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Driving Licence Eater.
My 12 year old SUV went in for a standard service this week. "Leave it with us Sir. Be ready in 2 hours for you".
Only there was a problem. They had to order a part and it wouldn't arrive until the next day.
Major problem for me as I had a journey of 80 miles planned that very evening. "No problem Sir. Let me see what I can do for you".
"We do have a car you can borrow overnight Sir. It's a six speed, racing red, turbo charged sports car. Would that be acceptable to you?".
I swallowed hard and managed to say, "That will do nicely thank you."
I folded myself into the low slung beastie and have never had such a big grin on my face. The car was fantastic and exhilarating to drive. I only had one problem with it. If I owned it, I would lose my licence in a week.
The lightest touch on the accelerator pedal (compared to my ancient, automatic SUV) would send it screaming like a red and black demonic banshee into the dark night. It was fabulous and it was a huge treat.
Strangely, my boringly planned, "there and back" journey of 80 miles suddenly became 120 miles of exhilarating driving pleasure and mysterious detours on twisty, winding roads.
This curvy, little red demon went round corners like she was on rails.
I reluctantly returned the keys the following day (grinning from ear to ear) and put that one down to a red letter day experience to be repeated ad nauseum in the Old Folks Home, when that day finally comes to me.
Like Jenny Joseph, who sadly died this week, I'm going to "wear purple" when that time of my life eventually comes a'calling.
Jenny Joseph's poem - "WARNING".
When I am an old woman I shall wear purple
With a red hat which doesn't go, and doesn't suit me.
And I shall spend my pension on brandy and summer gloves
And satin sandals, and say we've no money for butter.
I shall sit down on the pavement when I'm tired
And gobble up samples in shops and press alarm bells
And run my stick along the public railings
And make up for the sobriety of my youth.
I shall go out in my slippers in the rain
And pick flowers in other people's gardens
And learn to spit.
You can wear terrible shirts and grow more fat
And eat three pounds of sausages at a go
Or only bread and pickle for a week
And hoard pens and pencils and beermats and things in boxes.
But now we must have clothes that keep us dry
And pay our rent and not swear in the street
And set a good example for the children.
We must have friends to dinner and read the papers.
But maybe I ought to practice a little now?
So people who know me are not too shocked and surprised
When suddenly I am old, and start to wear purple.
Jenny Joseph wrote this poem when she was 29 years old.
Uh oh...Executive Ellen can't get to work until she gets her garage door fixed.
This photo is loosely based on our garage door problem from yesterday. I heard a loud, unidentified noise in the morning. We searched the house but didn't find the problem until we were ready to leave in the afternoon. It turns out that the garage door spring had snapped, making it impossible to open the garage door and get our cars out until it had been repaired. You'd be surprised at how expensive it is to replace a garage door spring - yikes! At least no damage was done and our garage door did not fall off like Executive Ellen's did :-)
A big "Thank You" to the repairman who showed up within 20 minutes, on Labor Day, to fix our garage door :-)
IN ENGLISH BELOW THE LINE
El conjunt dels objectius tipus Petzval, tots de bronze. De moment només he pogut fer servir el Derogy, però espero aviat poder emprar el Voigtlander, el Lerebours i el Dallmeyer, tant per plaques de 13x18 com de 18x24.
Es tracta d'un ambrotip en vidre fosc, format 4x5 polzades, realitzat amb una Graflex Speed Graphic, fabricada entorn 1950; objectiu Kodak Anastigmat f4.5; col·lodió Mamuth Liliana, revelat amb Mamuth MD8. He de dir que no estic gens content amb aquest col·lodió, m'ha donat força problemes.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de cadmi i/o potassi, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
Aquí en teniu una demostració de com es fan:
www.youtube.com/watch?v=P1ZH4RTaM60
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Those are my brass oldies, all petzvals. By now I could only use the smaller Derogy, but I'm preparing lens boards et al. to use at least the Voigtländer, Lerebours and Dallmeyer.
Ambrotype in 4x5 format, made with a Graflex Pacemaker Speed Graphic; Kodak Anastigmat f4.5 lens; Mamuth Liliana collodion, developed with Mamuth MD8. I'm not happy at all with this Liliana collodion, has given a lot of problems, like cloudly lines & peeling, even with the developer!
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of cadmium and / or potassium, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
Here's a nice video of the wet plate collodion process:
"OK little buddy, we have a break in the rain. Go potty and poopie. Come on, please. It's day two and I know you can't hold it any longer. I have a nice chunk of rib eye in my pocket. Fine it's the old cheese we won't eat, but you sometimes do. This isn't going to happen is it? You're going to go on the floor the moment we go back in, aren't you? Well I tried and no, you can't have the stinky cheese that's now stuck to the inside of my pocket."
ADOX Golf 63 | Kentmere 400 NEW 400@800
Rodinal 1+25 / 9,0 Min / 20°C Info
I admire Hugues Erre as a photographer and chronicler of his time, in which he has captured life (I mean life in all its facets) with his camera, his eye and his empathy. I love his pictures. They are paintings. I could go on and on with wonderful words for Hugues.... :-)
The day before yesterday, a camera (as a gift from Hugues Erre) flew to me directly from Arles in a package. Directly to my studio. It is a Canon Dial 35-2 half-frame format camera (which he also used to take pictures himself).
Dear Hugues, I feel honored. You had your reasons for giving me this camera. I won't ask why. But I will send you a letter.
I will have the camera repaired at a professional repair shop. The shutter is tired :) That won't be a problem. After that, I will take pictures with this camera. I am looking forward to it.
Thank you Hugues Erre!!
--
Ich verehre Hugues Erre als Fotografen und Chronisten seiner Zeit, in der er das Leben (ich meine das Leben in all seinen Facetten) mit seinem Fotoapparat, seinem Auge und seiner Empathie abgelichtet und festgehalten hat. Ich liebe seine Bilder. Sie sind Gemälde. Ich hätte noch so viele wunderbare Worte für Hugues…. :-)
Vorgestern flog mir eine Kamera (als Geschenk von Hugues Erre) direkt aus Arles in einem Paket zu. Direkt in mein Atelier. Es ist eine Canon Dial 35-2 Halbformat Kamera (mit der er auch selbst fotografiert hat).
Lieber Hugues, ich fühle mich geehrt. Du hast deine Gründe gehabt, mir die Kamera zu schenken. Ich frage nicht warum. Aber ich werde dir einen Brief senden.
Ich werde die Kamera in einer professionellen Reperaturwerkstatt reparieren lassen. Der Verschluss ist müde :) Das wird kein Problem sein. Danach werde ich mit dieser Kamera fotografieren. Darauf freue ich mich.
Dankeschön Hugues Erre!!
SMA 18 is seen loading at Sidcup Police Station on 6th August 1975. Despite problems with punctuality, patronage held up well on route 725, and additional peak period journeys were introduced over certain sectors such as Croydon – Dartford. Whilst the “traditional” radial Green Line routes struggled into oblivion, route 725’s range of orbital links remained highly popular.
In the mid-1970s, London Country’s parent National Bus Company imposed standard liveries upon its constituents, who had to choose between poppy red or leaf green. London Country chose the green option, which could be modified to include an “express” white component. The SMA class was thus repainted, and SMA 18 had already lost its London Country logo (irreverently called “flying polo”, “gun carriage”, etc. etc.) in preparation. It saddens me to admit that following the demise of the Green Line livery, my interest in the shrinking network waned.
However, route 725 bucked the trend of decline. Companion route 726 was introduced in 1977 operating via Heathrow Airport, and route 725 was diverted to serve Bexleyheath a year later. 1978 also saw the demise of the SMA class. New timetables at last took account of average prevailing traffic conditions. Subsequent years are well documented elsewhere, suffice to say that dogmatism attempted to abolish these successful orbital express routes, and at the time of writing, all that remains is a route X26 confined to the Croydon – Heathrow leg. This despite the incoming London Mayor’s declaration in 2008 to revive orbital express services, an intention proving fruitless, with no comment on the subject forthcoming from any of the Mayoral contenders in 2016!
However, I dislike discussing politics, so perhaps I could return to the 1975 picture and point out a remnant of London Transport practice instituted from its inception 42 years earlier: finials adorning the tops of bus stop posts. Stops at which buses (central and country area) called were equipped with the red “apple core” variety, while stops at which Green Line coaches called were topped with the green “pineapple” type. This stop at Sidcup Police Station was served by both buses and coaches, so was equipped with both types of finial. Opinions vary regarding their significance, however, in my mind, they are regarded as Art Décor embellishments so typical of the 1930s, embraced by the fledgling style-conscious LT.
Houston, we have a problem...
This is the biggest bit of storm damage I've found so far on my limited travels - a big old tree down and blocking a lane.
I was faced with a connundru... a conundro... a difficult question - find a way through the blockage or go back and take the long way round to where I was going.
Well, they say where there's a will there's a way. So I phoned Will but he was busy doing voice overs for Sat Navs so couldn't come. So I had to find my own way through. Going through/over it all looked a bit sprained ankley at best, or at worst, a stabby branch up a trouser leg, so a bit more exploration took place and I found I could go around the whole mess fairly easily by navigating my way through the bushes on the left hand verge.
Quite how it has been left this long is beyond me to be honest.
There was a sign up saying road closed by the way, but we cyclists don't bother with minor details like that do we...
A collection of shots from the Old Road between Masboroough Junction and Beighton Junction in an hour this afternoon picking up diverted WCML freights and other engineering trains. I was slightly frustrated arriving nearly two hours later than I had planned which would have coincided with the Coatbridge to Daventry liner and a southbound engineers. The eventual outcome is the Coatbridge was running two hours late coinciding with another southbound engineers.
A disappointing load for GBRF and not too much of a problem for 66309 the 4S57 11:56 Hams Hall GBRF to Mossend Euro terminal heads past the Treeton Loop.
hey joey, wait up.
how ya doing', sal?
joey, you been hanging around my girl?
what? no way!
cause, you see, she and I relate in a certain manner, just the two of us, know what I mean?
yeah?
but when a third person gets involved, it messes up the whole thing. it's like, nothing works the same anymore. you follow?
I'm not sure I do.
well let me clarify: if you was involving yourself, it would make me very unhappy, and things might get a little out of whack.
I don't want that.
me neither. so that's why you're leaving town. ain't you?
uh, yeah. definitely.
I thought so. have a good trip.
thanks.
you're welcome.
My problem is this: I go to the Polaroid meet ups, I go to PolaCon, I’m always trying to take a good picture. No, what I’m trying to take is THE BEST PICTURE OF MY SUBJECT THAT HAS EVER BEEN TAKEN.
It’s a challenge, and I like it. This is not the problem. The problem is, what do I do AFTER I’ve taken such a picture? This one of Ashley, we’re at a meet-up Bret Watkins put together, the sun is perfect, we’re on a bit of a hill where I can get everyone back-lit and hit ‘em with the flash…this is the one to beat, now. I’m in competition with my past self…and my past self was just so damn good.
I had problems with the focus with this lens but have seem to have it resolved but too late to get any other good photos today. No wonder I like manual focus.
The New Towns Act of 1946, as many of you will know, was Britain's post-war response to the problems of overcrowding and poor housing conditions in its cities, especially London. Those problems were often exacerbated by the effects of wartime damage. Harlow in Essex was one of ten so-called "Mark 1" new towns planned as satellites of renewal around London and, following its designation in 1947, was one of the first to see building work get under way.
The master plan for Harlow New Town was the brain child of Sir Frederick Gibberd, who later gained fame as the designer of Liverpool's Metropolitan Cathedral. Gibberd collaborated with landscape architect Sylvia Crowe to oversee the development of Harlow for more than 35 years, and invited many other leading architects of the day to contribute buildings to the town
This is the view looking due east along East Gate, from a point roughly where it joins West Square. Despite some aggressive redevelopment in recent years, central Harlow retains much of its 1950s character. See, for example the jaunty clock face just visible in the middle distance on the left, at the corner of Market Square. Stylistically it would have fitted in perfectly at the Festival of Britain on London's South Bank in 1951.
I was surprised to find how quiet the centre of Harlow was on a Saturday night. In fact it was practically deserted. Things were a little more lively a short distance off to my left, where the local branch of JD Wetherspoon is located ("The William Aylmer"). It's housed in a 1958 building with plenty of period detailing, and is therefore "right up my street". I enjoyed a good curry there, a dish which - as I understand it - is one of the establishment's specialities.
To assist with writing the caption I consulted Wikipedia and England, a Guide to Post-war Listed Buildings by Elain Harwood, second edition (Batsford, 2003).
No es un problema para mi...Es un problema para ti
algÚN problem? O no problem?
Parque de los estudiantes
cali
c-c
All the big spoons were dirty so I had to eat my cereal with a little spoon. Now I'll take forever to finish it.
Taken for ODC Sept 26th: First World Problems
My problem with a lot. of my images (and selling them) is that I don't think there's anybody else who is going to like them as much as I do,
I like this image because I struggled to figure out what was going on. You probably won't have to struggle as much, but the struggle is now part of my liking.
Pentax KX film camera first try.
Photography, wether digital or film, done all manual is about resolving problems. A headache I welcome.
I did this to enter in a weekly competition.
Unfortunately it turned out that "Beards" was last week's competition theme.
This week it's "Jumping".
Fuck jumping.
Mixed media on paper, 10 x 7 inches
Sold.
Aquecimento global, consumismo e contrastes
No intervalo de um programa sobre o aquecimento global, havia uma série de comerciais: troque o seu carro, compre um computador mais atualizado, adquira uma casa maior.
Durante o programa a entonação preocupada do narrador, e nos muitos intervalos a euforia dos comerciais chamando consumo. No entanto é claro o contraste: quanto mais consumimos mais aquecemos o planeta.
E é difícil fechar esta equação. Por que de fato nunca consumimos tanto. E daqui para frente cada vez mais.
Em algumas grandes cidades, às vezes tem se a impressão que o trânsito vai se tornar ou já se tornou impossível, tal a quantidade de carros circulando. Engarrafamento, todo mundo parado, mas o motor funcionando e queimando combustível.
Há uma infinidade de anos eu leio notícias que a Amazônia está sendo destruída. Programas inteiros na televisão dedicados ao tema. No entanto, vejo que ano após ano a floresta vai encolhendo um tanto. Às vezes diminui um pouco o ritmo do desmatamento, mas nada que mude ou cesse o rumo que parece inexorável da destruição.
Eu sei que há iniciativas e atitudes que buscam melhorar a situação: protocolo de Kyoto, ONGs, maior consciência e educação ambiental, muitas pesquisas acontecendo e tudo isto vem a somar.
Mas, também é fato que o mundo é limitado em recursos, enquanto nossos desejos são ilimitados.
Progresso e desenvolvimento estão associados com maximizar resultados e lucros, e nisto a história mostra que a natureza sempre ficou em um segundo plano, ou então em plano nenhum.
As contas são feitas de forma individual. Por empresas ou indivíduos em uma equação bastante simples: Quanto mais melhor! Não há uma conta global efetiva levando em conta o equilíbrio ou harmonia com a ecologia. Considerando o que o planeta tem a oferecer. A conta é feita a partir do que cada um consegue extrair.
E também não há uma culpa individual. É uma atitude de todos mas sem senso de coletividade. Ninguém está errado em querer o melhor para si. Mas se não cuidarmos do planeta o que deixaremos para as gerações seguintes?
Portanto, o que falta é uma consciência que entenda melhor os limites. E que promova um equilíbrio maior na distribuição da riqueza que é possível de ser gerada.
E que implica em mudar muito nossos condicionamentos, mas principalmente nossos sentimentos: menos individualismo, menos consumismo e egoísmo.
Não é preciso que surja um “novo cidadão”, mas que o sentimento, a consciência e a atitude que já existem em algumas pessoas se estenda a muitas outras e seja predominante na sociedade.
É preciso que a maioria abrace a causa da natureza, não como um modismo, mas como uma opção de vida, com a consciência de que a terra depende disto, hoje, amanhã e depois. Cuidar da natureza, como um hábito, um dever e uma obrigação.
Esta é uma equação complexa, um problema global, a que somos apresentados pela primeira vez na história, e que cada vez vai “gritar” mais forte por uma solução. Como vão “gritar” as pessoas que não terão água limpa para beber. Água que significa vida...cada vez mais cara e rara.
Paradoxo este da civilização, o de nos entendermos em evolução, e no entanto, de forma acelerada, extinguindo ou sujando de forma a tornar imprestável, o líquido que representa a vida. Mas a vida não é o objetivo maior? Se é assim porque destruimos o recurso que a mantém?
Trazendo agora o assunto para o nível pessoal, há alguns meses atrás eu comprei uma sacola de material durável, e a levo sempre ao mercado quando vou fazer compras. Com isto já economizei algumas centenas daquelas sacolinhas que lá são dadas e que vão terminar no lixo. Aprendi que também dá para evitar pequenos desperdícios de água, dispensar o carro em pequenos trajetos, economizar energia.
Tão pequeno isto, eu sei, mas me sinto bem. Em sintonia com o que a terra de fato precisa. Acredito nisto de irmos somando individualmente. Eu faço a minha parte, tento aqui convencer você, logo adiante mais alguém...
Porque se eu faço parte do problema, também quero fazer parte da solução.
E, em vez de só aguardar mudanças maiores dos países, governos e das demais pessoas, prefiro com honestidade me perguntar: O QUE EU POSSO FAZER PRA AJUDAR???
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•Foto: jardim aqui de casa.
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