers is the vibrant Velva.
Traffic
There is no doubt that more vibrancy within an image helps it stand out amongst our thumbnail social networking culture. Not surprisingly these images can sometimes gain more traffic and subsequently attention, from the inevitable wider target audiences. Yes it’s true that colour is very good at initiating a mood in people and without consciousness of this power, can be a good emotion catalyser. But what is often overlooked when negative criticism, based on colour saturation sometimes materialises, is the oversight within the choice of subject, being naturally vibrant. The twilight ‘golden hour’ is an obvious example of this subject selection and often dismiss as clichéd, amateurish choice of subject, something that only a new conceptually inexperienced photographer would tackle. I would surmise this as narrow minded and tackled by a skilled conceptualiser can pay hansom dividends.
No moving on and turning this clichéd to an example, this shot was a result of being lost in the valley of desolation last week, three miles from my destination and without a compass. As I ran along the sometimes shin deep mud tracks trying to make sense of the map, trying to find my way out of the forest, to the valley bottom, in order to gain my bearings and not end up with a broken ankle, frozen and dead , I happened across this truly amazing sight. I was totally in awe to the conditions, but was massively at odds as to my personal safety. My point being, this photograph offered me, very personal and dramatic set of circumstances that at least for me have very special emotions. But the mix of colours from deep oranges to dark greens shouldn’t have worked, but did in a naturally vibrant way. The subject offered me a mix of deep dark forest, juxtaposed against the creeping in life giving light. What I see when looking at this image, apart from the adrenalin charged experience I managed to live through, is the deep cold mossy forest, that light doesn’t often get into, with dead fallen unattended lost trees, a wonderfully wild but paradoxically scary place, when the sun is just about to go down. I feel lost and safe, as the edge of the forest is penetrated by the setting sun. Now many of you will think I’ve lost the plot, (and please feel free to let me know with well crafted jokes), but for me this image is special. Both as a visual record, but more importantly as a conceptual and emotion catalyst.
My views
If you have made it this far, then I thank you for giving me enough respect to stick at it and apologise at the same time, for the subtle lack of organised thought with regard some of my ideas here. This text is already way too long, but I didn’t want it to be extended too much longer, so have decided to post it and then if I gain further incite, I will then revisit. (Something I’m sure to do as I plan on making a book out of my rambles, if I ever make time to). Anyway just for the record I’m writing this text in order to reflect on this subject in order to disentangle my own thoughts from the powerful influences out there. I partly conclude that I must follow my own creative path and not let the trends to de-saturation sway me, but I feel by exploring my own personal reality through photography, will result in the ability to present creative congruence, whatever that might be.
Kevin Richardson is wordly famous as The Lion Whisper!
“ Kevin Richardson owns and operates the Kevin Richardson Wildlife Sanctuary, located an hour northeast of Johannesburg, South Africa. Richardson is a firm opponent of "canned hunting", which is the hunting of lions locked within an enclosed location, making them easier to hunt and kill. To help combat this problematic epidemic, he has a strict no breeding policy at his sanctuary to reduce the likelihood of his lions being bought and sold for that very purpose.
One of the most intriguing aspects of Richardson's sanctuary is his relationship with his lions, which include popular characters such as Meg, Amy and Bobcat. Kevin is known for interacting with them within the confines of his sanctuary, and on long enrichment walks throughout the game reserve. Unlike other game reserves and sanctuaries, Richardson does not allow his guests to go on these lion walks with him, as he knows that while his lions are well behaved for him, they are still dangerous animals, and the wild nature within will always be there. “
---------------------------------------------
Well, my old dream came true that Sunday of last November, when I finally experienced the closeness of some of Kevin’s lions!!! Unfortunately, Kevin did not appear personally during our very short tour, because it was a Sunday! But a really helpful and gentle young man replaced him perfectly!
It was a very warm day, and most of the lions were resting under the trees’ shadows or in their shelter, which gave our group of 4 tourists the opportunity to approach them serenely, and take pictures of them.
❤️ www.youtube.com/watch?v=qdtJkZx8MJY ❤️(!!!!!!)
In the garden there are a number of garlic ‘volunteers’ that have been an ongoing (and somewhat problematic) element for decades. But at this stage of the growing season, the delicately curved tops provide a strongly graphic composition, provided you take the trouble to isolate some of the heads from the general chaos in the background. Here, I placed a back background behind these three shoots to isolate them. This is an available light shot (no artificial light sources or reflectors were used to illuminate the garlic. - JW
Date Taken: 2019-07-09
Tech Details:
The black side of a 5-in-one reflector was placed behind the garlic as a background. Taken using a tripod-mounted Nikon D7100 fitted with an AF-D Nikkor 50mm 1:1.8 lense, ISO100, Daylight WB, Aperture priority mode, f/10.0, 1/15 sec with an EV-1.0 exposure bias (to ensure the background remained black and the green shoot highlights did not get blown out). PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set final image size to be 9000px high, crop off some from all sides (preserving aspect ratio) to get rid of some intrusions, set exposure compensation to EV-0.24 to get a better black background, boost Chromaticity and slightly boost contrast in L-A-B mode, very slightly boost Vibrance, apply a little noise reduction, sharpen (edges only), save. PP in free Open Source GIMP: duplicate the image to a new layer and use the threshold tool to get a high contrast mask in which blacks are pure black and then paint out some extraneous intrusions followed by inverting it so the originally black areas are white and the plant is black and then apply a small amount of Gaussian blur, duplicate the original image to a new layer and add a black layer mask, copy the black and white mask to the layer mask and then darken the black background to a solid black, on the original plant layer fine tune the tone curve to slightly darken the bottom half of the curve while keeping the top half at default, create new working layer from the visible result, sharpen, save, scale image to 6000px high, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048 high for posting online, sharpen slightly, save.
What is dappled light and how do we fix it?
It has been suggested by some: Eliminate the source of the problematic shadows.
Yet, a chainsaw is so heavy and ponderous . . .
This photo was taken by a Zenza Bronica S2 medium format film camera with a NIKKOR-H 1:3.5 f=5cm lens and Hoya HMC 82mm Y[K2] filter using Kodak T-MAX 400 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Tighter crop of a previous image. perhaps crop even tighter but wheel tracks and trees bottom right problematic.
Late evening sunshine on fields near east Meon, seen from Butser hill, Hampshire.
The tighter crop is giving softer feel which I like. Also the recession of the hills in the distance.
QUESTI ULTIMI GIORNI SONO STATI PROBLEMATICI E MI HANNO IMPEDITO DI DIEDICARMI ALLE TUE FOTOGRAFIE COME AVREI VOLUTO.
SPERO DI RECUPERARE AL PIU' PRESTO. CIAO, FELICE WEEKEND
THESE LAST FEW DAYS HAVE BEEN PROBLEMATIC AND HAVE PREVENTED ME FROM DIEDICATING MYSELF TO YOUR PHOTOGRAPHS AS I WOULD HAVE LIKED.
I HOPE TO CATCH UP SOON. CIAO AND, HAPPY WEEKEND
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
My walk today at Creamer's Field ran into a road block...a pair of moose asleep on the trail.
This time of year moose can be very problematic on trails. They've been eating twigs on trees that have stopped pushing sugars to the twigs and as a result are not very nutritious. So they are very hungry. They've also figured out that walking in deep snow burns more calories than walking on a trail. So a moose that would give way on a trail in November will fight you for the trail in the spring to avoid walking in the deep snow. That is especially true this year with a late spring and a much heavier than normal snowfall.
For a number of reasons, Damselflies are more difficult to photograph well than Dragonflies. They are, for the most part, about a third the size of a dragonfly. They hover just above the water making the background "busy" and distracting and, with PowerShot cameras, makes focusing problematic - just as a Marsh Wren IN reeds would be.
This shot is not an anomaly. It's good but it's one of perhaps 50 over a 10 year period. I set the camera to get a black background ... and succeeded! And I had to get down on my knees to get relative size and almost eye-level.
I think you can see the difficulties if I explain the minor differences between dragons and damsels.
Look at Damselfly wings when they are at rest. Damselflies close their wings and dragonflies spread them. This creates a small problem when taking a shot: in the image I have here, the wings are nothing but a little blur just above the thorax.
Now, the eyes of the Damselfly. If you get a close look at dragons and damsels, you will see that dragonflies have very large eyes that are close together, while damselflies have, though still large, smaller eyes with a gap in between.
Dragonflies have "broader" and shorter bodies, while damsels are have much longer and narrower bodies.
The shape of the wings is also quite different, different enough so that you can tell the difference just by looking at the images I've been posting for the last three weeks.
A bit of advice taking pictures. Damselflies are difficult to get in focus. The perch on grassy or reedy stems close to the water. The water usually has duckweed or other flora (being kind to the crap that's in the pond) and viewfinders have difficulty knowing which you want in focus. I've found that - for both - if you have the equivalent of a Canon Powershot with EVF, focus until the reed itself is clear, then move the camera until you find the damselfly, and shoot! I don't know about anyone else, but focusing with the LCD is impossible! Move half an inch, and you no longer have the dragon or damsel in the frame. And if your hands shake even a little even if you're good at holding your breath (as the sweat runs down from your forehead into your eyes - remember these are summer creatures and they like heat), you will be lucky to have a blur. Never use the "Automatic" setting on these cameras: "A" actually stands for "average" i.e., the quality of the image that you'll come out with.
I have found that 1/640 is an ideal speed with an ISO of 200 especially for damsels. But damsels in shade, well that's going to take 1/250 or even 1/100th. I don't deal with ISOs beyond 200 because the Powershots are prone to noise above 200. I should mention that it has been years since I was able to manage a four-pound camera on a five or six mile dragonfly hunt. And that was 35mm and the results were usually unsatisfactory even though the camera's capabilities were as good as digital. But the cost of taking 35mm with a motor drive was prohibitive. True story: my Olympus OM-1 with 18mm macro (a fisheye, too), 55mm, and 350mm with extension tubes led me to a chiropractor every summer for almost two decades. Now, chiropractor or no, I simply cannot handle all that equipment and, even if I was guaranteed a Evening Grosbeak, an eastern Blue Jay, or a female Northern Cardinal, there has come a point in my life when I know my limitations. Remember, there comes a point in life when nothing works they way it used to. If you can still kneel to get a shot of a damsel, but it takes 15 minutes to stand up straight again, you know exactly what I mean.
I wish you well. Few things have been as satisfying as seeing a damsel that is sharp on your large monitor and just as you intended. Luck only goes so far. I seem to have mastered luck although it took two decades with a digital camera starting with an A620 (look that one up).
Seated at the Louvre. © Copyright 2022 G Dan Mitchell.
A boy and two girls seated on benches at the Louvre, Paris.
Among the members of my family, I have a problematic reputation as a museum visitor. Apparently I spend way too much time in such places and traverse them way too slowly. A ritual has developed where eventually everyone else heads off to somewhere fun, leaving me behind to wander and. ponder, and later I catch up and join the party. What can I say? I like museums.
Not only do I like them for the things they present, but I also like to photograph in and around them. The buildings usually have fascinating design and architecture and often also very interesting light. There are lots of people, individually or in groups, who populate these interesting spaces. Here I photographed outside the Louvre, in the immense central courtyard, making a photograph of two girls in enthusiastic conversation and one very small-looking boy sitting alone against the monumental scale of the building.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
The rope is hung up again, it was a problematic arrival....
A link to Chris Witts video
youtu.be/eU43F0rH4lI?feature=shared
GELMOND 1 (IMO 9407017, MMSI 341487000) is a General Cargo Ship built in 2007 (18 years old) and currently sailing under the flag of St Kitts & Nevis. Her length overall (LOA) is 115.2 meters and her width is 15.87 meters.
She is a large one for Sharpness and next week her sister ship the Gelmond 2 is due in.
Getting close to nettles for a shot like this can be problematic. The best flowers are always surrounded by healthy stinging leaves. I find this miniature jungle worth the effort. It is like visiting an alien planet or a magical land. This is a tiny crop from a much larger image.
Yangon, Myanmar: Konica Hexar RF, Voigtlander 21/4.0, 400TX / Almost all cars are on the wrong side -- they're driven on the American side, even though the steering is on the British side. This is especially problematic for buses -- exit doors are on the side of incoming traffic instead of the sidewalk. A former British colony, Myanmar switched sides on the road in 1970 to distance itself from its colonial past, overnight.
The P&W's B-units have all been recently sold (or traded) to NREX. I don't know the details. But, as problematic as most of them were, it's kind of sad to see them go. Bought used from BN, the P&W got their money out of them, I'm sure. In this photo, P&W 3005 lays over in Davisville, head-pinned on DAWO's outbounds. The 3005 was the middle unit on the power set for the America's Cup train that left the day before. Naturally, the 3005 bit the big one that day and had to stay over night on Seaview RR property, as the America's Cup train didn't need the extra weight.
Tokyo Tower is a communications and observation tower located in the Shiba-koen district of Minato, Tokyo, Japan. At 332.9 metres (1,092 ft), it is the second-tallest structure in Japan. The structure is an Eiffel Tower-inspired lattice tower that is painted white and international orange to comply with air safety regulations.
Built in 1958, the tower's main sources of revenue are tourism and antenna leasing. Over 150 million people have visited the tower since its opening. FootTown, a four-story building located directly under the tower, houses museums, restaurants and shops. Departing from there, guests can visit two observation decks. The two-story Main Observatory is located at 150 metres (490 ft), while the smaller Special Observatory reaches a height of 249.6 metres (819 ft).
The tower acts as a support structure for an antenna. Originally intended for television broadcasting, radio antennas were installed in 1961, but the tower is now used to broadcast signals for Japanese media outlets such as NHK, TBS and Fuji TV. Japan's planned digital television transition by July 2011 was problematic, however; Tokyo Tower's height, 332.9 m (1,092 ft) was not high enough to adequately support complete terrestrial digital broadcasting to the area. A taller digital broadcasting tower, known as Tokyo Skytree, was completed on February 29, 2012.
CSX Homestead Sub local O721-27 works towards the subdivision with GP38-2 #2752 which was a little problematic prompting the conductor to walk out and check out what's going on.
IN ENGLISH BELOW THE LINE
Estic enamora d'aquesta càmera. Poques vegades pots trobar una càmera antiga amb aquesta espectacularitat en aspectes molt diversos (aspecte, volum, detalls, sò) i a sobre funcionant. Per acabar-ho d'adobar no funcionaba bé del tot i això fou un extra d'amor-odi fins aconseguir reparar-la. I aprenent a soldar, entremig.
Aquesta meravellosa i no precisament petita càmera és la Revolving Back Auto Graflex, en format 4x5 polzades. Es tracta del model original de la RB Auto Graflex, molt més nombrós en variacions posteriors, també molt boniques, però just un punt menys que aquesta. En efecte, mentre que la majoria de RB Auto Graflex que es veuen per la xarxa son dels models de 1909 (en tinc una) o sobretot el fabricat entre 1916 i 1941 (amb apertura superior cap a darrera).
Aquesta càmera és la RB Auto fabricada entre 1906 i 1908, només en format 4x5, i de fet té un aspecte molt més arcaic que els models posteriors, asemblant-se a la original "Graflex" del 1901, o també a la inmensa Press Graflex del 1907. La millor informació al respecte és el llibre de R. P. Paine (1981): The All-American Cameras. A Review of Graflex.
Tant el visor de xemeneia amb el nom estampat, com l'extensor del objectiu estampat en acer li donen un aire unic. I a això cal sumar-hi el inconfusible so del obturador de pla focal Graflex, originariament amb velocitats de fins 1/1000 (tot i que no la penso forçar pas tant, que té més de 110 anys!). L'objectiu és un B&L Zeiss Protar f6.3 / 10".
L'unic però important problema que tenia era que el conector entre el moviment del mirall (i pertant el disparador) i l'obturador, estava desencaixat, i calia soldar-lo. Ha costat deu i ajuda, però crec que ara aguanta bé.
==============================================
I'm in love with this camera. Rarely can you find an old camera with this awesomeness in very diverse aspects (appearance, size, details, sound) and on top of that in working condition. The only minor glitch was that the link between release & shutter was damaged, but that was an extra love-hate issue until I managed to fix it. And learning to torch solder, in between.
This wonderful and not exactly small camera is the Revolving Back Auto Graflex, in glorious 4x5" format. This is the original model of the RB Auto Graflex, much more usual in later variations, also very beautiful, but just a point less than this one. In fact, all of the RB Auto Graflex that are seen on the net are models of 1909 (I have one of these) or especially the ones made between 1916 and 1941 (with rear-opening top). And remember, those are SLR, reflex cameras, like a modern DSLR, but huge and archaic.
This is the RB Auto Graflex made between 1906 and 1908, only in 4x5 format, and in fact has a much more archaic look than later models, resembling the original "Graflex" of 1901; or also the huge 5x7 Press Graflex of 1907. The best information in this regard is the book by R. P, Paine (1981): "The All-American Cameras. A Review of Graflex".
Both the chimney hood with gilded name & fur edge and the steel-stamped lens struts give it a unique air. Full steampunk. And to this must be added the unmistakable sound of the Graflex focal plane shutter, originally with speeds of up to 1/1000 (although I don't plan on forcing it so much, it's over 110 years old!). The lens is a Bausch&Lomb Zeiss Protar f6.3 / 10 ".
The only but important problem I had was that the link between the movement of the mirror (and therefore the release lever) and the shutter, was dislodged, and had to be soldered with a butane torch. I had to learn the trade a bit, and got several days nowhere, till I managed to assemble all again, but I think it holds up well now.
This is the typical later RB Auto Graflex:
www.earlyphotography.co.uk/site/entry_C299.html
www.camarassinfronteras.com/articulos/rochester/graflex.html
camera-wiki.org/wiki/Auto_Graflex
A lot of SLR Graflex here, but not a single one of the same model:
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Here is a list my new bloggers I took from the last blogger search I made, I redid again since the last list went. As I could not say before thank you all so much for apply I was very touched.
For whoever never heard back of the application made, I am sorry...I was not able to feel it in my heart to release you from the app. I love your work but I have no space at moment. So I wish to retain you where I can you and call on if more space arise. If it is problematic let me know.
For those not accept I tried my best to respond all the applies but the list was so large. If I did not I am sorry! if really needing feedback feel free ask.
To my current new addition, have fun and thank you. Any problem speak with me & advise me of holidays or needing time off.
My original team Ilu! and for those that have gone thank you for time you spent with me & I hope you are all doing something you really enjoy and always having fun.
Rules to remember (most important ones)
- 2 posts min a month with accurate info (in what order you prefer but try to make some events time)
-Have fun and always dream as big as you want
-problems/holidays/need break? plese communicate with me.
**if i spelled wrong please let me know
85005 890208 Hest Bank 0945 LE-Carlisle.
Another traffic which was problematic for rail was Motorail which lasted from 1966 until 1995.
Again the problem was the improvements to the road network which did away with the desire to do the main part of the journey by train and the fact you could travel the length and bredth of the country by Motorway or trunk road at reasonable speeds and comfort.
One of the later incarnations of the project was the London Carlisle service which ran for several years in the late 80's and early 90's.
Cars were no longer transported in open Cartics but in enclosed modified parcel vehicles.
Two such vehicles are seen at the head of the 0930 London-Carlisle at Hest Bank on 8th February 1989 with 85005 providing the power.
Kevin Richardson is wordly famous as The Lion Whisperer!!!
“ Kevin Richardson owns and operates the Kevin Richardson Wildlife Sanctuary, located an hour northeast of Johannesburg, South Africa. Richardson is a firm opponent of "canned hunting", which is the hunting of lions locked within an enclosed location, making them easier to hunt and kill. To help combat this problematic epidemic, he has a strict no breeding policy at his sanctuary to reduce the likelihood of his lions being bought and sold for that very purpose.
One of the most intriguing aspects of Richardson's sanctuary is his relationship with his lions, which include popular characters such as Meg, Amy and Bobcat. Kevin is known for interacting with them within the confines of his sanctuary, and on long enrichment walks throughout the game reserve. Unlike other game reserves and sanctuaries, Richardson does not allow his guests to go on these lion walks with him, as he knows that while his lions are well behaved for him, they are still dangerous animals, and the wild nature within will always be there. “
---------------------------------------------
Well, my old dream came true that Sunday of last November, when I finally experienced the closeness of some of Kevin’s lions!!! Unfortunately, Kevin did not appear personally during our very short tour, because it was a Sunday! But a really helpful and gentle young man replaced him perfectly!
It was a very warm day, and most of the lions were resting under the trees’ shadows or in their shelter, which gave our group of 4 tourists the opportunity to approach them serenely, and take pictures of them.
*****Here you can admire the ADORABLE Debbie, resting with her mate close to her shelter. In the video you perceive my voice speaking with Kevin's Sanctuary young guide .
❤️ www.youtube.com/watch?v=qdtJkZx8MJY ❤️(!!!!!!)
This is one of the 124 of 148 pictures Flickr's servers ate last spring for unknown reasons. Flicker spent three days using 6 people to find all my lost pics, but the text, music links except were all gone...
My memory is problematic due to RL mental health trauma. Posting my experiences and feelings on Flickr was a good way for me to document and remember how I was feeling then. Now I have no context for many of the pictures - that memory is void other then knowing I took the picture.
This one is at least cheerful...I have a pod of Sea Otters that swim off my boat launch and they didn't mind me floating along with them. I did find the song that went with it "Float On" by Modest Mouse. It's a warm tune and this lookslike it was a warm memory, so here you go. Float on my friends...love you all.
- Katherine xoxo
The song:
At this point most of you are familiar with the drill: After working this scene a bit (but obviously not enough, variety / quality wise) I am left trying to figure out which shot (if any) is the actual keeper. Ultimately, I realize they all kinda have problems. Which shot is the least problematic?
With bonus skink. Still trying the Halide app, this time in conjunction with an iPad Mini 4 (thanks Todd). The larger screen is a big help, separating exposure controls from the viewfinder frame, but reflections can become more problematic. With this iPad I wasn't able to activate RAW or Macro captures either, despite recent iOs.
And now for something completely different. In the last few years, in March, I've attended Modelshow Europe in Ede, together with other Dutch builders. The show is dedicated to models of heavy haulage and earth-moving equipment. Every year that I went there so far, I built something new to display. For the coming show in 2014, I decided that I was going to build a tipper truck with a trailer behind it, with the latter carrying a road roller. This combination will have the livery of Koninklijke Wessel Stevin (or KWS), which is a large Dutch road-building company. The tipper truck is a work in progress, but is proving to be a bit problematic, so I decided to complete the roller first.
This is also my entry for December's LUGNuts challenge, Diorama-rama, which involves building a diorama for your vehicle. Mine admittedly isn't particularly elaborate, but it seemed fitting for a road roller.
I had been thinking about this shot for a couple of weeks and decided to get out and do it today, and I was quite pleased with how it turned out, given it was quite problematic in terms of set up.
I think my main reservation has to be whether this is a landscape. And then I figured a) its only me who is enforcing that rule and b) Its a lake, something on the lake and the dawn reflecting on the lake - and all those things are part of the landscape. So, anyway, I'm claiming it.
I got the shoes from my Dad the night before. He had a pair that had a crack in the sole that needed to be thrown out. And then I got some garden cane, four lengths. My intention was to make a hole through the toe end of the sole, and the heel, and push the canes through. The canes would then get stuck into the lake bottom and hopefully the shoes would stay up!
I was going to prepare it the night before but ran out of time so I drove off to Talkin Tarn first thing in the morning with just a bag of assorted things I thought may come in useful. Well, a screwdriver, scissors and some sellotape. I sat in the car with the pair of scissors frantically trying to cut a hole in a thick rubber sole, and realised it wasn't going to be easy. All the time the sun was rising and making me anxious to get it sorted before the nice colours went from the sky.
After some really vigourous twisting and chopping I finally made the holes, to the accompaniment of much rocking about in the car, and groans of effort. I then emerged triumphantly from steamy-windowed vehicle only to spot an old couple who had parked up next to me, drinking coffee from a flask and giving me some very interesting looks. Somewhere between curiosity and horror. Goodness knows what it must have looked like....
So, giving them smile I reached back into the car and withdrew my shoes on sticks. I think at this point the couple were starting to stare at their coffee and probably discussing trying a different, less hallucinogenic brand of beverage. I then made my way to the tarn and into the water with my wellies intending to plant my 'platform shoes' with pride into the lake bed. A bit like Neil Armstrong on the moon with the flag, only less heroic and more wet.
I then realised that the sticks were far too long. Either I was going to have go a lot deeper, and fill my wellies with water, or I had to make the sticks shorter. The latter seemed the better suggestion so I tried to break the garden canes. The problem was that I only needed to lose about three inches from the end of each cane and I just couldn't get them to snap at the right point. I had to use every bit of ingenuity I had to get it sorted.
Two minutes later, a dog walker scuttled silently and nervously by as I finally chewed through the last of the four garden canes, attached to my Dad's shoes. With a bit of digging they were up and stable. Another dog walker ambled past and pointed out the shoes in the water, 'Oh look, there's some shoes over there,' came the remark, as if I hadn't noticed them. 'So there are, that's odd,' I replied. 'That may make an interesting picture, I'll get a few shots.'
Tomorrow I am off to Scotland for four days, so I will most probably be away from Flickr the whole time. So I will get in early and wish everyone a good weekend!
The Difficulties In Providing Veruca Salt With A Glass Elevator - by Northside Jim
TLDR: The risk to an injured Piping Plover stuck north during migration is starvation in the deep winter (food source freeze). Piping Plover can be trapped safely in the nesting season when they are healthy and on a nest. Trapping them in the wild in the winter when they are injured is the opposite and can easily result in worse injury and often death. Piping Plover can sometimes be rehabilitated in the nesting season on their nesting grounds. The opposite is true in the winter as there are no good release options. Releasing them into winter has poor survival rates, holding them in captivity for the winter has poor survival rates, and flying them on a plane to the Bahamas is untested and very risky.
Lots of folks who have visited Holgate this fall have met a very special little lady: Veruca Salt.
Veruca is a banded, breeding, female Piping Plover. She sadly suffered an awful series of of tragedies this summer when she attempted to nest at Island Beach State Park, just barely seeing her chicks through to fledge, and then losing the last one right before the official fledge date. She had a rough go of it in the 2018 season.
But come late summer, she appeared ready to head off to the Bahamas to rest for the winter and hopefully to return next spring to give it another go.
Unfortunately, it’s now December and she’s still in New Jersey: specifically, hobbling around Holgate on Long Beach Island with both an injured foot and an injured leg.
She looks fat and strong, and she forages and flies just fine. But for whatever reasons, most likely related to the injury, she is choosing to stay put. And while it stinks to see any animal hobbling around on one leg, that is actually not the thing that is most worrisome and problematic about her situation.
What is most worrisome is that her foraging will likely freeze up later this winter and she’ll starve. While it’s still not too late, she needs to head south. Sooner rather than later. Injured legs heal but starvation is irreversible.
There is a good chance she will get a move on if the weather gives her the right incentives. She is being monitored closely, both formally and informally, but day after day, she seems perfectly content to stay at Holgate. I certainly understand. But it would seem she needs to go. Yet still… she is choosing this place to stay.
So the big question: “Is there anything that can be done for her?”
Of course. There are many things that can be done; some smart, some not so smart, some too risky, and some unnecessary. Some which might help, and some which are an almost guaranteed death sentence for her. All of the right people have all of the options and are watching her closely as her life unfolds, watching the clock, and weighing the risks.
But because she is a critically endangered species of the utmost importance on the state and federal levels, whatever is done for her must have the absolute best chance of her long term survival. No unnecessary risks can be taken because the consequences are too great. She could die very, very easily through hasty action. Veruca Salt belongs to a protected, endangered species, and the people who have spent their lives learning how to help them know all too well the risks of hasty intervention.
Many of those risks are not obvious to the rest of us. Nor is the (current) lack of urgency and the wisdom of patience and thoughtful, experienced caring in this situation.
Lucky for Veruca she is in a very rare, Federal Wilderness area, managed by an extremely experienced Refuge staff, in a State with extreme dedication to and experience with Piping Plovers, and where we have some of the greatest minds in plover handling & science working today. And because of the difficulties and complexities in making the right decision for how best to help her, all sorts of others have been drawn into the conversation for consultation. Veruca Salt is probably the most considered, discussed, and loved Piping Plover on the planet right now.
Her plight is difficult to watch for anyone; certainly most difficult of all for those few people with the knowledge, experience, ability, responsibility, and authority to actually do the things that will have the best chance of resulting in her long term survival.
I’ve recently had several conversations with people on the beach who are quick to ask what seems like the obvious question: “why don’t the feds just grab her and fix her leg?” The simple answer is that it is not that simple. Fortunately, the people monitoring her understand from experience all the reasons why it’s not as simple as it appears on the surface, and have ideas and strategies to mitigate some of the risks.
The first problem is the trapping: trapping a healthy, flighted bird with an injury like Veruca Salt’s in the wild has an extremely high probability of making the injury much worse, or even adding another injury to her predicament. Or, equally bad, terrorizing her to the point where she dies of heart failure or aborts the migration she needs, and perhaps is just about, to make. That’s not theoretical, but statistical. At best, it could easily spook her off the habitat she has chosen for her recovery where she is making decent progress to some place less ideal and far more dangerous for her.
We’re lucky to have Michelle Stantial in New Jersey as she is an incredibly skilled and experienced trapper. Yet she knows first hand the world of difference between trapping healthy birds on the nest in summer (which is how PIPL are studied) and trapping injured birds in the wild in the winter. They are not same thing at all. They are opposites in terms of potential risks and rewards.
The second, really, really important, problem is what to do with her if she is actually trapped. She is not necessarily treatable. A big strike against her is that she is injured, but not injured enough.
She has a flag band on her injured leg and there is no doubt that removing the flag would increase the chance of, and probably speed of, any recovery. But the actual injury above the knee, and the extent of the foot injury, is unknown. They could be two separate injuries, as in a Ghost Crab attack where small beach nesting birds get both legs damaged at the same time. It is unknown what the injuries are, if they are treatable, or even if they require treatment. Again, luckily, we have the expertise of Dr. Erica Miller in New Jersey who is actually a master of tiny-splints in the event they do go ahead with trapping.
But the most difficult aspect is that the timing is off. Just as it is very safe to trap a nesting Piping Plover in summer, but very difficult and dangerous to trap one in winter, it is also much easier to rehabilitate one successfully in the summer and very difficult to do the same thing in the winter.
The trouble is migration. If she were to go to rehab now, there are really only two options: a.) let her go in the middle of winter which has an extremely high and well understood probability of being a death sentence, or attempting to hold her until spring which also has an extremely high and well understood probability of being a death sentence. Both are generally considered high risk, if not outright unwise. (Note the same is true with our other summer nesting species like Osprey. Fledgling Osprey who get found injured in the fall, and go to rehab, getting released late in the migration season, have extremely poor survival rates.)
Put another way, the extreme risks of attempting a winter rehab/release are well known to have a low probability of success. Her ability/desire to get herself south is totally unknown and could very well be her best option. Some would make the case it would be a fool’s gamble for that reason alone.
There actually is a third, crazy, option, which our very own Christina Davis is advocating for in the event a trapping is attempted: rehab her and then fly her to the Bahamas on a plane (or even drive her to the Carolinas) and release her there. This is probably the best theoretical option, but mostly because it is so unheard of. The truth is (forgetting the unbelievable expense) is that the whole experience might be too disorienting; and what we know about how poorly they do in captivity suggests she might not even survive the flight.
It is super sad to watch her, as it is watching any animal with an injury. I was motivated to write by a friend who saw her a few times and assumed because she was still there that no one cared. The exact opposite is true. The monitoring and plan for getting Veruca Salt back to Island Beach State Park next summer is probably the biggest thing happening in New Jersey wildlife right now.
The character Veruca Salt once famously said (Tim Burton version): “Make time go faster, Daddy!” It is tough to watch her predicament drag on.
But she still has some time. For me (and I’m no authority), my favorite option is that she moves south soon, weakens slightly, and becomes a significantly better candidate for trapping, rehabilitating, and releasing successfully.
It is difficult to watch her out there in this highly unusual situation. But I know firsthand how many smart people are working on this, and am comforted by their deep experience, their proven skill, and their wisdom. All of the risk here is in acting too soon and too hastily; not in acting too late and too thoughtfully.
These 1,500 words are meant to set out some basic and very specific facts for those interested in Veruca Salt’s situation and her future; as this is a very easy and totally-understandable situation to see backwards from the reality: to see a lack of action as a lack of caring, a lack of progress as a lack of effort, silence as a lack of vigorous discussion.
I’m super sorry for you Veruca, super sorry for everyone who sees this bird and feels sad, super sorry for everyone who feels angry because they don’t know how many people are working on helping this one, very special, animal, or don’t understand just how tough a real solution is, and super sorry for whoever has to make the final, tough calls on this as winter approaches.
RFTNS is cheering you all on.
I’ll close by noting that it’s curious that her namesake, Veruca Salt, is synonymous with the perils of a lack of patience. Godspeed, Veruca Salt!
exit63.wordpress.com/2018/12/03/the-difficulties-in-provi...
Curiously neither father Henricus (1583-1658) nor son Abraham (1626-1683) Munting, both professors of botany of the university of Groningen, mention smoking in their catalogue and horticultural manuals. Smoking was all the newest vogue in delectable pleasures in the Low Countries of their times, and in their garden the Muntings cultivated various tobaccos. But they don't delve into the etymological background of the word 'tabak', and in his long description of the plant (Hyoscyamus peruanus latifolius or Tabacum verum latifolium, as they knew what we call Nicotiana tabacum) Abraham says nothing at all about its smoking by his countrymen. He does give a great number of medicinal uses; and he also at length discusses how in various forms Tobacco is a great antidote to plant pests. But why neither discusses smoking it, is something of a conundrum to me.
In the botanical garden named for the first Munting at Haren just to the south of Groningen, I saw today this pretty sight of Honeybee and Tobacco Flower. Apis has to delve deeply into Tobacco's throat to find her reward of nectar. That nectar does contain nicotine but it will not harm our Bee because it's not sufficiently concentrated. On the contrary, it seems that this nicotine is even healthy: it helps combat all kinds of hostile bacteria and parasites in Apis's gut. Of course, she doesn't need to worry about lungs!
During testing, the stability augmentation system required a lot of fine-tuning. Although the Arrow was not the first aircraft to use such a system, it was one of the first to use a three axes system that other aircraft did not and was consequently problematic. But, this was not the only advanced system developed for the Arrow. Avro’s engineers had created the first non-experimental fly-by-wire control system in an aircraft and a nvaigational computer that used real-time telemetry. The Arrow’s thin wings also nbecessitated the first 4,000 lb/in2 (28 MPa) hydraulic system to supply enough force to the control surfaces using small actuators and piping. The fly-by-wire system used the pilot’s inputs to activate a series of pressure-sensitive transducers in the control stick that sent the signal to an electronic control servo that operated the valves in the hydraulic system to move the various flight controls. This resulted in a lack of control feel so to recreate the mechanical sense, the same electronic control box partly responded to the hydraulic back-pressure fluctuations and triggered actuators in the stick, making it move slightly. Test pilots came to call this “artifical feel” and was an aviation first.
In this image, RL-203 shoots through the skies in southern Ontario. All of the flight tests were conducted at Malton airport. However, on 2 February 1959, a TCA Viscount passenger airplane crash-landed in Toronto, nessistating the test flight be diverted and landing at CFB Trenton. Note the wing fences extending from the dog-tooth to control airflow over the wing. The fences for swept-wing aircraft keep airflow from bleeding to the wingtips and creating a nose-down pitching moment, thus preventing the entire wing from stalling. Soviet aircraft designers employed this technique on several of their aircraft; Western examples are limited.
This is absolutely a rare found.
Saw this red ant running around with 'something' on its head, when I get close and found that actually is a tiny black ant biting on the red ant's antennal. How could I miss this? The red ant was moving fast and without direction, and I got to really 'chase' it for the shoots. During the shoots, there are actually other red ants came by and try to help its buddy to get rid of the problematic black ant but not successful. After a few shots, they disappeared into the bushes. I'm very lucky to get a few clear and sharp shots and no doubt this one is the best.
If you notice, the 'pre-tarsus' of is missing, not sure is it get bitten off by the tiny black ant.
Pictured operating the new Breezer service, linking Castleton with Baslow, Nether End, arriving at the latter terminus.
Well worth a ride out on a good day such as today - stunning scenery and all currently just for £2 each way. However, do watch out for the timetable, which currently has some highly unattainable journey times. Basically, the service is down to run hourly (apart from a mid-afternoon driver break) with a journey time between Baslow and Castleton of just under 25 minutes. This particular journey left Baslow around 20 minutes late (based on the timetable). The driver then waited over when reaching Castleton, as he'd missed the 12.20 departure time (he had after all only left Baslow at around 12.15), instead leaving on the next track at 13.20. The journey in both directions took nigh on 50 minutes instead of the publicised time - and the driver was certainly not dawdling, nor was traffic particularly problematic.
That apart, it's a really good idea and wonderful way to spend an hour or two.
Taken and posted 29/05/2023.
Deer crossing a roadway is always problematic. Here I came across two bucks emerging from the Riverdale Forest, Cornwall, Ontario. They were crossing a bike path that I was on, while walking my dog. The reach of the Canon G3X at 600mm (equivalent) brought me close enough! I was a bit alarmed that they crossed my path with me in plain view. Normally, they are very shy and take off at first sight of people. Made me a bit nervous as I advanced. They took off when Misha started to growl.
I love this view from Montgomery Street, although lens flare from cars coming up the hill are problematic for the camera.
Amtrak P42DC #37 brings up the rear of a Milwaukee bound Amtrak Hiawatha train.
Siemens SC44s have proven to be somewhat problematic. P42DCs, P32-8BWHs, and Non-Power Cab Units have been appearing on these trains.
Anyone who lives out in the Mid West right now, knows that the weather is simply dreadful, especially for photographers. For most, it may seem problematic, but every so often my sister and I get inspired. So these sets of photos are the result of snow, spontaneousness, my beautiful sister, and a full tank of gas.
Model: DanaxxMarie
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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.
All of us love these "look back" shots that the Short Eared seem to do constantly. Some look funny since they stick their neck out slightly and look so intently at you, if they are looking at you. This was the first I had gotten of this look and I loved it!
The bane of my existence...elusive Belted Kingfisher in high speed flight. Virtually impossible for me to get a good flight shot.
This was shot at long distance. I did what I could to salvage the shot in processing, but without a long prime lens, exposures at this distance are problematic. And as you can see, though it was shot in the trees in the dark of the woods, the background is very bright. Here's what I could get out of the shot.
In the top comment box below you can see the full frame image, unprocessed. CLICK on it to see a large version. Perhaps you'll like the uncropped image more.
The conditions were very difficult since we were there at the wrong time of day for the bright sunshine that rendered the contrast between foliage, water and the shaded gully problematical. Later it poured with rain but we had left. Still, the well-known fantail of the falls downstream of Lower Bridge is evident enough.
The Falls of Bruar are a series of waterfalls on the Bruar Water in Scotland, about 8 miles from Pitlochry in the council area of Perth and Kinross. They have been a tourist attraction since the 18th century and were immortalized in a poem by Robert Burns, The Humble Petition of Bruar Water to the Noble Duke of Atholl, supposedly from the river itself entreating the Duke to plant some trees in the then barren landscape. The falls were probably formed some time in the last 10,000 years, after the retreat of the glaciers at the end of the last ice age. The waters slowly cut through the rock which had been pushed up by the geological forces which formed the Scottish Highlands some 500 million years ago. The layering of the rocks means that the water has cut a meandering path through the softer rock and left the harder rock untouched. This has led to the creation of deep pools, outcrops and, in one place, a natural arch. The falls consist of two large falls and a number of smaller drops. The water is often coloured brown from the peat through which it flows. Nowadays, the A9 Perth to Inverness road passes near the foot of the falls in Glen Garry, and there is a shopping centre and car park from where visitors may access the falls. A circular footpath leads up to the Lower Bridge, close to the natural arch, and continues on to the Upper Bridge, about 1/2 mile from the car park, before returning down the opposite bank. The total drop of the falls is about 60 metres. The narrowness of the gorge means that the falls are most impressive after heavy rain, but since the construction of a hydroelectric power scheme in the late 1940s, water is extracted farther up the river and the falls no longer reach the volumes they once did. en.wikipedia.org/wiki/Falls_of_Bruar
In my home turf of NM, this species arrives in the spring in early April. It's our most numerous lowland Hummer species. They likely arrive even earlier in this warmer AZ habitat. Juvies of several different species are also now flying... making the IDs much more problematic! Please comment if you can make a more confident ID (I welcome corrections.) The blooms on which it's feeding are Parry's Penstemon, a tall native early spring flower.
IMG_9789; Black-chinned Hummingbird & Parry's Penstemon
As Mars nears its closest approach to the Pleiades in the sky, given my forecast it was prudent to get some imaging in early. Taken with 70mm f6 triplet with 0.8x focal reducer (336mm effective focal length), Nikon D750, stack of 61 frames, 10 seconds each at ISO 6,400.
Taken in less than perfect seeing with problematic sky glow.
Without any doubt the most unusual and one of the most beautiful forms of this species. A little less vigorous than other forms but not problematic. The beautiful 'royal purple' characteristic of percivaliana comes out well in this clone.
Sticky snow on Staghorn Sumac bobs (Rhus typhina) - Back River Trailhead, Eaton Farm Preserve, Eaton Farm Road, Wiscasset, Maine
Sticky Snow? No, not snow on sticks, but how wet snow sticks on branches and plants. That can be problematic for trees with roots weakened by the fall rains, in that the weight of the wet snow on their branches can break off major limbs or bring the entire tree crashing down.
Yes this guy is an invasive, but it has nice foliage and "fruit" that birds will take advantage of during the cooler months, and it does get cold during the short days in Maine!
One time London Central AVL24 has an interesting history, and is a remarkable survivor in everyday (albeit seasonal) service. It’s usual haunt is the Lands End Coaster service connecting Penzance, Lands End and St Ives with many coastal settlements in between. In slightly unusual overcast conditions, it’s pictured here at Treen, about half way around the Penzance to Lands End portion of the 3h45 marathon. For the record it wasn’t suffering from the dreaded fan roar that many Volvo B7TLs often do ! At the time, the first few of the next generation of buses for the service were entering service, in the shape of 9 ex Metroline VWs, though they were seemingly proving problematic with electrical issues.
For anyone who loves abandoned limestone farmhouses, Northcentral Kansas has got to be looked upon as something close to paradise. Seemingly every road has its share. Based on my three times randomly driving about in the area, you see one on average about every 5 miles. There were two others within a mile of this one--situated in NW Lincoln County--as well as a limestone one-room schoolhouse. Unfortunately, I did not go inside. The front door was locked, and while there was another way inside, it looked problematic, with rotted floors and lots of rubble. If I'd had more time, I might have carefully tried to wend my way inside, but I didn't have much light left, and I still wanted to investigate he little town of Hunter just north of here (you can see a shot of that town here: www.flickr.com/photos/80014607@N05/46479223214/ ). As I've pointed out in several uploads from the area, including the one linked above, much of the limestone you see is distinctively striped, as is the limestone in this one.