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Among a batch of second-hand examples purchased by First fairly recently, ex Halton Transport ADL Enviro200 YN62BNU (44473) has found itself placed into the fleet at Chelmsford.
Working its first turn on Route 42A, 44473 arrives along Dunmow Road into Bishops Stortford with the first working of the morning into the town from Chelmsford City Centre 20/11/22
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©2018 Fantommst
A trio of C40-8s eases a train of Minntac chips and fines down Proctor Hill. I'm not sure if they set the retainers without straight air (older operating instructions would require retainers).
One of my targets for the latest exploration of the playa in the Mojave Desert where I look for dendritic channels was this spot, out in the middle of the dry lake. Satelllite images indicated there might be subtle, feather-like patterns in calico colors out there. The deep bold channels stole the show; they appear to be reaching for the last rays of sunlight. The feathery textures near the bold channels add a gentle aftertaste to the first impression.
This spot required a 1.25-mile hike from the nearest road, but all on flat crunchy ground. The patterning and shading in this spot differs appreciably from locations closer to the shoreline to the east and south (see links below).
Early colour lights the sky on my local beach at Sandsend [looking towards Whitby]. My wife had told me that dawn might be rather nice. I jokingly tell friends that beachwear consists of a heavy coat, waterproof over-trousers and neoprene Wellington boots - with temperatures around freezing, I'm sure you'll understand.
If God forbade drinking, would He have made wine so good?
Cardinal Richelieu (1585 –1642)
Our personal space seems to require considerably more real estate when in wide open areas or places that we don’t expect to find other people.
Another couple, tourists by the look of them, pitched their tent with a clear view of the iconic mountain, a colossal cone made by someone or something in search of true perfection. It didn’t bother me though. A mutual wave of hand exchanged the intense common feeling, only possible between souls who passionately share a love for the same thing.
Seaspray found its way into the car and mixed with the mellow music into a mind thawing brew. Only a few olives away from completing an award winning sandwich, something made me look over my left shoulder. The way a scratch on vinyl does it to a beautiful melody, the scene ripped a sore through the self induced nirvana.
Oh, the vision I had, that little hallucination of mine. It was a cloud in the shape of a giant tsunami, a half mountain high about to splash into it and turn the whole world, myself, my drinks, a loaf of exotic bread, cold meats and half finished sudoku, into a big featureless swamp. I learnt later, the entire incident was the result of an ancient curse of Bacchus, invoked without exception upon any soul who dares to consume fine wine from a plastic cup.
Don’t do it.
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A primarily carnivorous species that eats all sorts of small creatures, the magpie-lark can adapt to an enormous range of different habitats, requiring only some soft, bare ground for foraging, a supply of mud for making a nest, and a tree to make it in. Seen while walking along the Strand in Townsville.
Over the weekend I visited many buildings open only once a year in London Open House. This was on the Saturday while leading a group of 10 from Bognor Regis Camera Club. It has the best type of format for Open House of a self guided Tour following signs rather than the more common guided tour with limited numbers which leads to large queues or pre-booking being required. Also for some reason the numbers attending were much smaller than many other buildings which is surprising for such a magnificent building. A number of the boxes with seats having a great view over the auditorium were open to view and I went round quickly checking each one to find the best for a head on view towards the stage for best symmetry. I am not sure whether using a tripod was strictly allowed but I got to a front seat and set mine up so there was no trip hazard and there were no complaints The image was taken as 60 shots for HDR in sets of 3 exposures over 3 rows. I ended up processing though only 2 rows of 6 shots each from single images. The highest row looking up more produced too much distortion.
The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London, which holds the BBC Proms concerts annually each summer since 1941. It has a capacity of up to 5,272 seats. Since its opening by Queen Victoria in 1871, the world's leading artists from many performance genres have appeared on its stage and it has become one of the UK's most treasured and distinctive buildings. The location of some of the most notable events in British culture, each year it hosts more than 390 shows in the main auditorium, including classical, rock and pop concerts, ballet, opera, film screenings with live orchestra and sports. The Hall was originally supposed to have been called the Central Hall of Arts and Sciences, but the name was changed to the Royal Albert Hall of Arts and Sciences by Queen Victoria upon laying the Hall's foundation stone in 1867, in memory of her husband consort, Prince Albert who had died six years earlier.
The picture was taken with a tripod with a Sony A700 with a Sigma 10-20 wide angle zoom at 10 mm being 12 shots for panorama. 2 rows of 6 were processed separately as panoramas using the Photomerge tool in Photoshop and then combined into the final image Further processing using Topaz Clarity for more detail and also the straighten and crop tools in Photoshop. Adjustment layers were used to fine tune brightness and colours.
For my Photography books Understand Your Camera and Compose Better Pictures see My Author Page USA or My Author Page UK
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It looks much worse than it was, but still required a head for heights. This 24 mile marathon must easily fit within my all time best ten mountain hikes.
This particular day we set off early to complete the Dawson, Pitamaken loop, which has to be one of the most stupendous hikes I have ever undertaken. Our route would take us through forest for a few miles, alongside and way above a few isolated mountain lakes and then along a traverse which hugged the side of Flinsch Peak where this image was taken. Once we reached the bealach around the far side I dumped my rucksack and scooted off up to the summit of this wonderfully remote nine thousand foot peak. My issue here was that no one else wanted to extend the climb so whilst they disgruntledly waited for me to return they chose to partially fill my ruck sack with rocks. It was only six miles later when I realised what they had done. Had my hiking pals done right adding to my load, well they would say so given the fact that we missed the last boat of the day back to the campsite and had to walk. In fact matters became worse when we realised the track around the short side of Two Medicine Lake was closed due to bear activety, so instead we had to take the additional five mile route the long way back. I wasn't popular, but then I was the only one who had climbed anything that day.
*PBR viewer required*
Clover - Tear Flood
The Clover Tear Flood takes *Crying you a river* into a realm of its own.
This fun animesh attachment/gesture floods your avatar with water as you cry, using particles, animesh attachments, scripts, and animations to do the trick.
Includes 2 eye attachments for tears, and the animesh object that you position under your avatars feet, and it slowly floods your avatar. With actual fluid movement (From animesh.) The textures are PBR only but you can also modify this object as you want to change the look.
The Warehouse Sale opens April 23rd!
As we pulled the cover over my car, I spotted this dead bee on the fabric. I hadn't seen one like it before. I looked in my bee book and think it is Lipotriches (Austronomia) australica. While I was sad to see it had died in the folds of the cover, it did provide me a great opportunity to photograph it closely. It reminded me of those big displays in museums, only this one didn't have a pin stuck through it!
The Assumption of the Blessed Virgin, Ufford, Suffolk
They told her how, upon St. Agnes' Eve,
Young virgins might have visions of delight,
And soft adorings from their loves receive
Upon the honey'd middle of the night,
If ceremonies due they did aright;
As, supperless to bed they must retire,
And couch supine their beauties, lily white;
Nor look behind, nor sideways, but require
Of Heaven with upward eyes for all that they desire.
John Keats, Eve of St Agnes, 1820
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
****A re post- for those who have already seen this I am sorry, but this is one of my favorite IR shots and I thought I put it out there one more time
*Wanted to make sure that I got a decent series of night shot pannings with the ferris wheel lit up in the background. Bonus that I got some rain to go along with it.
2018 Rolex 24 -
Porsche GT Team
Porsche 911 RSR
Copyright © 2024 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Female Assembly Moth - Hodges#5150 (Samea ecclesialis) - The Space Coast of Florida
Dah Wife thought it looked like the little guy was on the surface of the moon. Moths do indeed like the moon, but I seriously doubt any have ever been there.
FYI - This little guy (a little over a half inch wing tip-to-tip) was so small that the tiny micro bubbles on the painted surface look like tiny craters on the moon. I also like how tiny lepidopterains make their scales look sooo big that they almost look like shingles!
After years of Covid required isolation, it was good to again meet Linda in-person.
This made me wonder why she chose her first name. Instead of asking her, I simply consulted the Urban Dictionary, Wow - I have to agree- this was an obvious choice for her.
Linda is......
"Absolutely gorgeous & stunning her beauty will never be matched. Beautiful inside and out. She is intelligent, strong, kind & witty. She has the most amazing hair & her smile will light up a room at thousand watts. She's fun to be around. Her best quality is that she wants to make you happy. She'll have you laughing until you cry. The nature of her soul which runs deep means that your secret is always safe with her - she'll never tell another soul. Easy to get on with you'll instantly have a deep connection. She's your soul mate for life. The light of anyone's life you'll be blessed to know her. Linda is honest, open, truthful, the most beautiful, gregarious person you'll be truly blessed to know. Never let Linda go or lose her from your life. Keep her close, protect her beautiful nature, kind heart. Wrap her up safe in your arms. Love her & she will more than reward you. She'll enchant you in every way possible. It will break your heart to see her sad that all you will want to do is make her happy. She has many loyal devoted friends. Life is for living. She is like a lioness who will protect those that she loves. Never let her down and never let her go. Linda is truly one in a million that you will never ever encounter again in your life."
Feeling fortunate again......
Nora
This is for utata iron photographer 329 which requires:
1. tissue
2. half eaten
3. Instant film, or instant looking
(polaroid frame accepted)
The chestnut are half eaten because my bus came in and I had to put my mask back on, so I reheated them when I got home. The purple is a sheet of tissue paper lit from beneath.
This commercial prefab (skybox) is perfect to set up your first store! Fits a 1024 sqm parcel and is only 12 land impact, features wall display areas, and the pack includes also a modern reception desk, display tables, and AD stands ( 1 LI each).
- Land impact: 12
- Size : 32 x 32 ( 1024 sqm)
- Recommmended land size : 1024 sqm
- Colors : Salmon or brown are available
- Wood parquet
- Decor in Carrara marble
- no rezbox required
- all items are COPY / MOD / NO TRANSF
You can buy it in my Mesh Store inworld (Rez Area with demo is also available) :
This image is around 12 hours of exposure time on the surrounding large region of Integrated Flux Nebula found in the constellation of Ursa Major.
This IFN is incredibly faint requiring long exposures, dark skies and patience.
The two most prominent galaxies are Messier 81 and Messier 82, these are two very commonly photographed galaxies due to their easy nature to find in the sky and they're bright. However, it's much less common to capture the surrounding IFN as unfortunately most people don't have dark enough skies.
This was captured from my garden using a Canon 100mm macro lens (ironically!) and a dedicated ZWO 533MC deep sky camera. This was on my portable Skywatcher star adventurer mount, controlled by NINA and guiding with PHD2.
Having brought its train , the 6D03 1952 Tinsley S.S. - Immingham Nordic off the Thybergh Branch 66101 lets out a burst of clag as it passes through Mexborough .
15 9 20
Here's to starting fresh.
No rules.
No required equipment.
No themes.
One photo everyday.
To record. To reflect. To remember.
Face masks required in public at Laughlin casinos.
Basic rules: Maintain a six-foot social distance, wear mandatory face coverings when you’re in public places, and wash your hands often. - Laughlin, Nevada
Today required a 350th consecutive daily photo and I was feeling at a loss for what to shoot. So I sat on a bench in a patch of wintry sunlight and looked around, letting curiosity have a chance to guide me. Kind of a fun exercise.
Project 365-350
shot notes: used cloudy white balance in daylight, to compliment the warm hue of winter colours.