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As white light travels through sea water, longer wavelengths are absorbed more than short wavelengths. This means that red light disappears first, followed by yellow and orange. Blue is absorbed last so eventually all light disappears, leaving the oceans dark below 100 m, or shallower in more turbid waters. But the effect occurs immediately meaning that even shallow water starts to appear blue as seen in this pic. The gradation of light absorption is visible as soon as you leave the shore; the sand and rock don't actually change colour of course, it just looks that way as you peer through the diffused blue light. Shellharbour
The now removed and sold Hula-hooping girl by Banksy, in Radford, a district in Nottingham, Nottinghamshire.
Painted in black and white, the tongue-in-cheek image sits just behind a battered bike, with a missing tyre, chained to a lamp post with an infinity lock. The inclusion of a bike in the installation was taken as a reference to the now shuttered former Raleigh plant that provided so much employment to the area. The hula-hoop girl felt instantly, intrinsically connected to the city.
Surinder Kaur, 42, who runs the beauty salon next to the mural, said the bike had appeared at the same time as the mural. She said within hours the council had rushed to protect the piece by placing clear plastic sheeting over it. Vandals have spray-painted over the plastic two or three times already.
The work of the mysterious activist and graffiti artist was first revealed in October last year and confirmed to be authentic when Banksy posted a picture to the official Instagram page.
The artwork was removed from the side of a building after it was bought by a gallery owner John Brandler for a “six-figure sum”. He claimed that he had saved the artwork “in time” before damp – resulting from the plastic cover put over the painting by Nottingham City Council – could cause damage. “If you put Perspex over a picture the moisture gets into the brick wall and can’t escape,” he explained. “The wall needs to breathe.
It was reported that the owner, who wished to remain anonymous, had attempted to “donate” the artwork, however, “substantial discussions” which had taken place with several organisations had not been successful. The owner said: “Since we were unable to donate the artwork itself, we’ll be donating the proceeds privately instead.”
The city rejuvenation board Nottingham Project claims they had been in contact with Banksy’s team (Pest Control) following the mural’s appearance and said that they believed its removal from Rothesay Avenue is against the artist’s wishes. That they had requested Banksy’s approval to move the piece to another location in the city, however, were asked to leave the artwork in its original place.
In March, a missing person poster with a photo of the artwork was added in its former home. The poster included a telephone number to call, which relates to the Brandler Galleries in Essex that purchased the artwork.
John Brandler said that the artwork would be displayed in the summer of 2021 at the Moyse’s Hall Museum in Bury St Edmunds, Suffolk.
Information Sources:
www.nottinghampost.com/news/local-news/live-updates-banks...
www.nottinghampost.com/news/local-news/missing-poster-ban...
www.nottinghampost.com/news/nottingham-news/loss-nottingh...
www.theguardian.com/artanddesign/2020/oct/17/banksy-confi...
www.independent.co.uk/arts-entertainment/art/news/banksy-...
Rollins College students travel to Moab, Utah for an alternative spring break camping experience. They worked with Plateau Restoration, Inc. to remove invasive plant species and help restore native desert habitats. 2016. "Photos: Scott Cook"
Our neighbors had significant limb removal done. Oddly they left the trunk of this tree. Too bad I don’t know exactly how to color the workman’s helmet orange like it was in real life.
Shot through the screen in our front window—- hmm, I wonder if i could use the Retouch app to get rid of that?
Removed Focal Plane Shutter and cleaned mechanisms, lubed and reset to camera to factory specs.
Cleaned this by squirting Naptha on all Parts. Oiled moving spindles with NyOil. DO NOT grease the gears.
This panel, done in a Romanesque style, was removed from the Ogden Avenue Bridge House. The bridge house was demolished in 1994 when the portion of Ogden Avenue between Fry Street and North Avenue was removed.
It is said that some of the other panels were stored under the Roosevelt Road viaduct, which crosses Metra's Rock Island Line and Amtrak.
Removed Focal Plane Shutter and cleaned mechanisms, lubed and reset to camera to factory specs.
Those 2 raised knobs on the gear wheel I cleaned with Naptha, and used Synthetic Grease sparingly on the 2 knob post. Just a dab or 2, it's not a transmission.
In the words of poet Edward Estlin Cummings, "For whatever we lose (like a you or a me), it's always ourselves we find in the sea." Wherever we go, we leave traces of ourselves. We are never gone - even if we are.
_________________________________________________________________________________________________
Sculpture: "Once Removed" by Robert Barnstone
Also on:
DeviantArt - kurosakii.deviantart.com/art/Once-Removed-442537067
Facebook - www.facebook.com/felisatanphotography/
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Remove the separation between yourself and your subject
— Graeme Williams
I'll admit I've struggled with this challenge. I've not been able to come up with anything new or fresh to do it justice. In a sense I've hit a wall. Out of time and out of ideas. I'm not happy about it but I'm going to accept this challenge has gotten the best of me and move on.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Olean, NY. August 2017.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Munition being loaded to Tornado GR4. This image was awarded 2nd place in the Royal Air Force Photography Competition.
The Postcard
A postcard that was published by the Cynicus Publishing Co. Ltd. of Tayport, Fife. The artwork was by Cynicus.
The stamp has been removed along with the date and location of posting, but we know that the card was posted to:
Mr. E. R. Naldrell,
Rye Farm,
Barns Green,
Horsham.
The message on the divided back of the card was as follows:
"Dear E,
How would this suit you?
Sorry to see so much rain
for dad's haying.
How's things looking?
Eddie".
Cynicus
Martin Anderson, better known by his pseudonym Cynicus, was a Scottish artist, political cartoonist, postcard illustrator, and publisher.
Martin Anderson - The Early Years
Martin Anderson was born in Leuchars, Fife, in 1854. After his mother, Margaret Martin, separated from his father, she moved with her children to Cambuslang, Glasgow.
Anderson studied at Glasgow School of Art under Robert Greenlees, in Ingram Street Glasgow. On leaving he worked as a designer at a calico printer.
Martin Anderson's Career
When he was 19, Martin founded The St. Mungo Art Club in Glasgow, intending it to be an alternative to the grander Glasgow Art Club.
In 1877 he began to provide small illustrations for serial stories in the short-running "News of the Week". In 1878 his painting "The Music Lesson" was accepted for the Royal Scottish Academy's annual exhibition.
In 1879, at the age of 24, he decided to move to London, ("To study art proper" he explained in an 1894 interview in The Sketch).
In 1880 he was invited to join John Leng and Co., (the publisher of titles such as the Dundee Advertiser, the Evening Telegraph, Peoples Journal, and Peoples Friend), as its staff artist. Accepting the position, Andersen became the first such artist to be employed by any daily newspaper in Britain (until then daily newspapers were not illustrated). He moved to Broughty Ferry near Dundee.
In 1881, as a freelance artist, he began contributing cartoons and illustrations to the comic weekly "The Quiz", an imitation of the magazine "Punch". For his illustrations in The Quiz he used the pseudonym "Bob", but in November 1887 he adopted a second pseudonym, that of "Cynicus", and began to move away "from the safe and trivial to the dangerous and powerful realm of politics".
A series of cartoons entitled The Satires of Cynicus appeared in The Quiz in 1888. In 1890 he decided to publish a collected edition of his more controversial subjects. The Quiz cartoons were redrawn in a larger size and hand coloured. They were published in six monthly parts, each part containing two full-page cartoons. However, they did not sell well.
In 1891 he moved back to London in an attempt to get his work noticed, taking a shop in Drury Lane, with the sign "Cynicus Publishing Company" over its door and with prints of his cartoons displayed in its windows. The Satires of Cynicus began to attract public attention and increasing sales. The edition was limited to 1000 copies, and by the end of 1891 it was almost out of print.
In 1891 he began contributing work to the "Pall Mall Budget", as well as to "The Idler" and "Ariel or the London Puck", yet another rival to Punch.
A second book, entitled "The Humours of Cynicus", again containing many reworked The Quiz cartoons, was part-work published starting in September 1891.
The complete 1000-copy edition of the complete volume sold for 25 shillings, with a 100-edition deluxe version priced at 2 guineas. In 1892 he began work on another collection, "Symbols and Metaphors". It was also issued in parts, like its predecessors. A cheaper edition of The Satires of Cynicus was published in June 1892, and there were also later reprints of it.
Postcards
In the late 1890's a new market for Martin's products was quickly emerging - that of picture postcards. In 1898 Anderson began working for Blum & Degan where he designed court-sized postcards. In 1902, after the Post Office allowed divided back postcards, picture postcards became very popular and also began to be widely collected.
In 1902 Anderson decided to form his own company. The "Cynicus Publishing Company" was incorporated and began publishing colour postcards by the second half of 1902. Initially, the company did exceedingly well. However, by 1908 the mass-market popularity of postcards began to decline and the company suffered from dwindling profitability.
In 1911 the North of Scotland Bank forced the company to liquidate its assets. Its stocks of prints and original artwork were sold by the bank for a fraction of their true value and without any thought for their proper market: they were sold in a second-hand furniture saleroom rather than to art dealers in Edinburgh and London.
In 1912, after the collapse of the Cynicus Publishing Company, Anderson set up the "Cynicus Art Publishing Company" based in Leeds (the home of several postcard publishers), and began reissuing his old postcards and designing new ones. About 100 different postcards are known to have been printed by the Leeds company until 1914.
Cynicus and the Great War
The outbreak of war put an end to the seaside postcard market in Britain, and Cynicus Art Publishing Company was forced to close. In 1915 Anderson moved to Edinburgh, leasing a basement shop in York Place.
The printing plates for his postcards were sent from Leeds – but for uncertain reasons, and without the knowledge of Andersen, they were sold for scrap.
In 1915 he created an allegorical anti-war poster entitled "War!" In a pyramidal composition, a crowned Mammon sits on a throne, tossing away the Nation's wealth to an ecstatic crowd clutching sacks marked "War Profits"; a semi-naked Lust caresses him, famine and disease sit at her feet; Justice and Parliament stand bound and gagged; the Lamp of Truth is extinguished by censorship; the Church encourages the slaughter. In the foreground, a bloody river carries away the bodies of the dead while bankers grab the bank deposits of the dead.
This poster was displayed in his shop window until he was warned that he could be interned without trial under the terms of the Defence of the Realm Act (DORA). The poster was removed from view, but was made into a postcard which sold well.
In another allegorical poster titled "The Dictator", produced after the end of the war, soldiers returning home are greeted by a fat figure representing Capitalism, seated on a huge sack full of the earnings of others, using a megaphone entitled "The Press" to blast out "Propaganda and Misrepresentation" and setting his "Black and Tan" dog onto Ireland; the grave of Liberty and Freedom is trampled over by a truncheon-wielding policeman called DORA; two more fat figures, representing Lloyd George (standing on broken pledges) and the Church, carry a banner entitled "Britain's Welcome to the Troops" that frames the entrance to a poorhouse.
Martin Anderson's Retirement and death
In 1924 Martin's Edinburgh shop was destroyed by fire. Everything inside it was lost, and he did not have the funds to repair and restock it. He retired to his castle-like mansion in Balmullo to live in increasing poverty. A final edition of The Satires of Cynicus was published in 1926.
In 1930 he wrote "Memoirs of Cynicus", published in 12 instalments in the Glasgow Evening News.
Martin died suddenly on the 14th. April 1932, and was buried in the Martin family grave in Tayport Old Churchyard. The funeral was never paid for, and his grave is unmarked.
His mansion in Balmullo was extensively vandalised after his death.
U.S. Air Force Capt. Frank Von Heiland, 41st Expeditionary Electronic Combat Squadron co-pilot, removes a pilot cover from an EC-130H Compass Call aircraft at Bagram Airfield, Afghanistan, Sept. 12, 2014. The 41 EECS provides premier counter-communications electronic attack capabilities. Von Heiland is deployed from Davis-Monthan Air Force Base, Ariz., and is a native of Anaheim, Calif. (U.S. Air Force photo by Staff Sgt. Evelyn Chavez/Released)
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
Stewart began his career photographing tourists on morecambe promenade and punk bands, including The Clash and The Ramones, as they performed at local venues. Ater studying photography at Blackpool and The Fylde College, Stewart moved to London in 1981, assisting for three years before setting up his own studio. He has since become one of the UK’s most sought-after photographers splitting his time been working on personal projects and advertising commissions.
In 2009 Stewart's latest book, Thrice Removed, was published by Browns Editions. In an interview with Creative Review at the launch event Browns Nick Jones explained Stewart's motivation for the project. “David came to us with the idea for a book on relationships, not just familial but also those tenuous ones we have with people we have met through someone else or those people who are interconnected through one person, in this case, David Stewart. Some of the images also comment on our relationships with societies or groups.” The launch itself was also somewhat unorthodox as Creative Review reported "Four images were represented by a Clydesdale horse called Buster, five disaffected teen age girls, who not only recreated the shot from the book, but also helped sell copies of the book on the night, two lumberjacks who performed wood chopping skills, and a chip van which provided food for the evening.
All images © David Stewart
Pink Aurora is now fully deboxed, but is lying face down to show off the extent of her outfit. Now her skirt is expanded to its maximum extent. It is about 300 degrees. Very impressive.
Deboxing the Harrod Aurora dolls. After opening up the box, the plastic covers over the two dolls are removed, leaving the dolls in clear view. They are attached to the cardboard backing and plastic spacers. The Certificates of Authenticity are removed from under the inner boxes, and place in front of the dolls. They both say 32 of 100, as did the shipping carton. Next the inner cardboard backing, with the dolls attached, are removed from the box.
Opening the box. First the front cover is opened, revealing the two dolls facing each other in their own inner boxes. The hinges are made from thin cardboard. Then the cover is folded flat against the side of the box. The two inner boxes are then unfolded, so we can get a clear view of the Pink and Blue Aurora dolls. They are angled towards each other. The box halves have clear plastic covers, bordered by white designs and are without any text. Then the front cover is unfolded from the side of the box, to show the text on the inside. Finally the sections are fully unfolded, so the dolls and inner cover are facing straight ahead.
I purchased the special Harrods Limited Edition Aurora Doll Gift Set directly from Harrods on Tuesday, October 21, 2014. It was sold only by Harrods of London, and limited to 100 sets. The regular releases was on October 7 and 8. I first heard about the Harrods dolls on October 13, and it took a week of sleepless nights and persistent calling to finally get the dolls. It was shipped last Friday, Oct 24, and delivered to my home today Monday Oct 27.
The Harrods Aurora Doll Set consists of 17'' Princess Aurora dolls in Pink and Blue variations of her gown. The dolls are by the Disney Store, but with special embellishments over the "regular" releases (that were LE 5000 for the Pink, and LE 4000 for the Blue). They are in a unique box which opens up like a book, with the dolls enclosed in separate inner boxes, and facing each other like mirror images. They are #32 of 100.
The Aurora Doll Set was packed expertly by Harrods, with the original DS shipper box wrapped in heavy duty bubble wrap, then fitted inside a Harrods shipper box with no wriggle room. The receipt was on the top of the box, which showed the original price, the VAT that was removed, then the shipping charge and handling charge added. The total was 505.58 British pounds, or $817.85, which is just slightly more than the retail price of 500 pounds. That is more than three times the cost of the regular LE Aurora dolls (which retailed for $119.95).
I will post detailed photos of the set boxed, during deboxing, and fully deboxed. I will also post comparison photos with the ''regular'' LE Aurora dolls.
Crews are maintaining Highway 97 access, approx 11 to 15 km north of Quesnel, while monitoring a landslide in the area. Ongoing work is being done to remove debris weight to reduce slide movement.
On Dec. 13, contractor crews removed the final drill pad at the SR 203 worksite between Carnation and Duvall. The drill pads provide a level space to set heavy equipment as we install drain systems under the highway and in the hillside above. This week crews will work on removing the old, broken asphalt. Then they will pave a new road on top. A signed detour remains in place as this work continues through mid-January.
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
To repair broken concrete on westbound I-90 near Issaquah, contractor crews had to first remove the old roadway. This 40-year-old section of I-90 was damaged by water seeping from a closed coal mine. Years of seepage eventually cracked the highway.
Rapunzel is next to be freed from the display stand. First the spacer attached to the lantern and her hand is removed. Then all the tabs attaching her gown to the base of the cardboard backing are cut off. Next, we have to remove her from the doll stand. Her skirt is raised, revealing a tulle petticoat. Below that is tissue paper wrapped around her legs. The tissue paper is removed, revealing two wires tying her legs to the post of the doll stand. We also see her flat dark purple shoes.
Flynn is then removed from the doll stand, by undoing the wire tying him to the doll stand, and moving him out of the the spacer between him and Rapunzel, and then off the doll stand, which has a clamp around his waist. There is still a wire around his waist, and Rapunzel's crown is sewn to his belt pouch. The wire is removed without having to undo his clothing. Rapunzel's crown is detached from his pouch (by cutting a thread), and placed inside the pouch. He is now fully deboxed.
The cardboard backing is now cut off from the base of the case. This makes the further deboxing and re-boxing easier, as well making the dolls viewable from all angles (except from below). The rear spacer is then removed from Flynn. He is still wired to the doll stand, and attached to a spacer between himself and Rapunzel.
The cardboard backing has been split open by cutting along the edges with a knife. There is clear tape holding the two layers of the backing together. Inside the backing are the ends of the plastic spacers, wires and rubber bands fastening the dolls to the packaging. Then the backing is separated from the dolls by undoing the wires and tape in the back and pushing the tabs and wires through the backing. The backing is then laid flat on the counter behind the dolls. The dolls are still attached to the backing and to the doll stands.
Deboxing my Rapunzel and Flynn Rider Doll Set. First the cardboard cover sleeve is slipped off the case, to reveal the dolls behind the acrylic cover of the case. Then the acrylic cover is taken off, so the dolls are now in clear view. They are anchored to the base by the built in doll stands, and attached to the cardboard backing and plastic spaces by wires, rubber bands, thread and plastic T-tabs. Rapunzel looks lovely in her dramatic pose, gazing at the lantern held aloft in her right hand. Unfortunately, she completely blocks Flynn, who is almost directly behind her. They don't look very romantic when they aren't looking at each other, and are not touching, with a large hunk of plastic between them.
Disney Fairytale Designer Collection
US Disney Store
Limited Edition of 6000 Sets Worldwide
#2411 of 6000
$129.95
Released and purchased in store September 3, 2013
To be released online September 4, 2013
First Look
I got my Rapunzel and Flynn Rider Doll Set from my local Disney Store today, its release day, Tuesday September 3, 2013. There were only ten (10) people in the raffle for 18 doll sets, so less than the crowd for Snow White and the Prince (when there were about a dozen takers). Once again I was the first name to be called (I know, something smells fishy about that kind of luck), so I was happy to be the first to purchase my Tangled doll set. I noticed that the Disney Fairytale Designer Collection section now had the four remaining doll sets all displayed. The Snow White doll set was now gone from the display, as they are sold out. They were now restocked with mugs, and had a good supply of all five different DFDC mugs. I didn't bring my camera, so I didn't take any photos of the display.
As soon as I paid for my doll set, I took it outside, to a table in a rest area just outside the store. I took the box out of the gift bag, and saw the base and sleeve were in perfect shape. Then I carefully lifted the cover sleeve off the case, and inspected the dolls. They both looked in perfect shape. Rapunzel was even in a decent pose, with her head tilted at a normal looking angle, to gaze at the lantern. She looked as beautiful as I expected from seeing her in the promo images, and in person at the D23 Expo and my local store. What I was most impressed with was her outfit, as I never looked really close at it before, being afraid to handle the display dolls in the Expo or my local stores. While I was inspecting the dolls, several people near me asked about the dolls, and I put on my best salesman face to sell them on the dolls. They looked as though they were impressed by the look of the dolls.
I will photograph the dolls boxed, during the deboxing, and then fully deboxed. I will also compare them with other dolls in my collection.
Text of the box notes on the back of the cover sleeve:
A romantic at heart, Rapunzel is artistic, creative and full of curiosity. Spending her days painting and singing, her energy is as limitless as her hair is long. However, when the handsome thief Flynn Rider picks her mysterious and secluded tower as his hideout, the two begin a journey together that will untangle many secrets along the way.
Signature long hair romantically styled with braiding and flowers. Printed satin corset bodice with puffed velvet sleeves and lace detail. Warm illuminating lantern.
Layered gown with ornate golden detailing. Rich velvet overlay with gemstones and gold printed inset.
Suede-like vest that's belted with a satchel to hold the Princess' crown. Boots to finish his rugged look.
Deboxing new Elsa 16'' Singing Doll. She is removed from the backing. There are still various restraints attached to her.
I've finally gotten around to deboxing the Elsa Deluxe Feature Doll. I am way more impressed with her than I thought I would be. As with the Rapunzel Feature doll, the Try Me button on Elsa makes her sing about 10 seconds of Let It Go, and the lights in her forearms and cape turn on. The ten lights on the cape alternately light up on one side then the other as she sings. Once the Try Me button is detached from the front window, we can slide the doll out from the bottom of the box. The Try Me button is attached to her back, along with the lights on her cape. After the Try Me button is unplugged from her back, Elsa's sound and lights are triggered by sliding her ice swirl accessory a little way along her right hand. It is a bit hard to do the first time you try it, as the fit is very snug on her hand, and you have to push the bottom of the accessory very hard to get it to switch on her special effects. She sings about 30 seconds of Let It Go, the same segment as the older 16 inch singing Elsa doll. The singing is very clear, and just the right volume. I haven't compared the old doll with the new yet, as I need to replace the batteries on the old doll. The most outstanding feature of the doll is her cape, which has a glittery pattern of snowflakes and icicles completely covers the cape, and is even more detailed than the Classic Elsa's cape. It is slightly longer than floor length, so can hold its position. It is fully lined, to enclose the lights inside the cape. The other awesome feature of the doll are her semi transparent blue ice heels, which also have some glitter embedded.
Elsa Deluxe Feature Doll - 16'' H
now $29.95
reg $49.95, you save: 40%
Item No. 6002040901302P
Frozen delight
Empower any Frozen collection when unboxing this stunning Deluxe Doll to surprise all with her beautiful sculpturing, glittering costume, and special play features. Elsa's snowflake scepter lights up as she sings!
Magic in the details...
• Place snowflake scepter on Elsa's hand to see it light-up while she sings
• Detailed costume
• Glitter accents
• Braided, rooted hair
• Includes snowflake power accessory
• Comes in collector's display box with satin carry strap
• Part of the Disney Deluxe Feature Doll Collection
The bare necessities
• Ages 3+
• Requires 6 x LR44/AG13 button cell batteries, included
• Plastic / polyester
• Doll: 16'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.