Refining

To hit with precision —

exactly where I meant,

exactly as I wished.

Simple?

Not at all.

Practice and repetition bring me closer to accuracy,

but before that, I must want it.

I must tune myself inward

and learn how to refine.

And even after I’ve learned and aligned —

from every strike

there will always rise the small, unwanted fragments,

the dust that drifts in the air.

Because wanting, planning, and aiming are never quite enough.

There will always be things

we didn’t plan for.

Viser et Affiner

Atteindre avec précision —

exactement où je l’avais voulu,

exactement comme je l’avais imaginé.

Simple ?

Pas vraiment.

La pratique et la répétition m’amènent vers plus de justesse,

mais avant cela, il faut désirer.

Il faut s’accorder de l’intérieur,

apprendre à affiner.

Et même après avoir appris et m’être aligné —

de chaque impact

s’élèveront toujours de petits fragments indésirés,

la poussière qui flotte dans l’air.

Car vouloir, planifier et viser ne suffisent jamais tout à fait.

Il y aura toujours des choses

que nous n’avions pas prévues.

Excerpt from en.wikipedia.org/wiki/Redpath_Sugar_Refinery:

The Redpath Sugar Refinery is a sugar storage, refining and museum complex in Toronto, Ontario, Canada.[1] The site is located east of Downtown Toronto, the intersection of Queens Quay and Jarvis Street.

The complex, opened in 1958, houses the storage and refining plant of Toronto-based Redpath Sugar. The complex consists of Building 1 (eight floors), a chimney stack, and Building 2 (five floors), which houses the sugar museum. The sugar processed at the plant originates in the Caribbean and Brazil, and is delivered by ships using the Saint Lawrence Seaway. Due to the limited shipping season, sugar cane is stockpiled each fall in facilities next to the processing plant.

In 2006, the red illuminated "Redpath Sugar" sign that adorned the north side of the building was taken down and replaced with a sign (since removed) for Tate & Lyle, the owner at that time (Redpath is now owned by American Sugar Refining). The Redpath signage on the west side of the building is still intact. The north-facing wall of the Raw Sugar Shed features a whale mural by artist Wyland.

Since 1979, Redpath has operated the Redpath Sugar Museum in the building, with exhibits about the refining of sugar and making of sugar products. The museum is affiliated with the Canadian Museums Association, Canadian Heritage Information Network, and Virtual Museum of Canada.

Colonial Sugar Refining Co Ltd No.11 Fiji (Hudswell Clarke 972/1912) is pottering amongst the fields on the Statfold Barn Railway.

Refining petrochemicals on a cold day in Salt Lake City, Utah.

Have uploaded this photograph previously within my photo stream, have now remastered the scan to refine the tonal range and clarity. Taken in 1972 near the Cunard Buildings in Liverpool. Camera was a Nikon F using Tri-X film

In 1900, prospectors discovered magnificent green cliffs of exposed copper in the Wrangell Mountains northeast of Valdez, Alaska. Their discovery, the “Bonanza Mine Outcrop,” proved to be one of the richest copper deposits ever found. From 1911 to 1938, the Kennecott Copper Corporation extracted nearly $200 million worth of copper from nearby mines. At the peak of operation, approximately 300 people worked in the mill town and 200-300 in the mines. The Kennecott Mines National Historic Landmark preserves some of the buildings remaining from the ore refining operation, including the Concentration Mill seen in the background here. Today’s visitor can get a guided tour of the entire inside of this huge building as it clings to a steep mountainside.

Over its brief history, Kennecott Corporation, with support from J.P. Morgan, Guggenheim and other New York financiers, produced $200-300 million worth of copper and silver.

(Source: National Park Service website)

Double-click image to enlarge.

In Explore 6 Nov 2023. Best position: #445.

MacroMondays

Center Square B&W

The Bundaberg Distilling Company was formed in 1888 to supplement returns from the local sugar industry and to make use of molasses, a waste product from sugar refining. The first Bundaberg Rum was distilled in 1889 and the following year it was being sold interstate. In its early years the company struggled financially, first returning a profit in 1898.

The Bundaberg Rum distillery burnt down twice, interrupting production from 1907 to 1914 and from 1936 to 1939. After the second fire, burning molasses spilled into the Burnett River, setting it on fire. Initially, Bundaberg Rum was sold in barrels and bottled by agents. It wasn’t until the 1970s that all bottling operations were brought in-house.

Bundaberg RumQueenslanders are very loyal to their local drop. A Roy Morgan Research survey in 2015 found that while 5.4% of Australian adults consume some kind of rum, that figure rises to 9.8% in Queensland. And most of that is Bundaberg Rum – or Bundy, as it’s commonly known. Almost 6.0% of Queensland adults drink Bundy in an average four weeks, well in excess of the Australian average (2.4%).

It’s a two-way street. The company supports its loyal customers. After the devastating 2013 floods in Bundaberg, Bundaberg Rum released the special limited edition Road To Recovery bottle. Each bottle bore the name of a flood-affected street, and sales raised over $250,000 for flood relief.

Fairbanks Alaska. ca. 1985.

The United States Smelting, Refining and Mining Company. Illinois Street supply yard.

My wife took this photo of me gawking up at the huge Kennecott Concentration Mill. The section in the foreground holds what is left of an ammonia leaching operation that was part of the initial refining process conducted before the ore was shipped to the lower 48 states to complete the refining.

In 1900, the “Bonanza Mine Outcrop,” in the Wrangell Mountains northeast of Valdez, Alaska, proved to be one of the richest copper deposits ever found. At the peak of operation, 200 to 300 people worked in the mining operation at Kennecott. The Kennecott Mines National Historic Landmark preserves some of the buildings remaining from the ore refining operation, including the giant Concentration Mill here.

(Source: National Park Service website)

Over its brief history, Kennecott Corporation, with support from J.P. Morgan, Guggenheim and other New York financiers, produced $200-300 million worth of copper and silver.

Double-tap image to enlarge.

People will forget what you said,

people will forget what you did,

but people will never forget

how you made them feel.

- Maya Angelou

This painting was made on an iPad Pro, with an Apple Pencil, using iColorama and Procreate. I moved back and forth, between these two apps, layering, compositing, masking, painting and refining color relationships. I saved versions as PNGs, to maintain image quality, and I tried to utilize the strengths of each app. Eventually, I arrived at at a moment of peace, when I feel harmony in what I have done. In this, it took several days, and several temporary conclusions, before I reached the end.

What I love about working in digital media, is that I can test ideas, change my mind, move in different directions, with so many choices. It is so nimble! It is, also, compelling, and exhausting. I miss the mandatory reflection time in having to weigh and imagine visual choices, and in literally having to wait for paint to dry, with natural media.

I had been working on a portrait for Claude Panneton, which took much longer than usual, and was relieved, satisfied, and happy to think it was finished. He is a mobile art friend, whose work I respect completely. I used several of his images, some of my own elements, and found images – an old Japanese print of fishes, textures, a butterfly etc. The first version, had a full portrait of Claude on the right side, and as often happens, I later realized that I liked the depth and magic of the background, on the left side, better than the fully realized foreground focus of the "subject".

I was selecting images for a competition, which a friend talked me into entering. Having asked Claude's permission, I was preparing to submit the piece. Out of the blue, I remembered a 2nd century A.D. doll, found in a sarcophagus of an 8 year old girl, in Rome. The doll was ivory. I had saved the image to a "someday" folder, a while ago, because she drew me – the sweetness and the sadness. Then, it is as if she had to be seen, urgently. After more hours of painting, masking and layering, she arrived, large, in color, renewed, clothed, and striding as if from her own vision, somber, thoughtful, and about to free herself from the puppeteer's strings. The articulated 2nd century doll came to life, becoming real, to me, as our dolls do, when we are children.

This one rare doll, survived, loved by a child who died more than 2000 years ago, and whose family had the grace to put her to rest, with love, with her toy. I felt respect for the maker of the doll, also, for the care and craftsmanship in her. The doll emerges, in this image, from fragments of dreams – doll becoming puppet-spirit – dwarfing the puppeteer. I felt a bridge of love.

I submitted the piece, in that state, to the competition, then, went on to work with it, for another full day. I was completely unaware of time, tweaking texture and tone until it arrived here. I had no good reason for doing this, other than being curious about where it would take me. I am as surprised as anyone.

What do these elements have in common –

Claude Panneton's eyes, puppeteers, Japanese prints of fish, a 2nd century A.D. ivory doll, a piece of a musical score, a butterfly, abstract space, textures, and colors?

For me, it is about connecting to love and beauty, pausing to reflect and appreciate the very non-linear ways our imaginations can bring the humanity of past into the present moment. It is humbling, challenging, and elevating, I stand in awe of the possibilities.

10 years of refining the Surfer Girl MOC.

I don't know how many of you go through constant refinement of certain MOCs. I often start a MOC and wish there was a part in a specific color and I often have to either wait for me to obtain it or wait for Lego to produce it. So I put off updating it for years at a time. Other reason for updating is just improving my building skills and the dissatisfaction of my earlier version. I don't hide my old builds here on Flickr, as it captures my learning curve. So obviously my older builds will be of lesser quality, but such can be said for Lego's official sets from prior years/decades. Clearly Lego's building quality stems from the talented and passionate builders that once walked amongst us here on Flickr, that got recruited by Lego to elevate their set designs. Lego is lucky and may not realize just how much the Lego community has shaped the Lego product line. In my opinion all of the adult theme Lego sets are clearly a product of the talented AFOLs that went to work for Lego.

Will I continue updating this model, time will tell.

I am curious to know how many others go back and refine their MOCs, assuming you don't completely take them apart. I try to capture it in Studio software if it's not too large so that I can go back and update it later.

This is the entrance to the National Wine Centre in Adelaide, South Australia.

One of South Australia’s leading industries and exports is quality wine. The National Wine Centre, opened in 2001, is a public building designed to showcase everything to do with wine. There is an interactive permanent exhibition of winemaking, explaining the technology, varieties and styles of wine. There are also educational facilities, meeting rooms, a function hall, restaurant, cellaring and tasting areas

The architecture of National Wine Centre reflects many aspects of wine making. The exterior, pictured here, looks like a section of a wine barrel. Inside the walls of the Exhibition Hall form a vat-like shape and the industrial qualities of the bridges and ramps crossing the space add to the impression. As the visitor moves towards the tasting areas, the finishes gradually change from the course and robust to the fine and smooth surfaces, reflecting the refining aspects of the winemaking process.

In January 2015, the City of Broken Hill was included on the National Heritage Register. This register lists 106 other iconic landmarks such as the Sydney Harbour Bridge, Kakadu National Park, and the Australian Alps. Broken Hill is the first city to be listed. Extensive research and consultation with the Broken Hill community was a key part of the listing.

The National Heritage List is Australia’s pre-eminent heritage list recognising and protecting the nation’s most valued natural, indigenous, and historic heritage sites. Listing is the highest heritage honour in Australia and listed placed receive national attention and benefits from increased domestic and international tourism. Broken Hil has been assessed against the nine National Heritage Criteria, which include historic, aesthetic, and social values, creative and technical achievements, associations with significant peoples, and others.

The following is the Statement of Significance for the City of Broken Hill which was prepared as part of the listing process:

“The City of Broken Hill has outstanding significance to the nation for its role in creating enormous wealth, for its long, enduring and continuing mining operations, and the community’s deep and shared connection with Broken Hill as the isolated city in the desert, its outback landscape, the planned design and landscaping of the town, the regeneration areas and particularly the physical reminders of its mining origins such as the Line of Lode, the barren mullock heaps, tailings, skimps and slagheap escarpment and relict structures. It exhibits historic qualities in its ongoing mining operations since 1883, the current and relict mining infrastructure and its landscape setting. It is significant for its industrial past ….. together with its role as a pioneer in setting occupational health and safety standards.”

“The Broken Hill zinc-lead-silver ore deposit is one of the world’s largest ore bodies and contains an extraordinary array of minerals. It is geologically complex and has national scientific significance. The Broken Hill operation is significant for its immense size and unrecorded mineral species continue to be found. It contributes to an understanding of the formation of the Australian continent and more than 2, 300 million years of the earth’s history.”

The City of Broken Hill is delighted that the special heritage values of the city are recognised and celebrated nationally and internationally by this listing.

Wilyakali Country:

Wilyakali lies in the east of the state of South Australia, crossing into New South Wales, including the town of Broken Hill. The Wilyakali people traditionally visited the Paakantji people on the Menindee Lakes in the Darling Riverine Plains Bioregion each year.

The three Major language groups for the Broken Hill Region are the Paakantji, Mayyankapa, and Nyiimpaa.

Wilyakali and Danggali both lie east of the Ngadjuri language and north of the upper River Murray languages.

Wilyakali and Danggali are part of the Darling River Language Group or Paakantyi / Paakantji language group. This is a group of closely related languages in South Australia and New South Wales, which can be subdivided into two groups: the “Northern Dialects” and the “Southern Dialects.” Wilyakali and Danggali are both part of the “Southern Dialects.”

Other “Southern Dialects” include Pulaali, Southern Pankantyi, Pantyikali, Wanyuparlku and Marrawarra. Some of these languages have been recorded more than others. Although each language has its own distinguishing features, they are so similar they can be understood by speakers of other languages in this group. Therefore, the following reference list will include Southern Paakantyi references that may be helpful. The language name is noted in square brackets after each reference, when known.

Today the Wilyakali people are still the main Aboriginal group in Broken Hill, though there are a number of Aboriginal people that come from other language groups.

The Aboriginal people of Broken Hill have established working parties to pursue their vision of a better future. They continue to look after their traditional lands and are joint managers of the Mutawintji National Park which is the first national park handed back to the traditional owners in New South Wales. There are many strong elders who continue to maintain and pass on their traditional knowledge to their young people and, today, share their stories with the wider community.

Source: Broken Hill: A Guide to the Silver City by Elizabeth Vines, Mobile Language Team, & Aboriginal Housing Office.

Note the sleeping fluffy boi on the left on screen, for scale :-)

Refining the front booms to both be skinnier and have some more horizontal/vertical elements in order to relate better to the main horizontal boom. It's quite skinny at this length so making the front section too bulky looked a little off. Keeping all the appendages skinny feels like a more cohesive ship.

Still nothing looked in stone yet but the overall vibe is getting more solid. The display stand really helps, now I can just add things to subtract components at will. Now I can experiment will building some different modules and weird do-hickies to attach and see how they look.

Overall it's feeling more like an eagle swooping in on it's prey: wings outstretched and talons deployed. This is certainly less weird of a metaphor than a freaky-looking abyssal squid but I still want to explore that stuff a little more before I ditch it in favour of the bird motif.

Refining hundreds of years ago was far from present processes and therefore there is a lot of copper left in the slag. The enormous heaps are part of the UNESCO heritage listing, but before that , people wanted to process them

to get the copper. Copper ore made possible a more than 3oo years mining venture beginning about 1645. Today Røros mining town is on Unesco's heritage list.

Nearly two weeks ago, when I was starting this photo blog, I had premeditated only the first picture beforehand (day 1). It didn't come quite as I imagined, but I figured it was good enough. After that I was on my own and my quest for 'the 365' had started. I didn't know what to expect or wish for. I only knew I had carefully build myself a photo blog for my 365-project and searched for couple of forums where I could share my coming adventure. I had already invested a fair amount of work into it, so I couldn't turn away from it now (plus there was couple of good friends pushing me into it). In a sense, I had my concept and bones ready, but I knew nothing about how the 365 would change my photography. One picture per day might sound hard to achieve, but there is one very important aspect in it, which will refine your photography. It will give you a context for your photography. And having a predetermined context will quickly change the way how you approach photography.

First of all, the context will give you a guideline which to follow. Persistently diversified paths of endless possibilities and testing of different ideas you randomly found from the web will narrow down to something actually meaningful you can hope to realize some day. Once you throw out irrelevant substance, your goals become more clear. No more wandering around with camera hanging from your neck and just hoping to come across something to photograph. Having a context makes it possible for you to plan your photography and planning means that photographs are something you make, not just take from your surroundings. Once you have a context, your perception of environment will align to it.

Secondly, the context will determine if you are succeeding or not. It's soothing to have at least to some extent a clear indicator for succeeding. Of course you can make great pictures without a context too, but it's easy to shoot diverse stuff and not having a clear understanding of what makes them great in their entirety. Besides that, the context will open up different and perhaps new definitions for succeeding, which will transform the way you photograph.

Lastly, the context will make your work ready. It will define the borders when it's enough and when you've done your job. Without the context defining the limits, one will easily splash across different objectives and nothing gets done to an end. It can be frustrating experience to shoot great pictures but having no home for them. It's the predetermined context and the limits it carries that will eventually build a home for your pictures.

Ps. About the photograph, it's candies what Finnish call 'salmiakki' and others supposedly say 'salty liquorice'. My Japanese friends say they taste like medicine and I think that's actually a pretty good description. Without a context I would not have shot this shot either.

Year of the Alpha – 365 Days of Sony Alpha Photography: www.yearofthealpha.com

12.6.2021.

Statfold Barn Railway.

Hudswell Clarke (Leeds) 0-6-0 No 972 'Fiji' climbs to Statfold Junction with an afternoon passenger train.

Built in 1911 specifically to work in the sugar cane fields on the 2'- 0" gauge rail system of the Colonial Sugar Refining (CSR) Company Ltd in Fiji.

Tried to refine a similar photo I did by making each post spin fit inside the one before it. Guess there weren't enough steps in between to make this work.

Spin by Lo. 4 spins (though the fourth is barely visible).

**Due to complications, I will have to stop my 365. I'm going to start over again this summer.**

Yokuts Park, Bakersfield, California 2008

When I was refining the design, I tried to think of some accessories for the robot. Here's a ukulele, an electric guitar with an amp and a cable, and a music face. Like the flower pot, the amp is square with rounded edges to match the style of the robot.

The instruments may very well look like other people's work - that's not intentional, there aren't a lot of ways to build proper music instruments at this scale.

Instructions will be released on rebrickable in the coming months, and I will show more accessories in the next few weeks.

W.A.L.T. will be available for preorder on bricklink starting February 16th. :)

Still refining my design aesthetic -- water color, hand lettering with images that evoke wanderlust for art and travel. This time the color palette is mint + pink/coral with pops of blue and yellow.

I will tweak this style a little but have been wanting to use this fabric for something like this for a while :)

“Customers*, I find myself in a dilemma”. Immortal words from former great Quiz Show Host Bob Dyer *to Barry Jones, after asking him the name of the first Governor-General of India and getting a long, rambling and entertaining answer......(who remembers that?”)....as I do with this shot.

This is Capertee Valley/Canyon west of the Blue Mountains in New South Wales. Taken from Pearson’s Lookout, the sign says that at 30 kilometres wide, the Capertee Valley is purportedly the world’s largest canyon, one kilometres wider than the Grand Canyon although nowhere near as deep. Pearson’s lookout is about 700 metres, that is approximately 2000 feet above the valley floor.

Wikipedia says differently...clearly saying it is the second largest canyon in the world by both width and depth. Who am I to say, a humble amateur geographer amongst my other sins.

The flat Mesa like mountain right of centre background is known as Pantoneys Crown at 1020 metres (back to metric). The oil shale town of Newness is far back to the left of centre and Glen Davis, also an old oil shale town further to the left (north). Oil shale opened up this area in the late 1800’s and massive facilities were built to refine and transport it. Most of the towns are now basically ghost towns with a few relics of these days left. Roads still lead into the area for exploration and photography but are mostly unformed.

Here is the Wikipedia article, you can make up you own mind.

en.m.wikipedia.org/wiki/Capertee_Valley

* 1960’s - BP Pick-a-Box

The Illinois Street warehouse/shop of the United States Smelting, Refining and Mining Company. Fairbanks Alaska. ca. 1985.

The USSRM provided equipment to its subsidiary the Fairbanks Exploration Company (F.E. Co) in support of gold mining operations outside of Fairbanks in the middle part of the last century.

www.asme.org/about-asme/engineering-history/landmarks/113...

Friday Flashback.

Tri-X 400, Minolta SRT.

A Mobile Refining Vessel, built by Civilian Engineering Corporation. It carries a myriad of refining equipment, the main of which is a collider-reactor (the green structure protruding at the rear of the ship) designed to collide isogen and puzzleium, resulting in awesomium condensates.

-----------------------------------------

This was a rush build of a few hours, but lots of fun, especially considering I hadn't built anything significant in a while. It includes quite a few tablescraps, most noticeable being the collider-reactor itself.

St Materiana's Church, Tintagel...The premise of my artwork is to explore the irony of the old hellfire and brimstone sermons. What if the church itself is judged, how would it stand. Would it be consumed like Sodom and Gomorrah by hellfire and brimstone or would the church be suject to the refiners fire as described in the book of Malachi...But who can endure the day of His coming? And who can stand when He appears? For He is like a refiner's fire and like fullers' soap. "He will sit as a smelter and purifier of silver, and He will purify the sons of Levi and refine them like gold and silver

My first complete painting in ArtRage, having previously done a few exercises and studies.

I followed this excellent series of acrylic tutorials youtube by Will Kemp.

I followed all the steps building it up from a neutral ground then underpainting, blocking in, refining etc.

The site was formerly an oil re-refinery operated by Canadian Oil that was a fully owned subsidiary of Shell Oil Company. Re-refining services ceased operations several years ago and the site was taken over and revamped in the spring of 1999 by Quantex. It is currently operates as a waste treatment facility.

When Quantex assumed operations at the site there were approximately ten million litres of liquid waste that had been abandoned by the previous operators.

The United States Smelting, Refining and Mining Company. Fairbanks Alaska. ca. 1985.

Illinois Street warehouse/shop. The USSRM provided equipment to the Fairbanks Exploration Company (F.E. Co) in support of gold mining operations outside of Fairbanks in the middle part of the last century.

www.asme.org/about-asme/engineering-history/landmarks/113...

Friday Flashback.

Tri-X 400, Minolta SRT.

MUSIC

Double exposure

Rollei Retro 400S

Refinal (stock) 12 min

TUMBLR

Trying to refine the wings a bit for Angel. The rubber band on the inside makes these more discrete. Getting the hands into the arm sockets was a pain though.

Refining designs for an etching plate.

Hello darkness my old friend…

What you are (not) seeing, highlighted in blue, is dark matter. Webb was used to precisely map out the dark matter that is part of the makeup of two colliding galaxy clusters, with help from @NASAChandraXray. Webb captured more extremely faint galaxies in the Bullet Cluster than ever seen before (as well as foreground stars), allowing scientists to accurately determine the mass of the cluster.

Chandra data shows the hot, X-ray-emitting gas present between the two galaxy clusters (highlighted in pink). As these two galaxy clusters collided, this gas was dragged out and left behind. Webb observations show that the dark matter (in blue) still lines up with the galaxies and was not dragged away.

Normally galaxies consist of gas, dust, stars, and dark matter, all combined, even when the galaxies are part of a cluster. Observing this separation between the gas and dark matter is unusual.

While we cannot see dark matter because it does not emit light, it has mass and gravitational influence on light we can see. It can act like a lens, magnifying and warping objects behind it. Imagine dark matter as water so clear you can’t see it unless the wind ripples it. The ripples will distort the shapes of any pebbles below its surface. Likewise, dark matter distorts the shapes of distant background galaxies. We can’t see it, but we see its effects.

Image credit: NASA, ESA, CSA, STScI, CXC

Science credit: James Jee (Yonsei University, UC Davis), Sangjun Cha (Yonsei University), Kyle Finner (Caltech/IPAC)

#NASAMarshall #NASA #NASAWebb #JWST #NASAGoddard #astrophysics #NASAChandra #Space #Chandra #Telescope #Universe

Read more

Read more about NASA’s James Webb Space Telescope

NASA Media Usage Guidelines

**Ohio-Colorado Smelting and Refining Company Smokestack** - National Register of Historic Places Ref # 76000548, date listed 1976-01-11

NE of Salida at jct. of SR 150 and 152

Salida, CO (Chaffee County)

The Smeltertown Smokestack was built for the Ohio-Colorado Smelting and Refining Company. Commenced in 1916 and finished in 1917, this majestic brick and tile structure stands 365 feet into the air, 35 feet taller than the famous Daniels and Fisher Tower in Denver, twice as high as the 179 foot Leaning Tower of Pisa. The concrete foundation, 40 feet wide, extends downward 30 feet into the ground to solid granite.

The octagonal base rises approximately 70 feet above ground and is of pressed, glazed brick; the walls here are six feet thick. Above this base rises the circular upper part of the stack; it is constructed of a special tile. Here the walls taper in thickness from six feet, to three and one-half feet at the top. The top, with its flat steel collar, measures seventeen feet in diameter. Two hundred sixty four standard gauge carloads of brick and tile went into the structure. Construction cost was $43,000. It is estimated that at today's construction costs, a similar stack would cost over a million dollars. (1)

References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/76000548.pdf

Colonial Sugar Refining Co (CSR) 0-4-0ST No.19 is working the passenger service at Statfold Barn arriving at Oak Tree Halt, 5th April 2025.

Locomotive History

No.19 is a two foot gauge 0-4-0ST locomotive built in 1914 by Hudswell Clarke, Leeds (Works No. 1056} and supplied to the Colonial Sugar Refining Co (CSR) of Fiji. It was withdrawn in 1960 and put on static display at the mill apart from a brief return to steam in 1978 for the mill's 75th anniversary celebrations. It arrived at Statfold in May 2012 and was back in steam in the spring of 2013.

refining the HydRingEa: I moved the triangle and hex twists from the back to the front. the triangles can be mostly hidden. and the hex twist gives rise to some nice extra floral decoration (others ways are conceivable).

I like it more this way.

in other news: spring has finally come, hooray hooray!!! :-D

(today almost felt like summer even.)

Refine your vision !

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Photo by @refinephoto.id

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These little guys are so predictable, that it seems you have unlimited opportunities to improve and refine. Here I just moved the feeder in relation to the same background pine branches.

I'm not spending a lot of time a this...I'm just popping in between farm/ranch chores.

Still refining how I edit using old photoshoots.

If I remember correctly we have been to Mitchelstown before but not with this particular view and not with the Eason collection? Up in the heights of north Cork, Mitchelstown is a small town of wide streets and this fine square. The military firing range of Kilworth is nearby.

Given that location and subject was firmly established, much of the discussion on this image was on the date. The general consensus is that we can likely refine the 40 year catalogue range (c.1900-1939) to the years around WWI (perhaps c.1915-1920). Specifically, this image must date from after 1906 (statue built), probably dates from at least the mid-1910s (businesses/posters/motor-car), and possibly dates from before 1920 (bank building work).....

Photographer: Unknown

Collection: Eason Photographic Collection

Date: Catalogue range c.1900-1939. Certainly >1906. Perhaps <1920. And probably c.1915 (give or take a few years)

NLI Ref: EAS_0954

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

From wikidedia: The Rodeo San Francisco Refinery is a oil refinery located in Rodeo, California, which is located in the San Francisco Bay Area. The refinery is currently owned and operated by ConocoPhillips...The complex is capable of refining 100,000 barrels of crude oil per day.