Resolve photos on Flickr

Jealous of the FW 3-series' widespread success, AirWorks resolved to also join the Ingsoc helicopter business. Their initial prototype was an utter failure, as engineers tried too hard to mimic a Trufean design, as were the second through eighth designs. Then the designers got drunk out of their skulls one evening, worked overnight with no regard for art or dignity, and when they woke up had blueprints for quite possibly the world's ugliest helicopter ever. The cockpit was a bug-eyed mess, the engines were slapped on the flat roof, and the tail looked like the back half of a slug. But, it worked, and worked well, so the machine was put into production. Common nicknames include "Vodka Huey," after the craft's design evolution, and "Boot" for its vast shadowy interior. Up to 20 soldiers can fit inside, along with the two-man crew.

P/Q:

Tonka tough +1

Low-maintenance +1

Poor agility -1

Overheats -1

Light transport chopper, produced for 14 pp

Resolved by just helen2010

39 16

Hi all.

Thank you for all the messages of support. I hope my problems have been resolved so its back to normal.

I have deleted any comment so as to help the situation I hope you will understand.

Big Big hugs

Helen

#2 everything is alright by Luka B

Camera: Nikon P600, 1920x1080 (Full HD), 30frames/s, Full-time AF, AE-LOCK, Program-Auto, stabilized-NR-ed-color-balanced-graded-edited with Davinci Resolve, audio - basic NR, little equalizing to hear the slap better on picigin balls, not to strong though.

From one clip I got these 4 scenes. I am particularly proud of color balancing. If you have any suggestions, please feel free to comment. Keep in mind that you have not much of freedom since the dynamic range is really awful but hey... at least I had this camera on me, so thumbs up for doing a great job still.

Date taken: April 15,2025.

Until now, uploading videos to Flickr has felt somewhat inadequate to me, as I’ve always seen it more as a platform for still images rather than moving pictures.

Even though I enjoy shooting videos from time to time, I’ve found that most of my time spent with a camera in my hands tends to lean towards photography.

And that’s primarily because I know, in the back of my mind, that if I’m going to post something online, it will likely be on Flickr—and that automatically makes me feel like I need to shoot stills.

But today, as I was walking down to the beach, the strong Jugo wind (a southern wind) was going wild—pounding the shore, kneading the waves, and creating all kinds of acrobacies in the air.

I instantly knew: today, I’ll primarily shoot video.

First and foremost, because I enjoy the process.

Second, because today’s scenes were calm yet dramatic, and simply perfect for video—capturing something stills just can’t.

That’s what my videos will always be about—no exceptions.

Only videos that capture something stills can't.

That’s the purpose of this series and the new album I’m opening.

I’m curious to see where it takes me.

I recently attended a filmography course, and I feel like I know what I’m doing—while being careful not to slip into arrogance or self-importance.

Care about the scenery, composition, and color—these are all things I’m already mindful of when shooting stills.

So why not experiment with moving stills?

It’s just one extra word, isn’t it?

Anyway, hit the lik… fave! or leave a comment if you’ve read all the way to the end... and thank You.

I’ll eliminate sound in most videos, unless it truly needs to be there, and only if I feel like it.

If there is sound, I want it to be perfect—recorded with professional equipment and carefully edited, which I currently don’t plan to buy or do.

Maybe sometime soon, in the days to come.

So just lay back and enjoy.

My goal is to make videos we can all relax with—maybe even have it on repeat, with our own music or ambient sound in the background that suits us the most.

I don’t want to steal your full attention or be invasive on your senses. Just your eyes… because, as I’ve heard, they never lie, do they?

Jokes aside, please enjoy these scenes and try to immerse yourself, as if you’re right there.

That will be imperative #1 from me with these series.

Enjoy in video number 2.

resolve by Chee917

34 5

Astoria Park, Queens, NY

Ayesha at the light table on Kodak 500T (5219) by Scott Warren

29 4

Ayesha looking across an LED light table captured on Kodak 500T 5219 film. Tiffen low contrast 1 diffusion filter used for a bit of glow and softening. Colored in Davinci Resolve. Zeiss 50mm @ F4.

Shot re-created using the Sigma fp: flic.kr/p/2hQcDB3

Edit: 3/31/2020: Pushed color vibrance just a bit.

Resolve by David Sharo

Day 10 ~ Resolve (Fantasy Faire 2018) by Michelle Hyacinth

michelehyacinth.wordpress.com/2018/04/29/day-10-resolve/

Resolve by Nathan Gregory

18 4

.:: Mesmerizing Hanna Havana ::. by AI ART Legends

12 2

Prompts: Street photography of a beautiful 30 - year - old woman on the porch of an rustic colonial building in Old Havana, Cuba Shot with a Hasselblad 1600F, 80mm f2. 8 Ektar lens with Ilford Delta 400 film the composition is a full - body, up - angle, shot that is iconic, dark and moody, captivating, haunting, murky, a suspenseful mood, powerful, stunning, eye - catching, breathtaking, dreamy, atmospheric lighting, ethereal, expressive, mesmerizing, dynamic, eye - catching, award winning, with fisheye and pinhole photo effects, black and white monotone --ar 16:9 --v 5.1 --style raw --chaos 10 a full - body, up - angle shot.

Zoom Out 2x - x2 in total

This Midjourney Zoom video was created with DaVinci Resolve. Original image

DaVinci Resolve is a color grading, color correction, visual effects, and audio post-production video editing application for macOS, Windows, and Linux, developed by Blackmagic Design.

Created with #midjourney #photoshop #DaVinciResolve

Thank you for your visit, faves, and kind comments. 😊

resolve to live by David

29 18

never give up

Resolved by Loren

6 6

Red sand and Yel was there...To: Yel Nunes.... by Max Tuta Noronha

28 45

www.maxtutanoronha.com

I'd like to thank my friends that made an effort to see me down south.

Specially Mr. And Mrs. Carlos and Dal Nunes and Mr.Yel Nunes, for traveling almost 12 hours and for staying and hanging with us.

To Ms. Suzana Latini and her fantastic other half, Mr. Pada for bringing so much happiness and joy and laugh to the table.

To my brother Leley that flew there just to hold my hands (or my pants), since I'm terrified of flying, and making the arrangements for me, including a first class ticket for the way back, thank you brother, it was much more enjoyable.

And to the beautiful Mrs. Deia Quintino,

(Guys, she's really gorgeous), and her husband Rodrigo who is just about 6' 2" inches tall and ready to show his Jiu jitsu skills, for the laughs and for the high energy that they both have.

I thing that she drinks Red Bull with cayenne pepper, Jesus, she's funny, hyper and loves life as it seems.

And last but not least, for the guy that kidnapped my brother, called my father and tried to get lot's of money for his release, the only person that is able to kidnap some one 30 thousand feet above see level, without any special powers, the extraterrestrial kind, that I'm referring too.

Well, I'll talk about that another time...

Queridos amigos.

Estou de volta.

Queria comecar agradecendo carinhosamente aos meus amigos que me honraram com a visita, e com seus abracos, piadinhas e longa estrada so para compartilhar comigo e minha familia a alegria de estar juntos.

Dal Nunes, Carlinhos Nunes, Yel Nunes, gente voces sao demais da conta so, oi proce ve, dirijiram de Brasilia ate BH somente para ficarem comigo e minha familia, que ja embolou tudo e agora sao das familias deles tambem e quem sabe, o filho dela solteiro pode ate resolver a encarar minha irma, rachar sua broa e deixar a vida de solteiro de lado.

A Deia Quintino, pelo abraco, pelo carinho, pela energia (Eu vou falar logo) acho que ela toma uns 10 red bulls com pimenta malagueta antes de sair de casa e por nao ter me batido, quando eu perguntei a ela espantadamente quando a conheci, (meus olhos viraram de alegria, ela me abracou e como menino travesso, pensei que eu tinha morrido e ido pro ceu), quando a conheci, bom nao bateu em mim nao, mas eu perguntar perguntei, se precisava de escada pra trepar nela, de tao alta que ela eh, e ela disse que nao, presisava nao.

E eu disse, bora, bora la, ja que nao precisa vamo logo.

kkkkkkk

o Marido dela morreu de rir, o cabra simpatico, foram feitos mesmo um para o outro, e eu ate que fiquei quietinho pois o Negao tem quaze dois metros de altura, e eu nao queria tomar uma surra aquele dia nao. (Ele sabe Jiu Jitsu).

Rodrigo, obrigado pela visita, por tudo e por ter conhecido voces.

Suzana Latini, oh gente, que finura, que delicadessa, que beleza de pessoa, tambem muito bonita, (mas pra ela nao precisava de escadinha nao), pois o namorado dela, o Sr. Pada, (gente, olhem o nome do cara), mas nao perguntem porque ou o que que eh pada nao, voces vao tomar uma surra brava.

Pela boa cachaca, pelas prossas sobre o Jeep e ainda de pinga, por coincidencia ser amigo do meu melhor amigo Paulo Parata, que sempre esteve conosco, tocando seu atabaque e la ligado na marcacao.

Ao Leley que viajou para o Brasil so para segurar minha mao e me tranquilizar, pois ele sabe que morro de medo.

Mas pior ainda, quando fui, fui na ultima cadeira, na cozinha e o bicho balancou tanto que eu apertava os bracos da poltrona e rezava para o bitelo nao cair.

Ai na volta ele foi la e me meteu logo na primeira classe, se fui pobre ja nao me lembro, vim igual um rei, todo metido a rico, com a classe mais chata que existe por la..

Gente, tem muita gente rica sem classe..

Agora, vou avisando logo, ninguem ganhou o Citroen nem o Fiat nao, o Yel

perguntou quem poderia dar o nome do passarinho, cruzamento do quero quero com o pica pau.

Ainda esta aberto o questionamento, espero que o Vino saiba falar pra gente.

No mais, vou dormir agora um pouco, pois estou morto.

Ah, Bluesky, obrigado pela ligacao e por ter me apresentado Deia, um dia quero mesmo ainda eh conhecer voce.

Um abraço.

Resolve by risingthermals

Bulacan (province), Luzon, Philippines

Steely Resolve by Luke Stryker

5 1

This train bridge is at the upper part of Watkins Glen State Park. The bridge was rebuilt decades ago after a terrible flood washed away its center support. I tested myself to see what results I could get given the strong sunlight. A bit of creative editing was added for fun.

Please also visit:

www.lukestryker.com

Resolved by What Would a Nerd Wear

34 2

whatwouldanerdwear.blogspot.com

Works Cited

wool skirt: thrifted, hemmed by me

white tee: gap

yellow cardigan: j crew outlet

yellow belt: j crew (gift--thanks, brudder!)

tights: AT loft

brogues: steve madden

Operation American Resolve by Michael Harding

11 2

Planes of the 180th ANG fly over Toledo in support of the medical community and first responders during the Coronavirus Pandemic. Toledo, OH 5/6/2020

Rot there / Ahí te pudras by Rafa Elias

31 40

Ahitepudras. Conjunción de la expresión 'ahí te pudras' que definía en algunos automóviles antiguos una zona por detrás de los asientos habituales de los pasajeros, prácticamente en el maletero, o incluso sustituyéndolo, que levantando una pequeña tapa daba acceso a un asiento de reducidas dimensiones donde podían viajar uno o dos pasajeros adicionales. Aparte de la incomodidad de este pretendido asiento, la o las personas situadas en él se encontraban aislados del habitáculo y del resto de pasajeros, motivo por el que se dió la denominación de 'ahí te pudras'.

(Fuente: vehiculoclasico.es)

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

Tatra is a vehicle manufacturer in Kopřivnice, Czech Republic. Tatra is the third oldest car maker in the world after Daimler Mercedes-Benz and Peugeot.

Ferdinand Porsche used many Tatra design features in the 1938 Kdf-Wagen, later known as the VW Beetle. Tatra immediately started legal action, but the matter was not resolved until 1961 when Volkswagen was ordered to pay 3,000,000 Deutsche Marks in damages.

(Source: Wikipedia)

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

Somewhere in Prague.

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

Leica Digilux 3 + Lensbaby

Flash Photography #1: The Children of the Batman by Killer Moth

11 1

==Arkham Island==

Eric Needham staggered through the Arkham Forest, leaving dribbles of fresh blood in his wake. Finding a fleeting moment of peace, he rested against an old tree and placed a shaking hand on the side of his hips; Azrael's claw-like gauntlet had torn through him, and the gash it had left was now dripping blood onto the leaf litter below, advertising his movements to his opponent. He needed to change strategies, a fist fight wouldn't cut it. 'Stick to the canopies, keep him at a distance,' he resolved. But this was the middle of Outcast territory and he was out here all alone with no back-up. 'Restrain him, then move on out.' The last thing he wanted was to run into The Pirate himself, or worse, the Speedster.

Weighing his options, Needham climbed the nearest tree, and perched atop a branch near the top. Minutes past, and as he sat planning his next move, something caught his eye; he hadn't noticed them at first, but he could now make out a set of deep claw marks leading up the tree bark. Not like Azrael's gauntlet; these were an animal's judging by the space between each claw. Like a dog's, or a-

Oh no.

Or a cat's.

Needham turned around; sat on a nearby branch, was a man clad in black, his emerald eyes glinting in the moonlight, his slit-like pupils contracting. A mouse's tail hung from the man's drooling mouth, still wriggling. A sickening crunch of jaws breaking through bone accompanied the rodent's death squeal; its' tail hung limp, then was sucked behind the man's slobber-stained lips.

Needham looked at the man, then at the ground below; Azrael was closing in on him now, as though his glowing sword was guiding him through the woods, towards the 'sinner.' Desperate, Needham gave The King a non-verbal plea. 'We don't have to fight, just pretend you can't see me.'

But the King could see him. And with Azrael growing closer still, his night-time patrol had just gotten a whole lot more interesting. He raised his clawed hands, and with a swift stroke, slashed apart the branch Needham was sat on; deciding he wasn't going down alone, Needham grabbed the King's tail on the way down, dragging him with him.

The branch hit the ground first. Then Needham. The King landed on all fours; typical; then scampered off, disappearing into the thickets and shrubs of Arkham East. Needham gathered his scattered thoughts, then looked up, his worst fears realised: Azrael was dragging his sword along the frozen ground; orange sparks fizzled and lit up the darkened clearing.

Needham rubbed the dirt and drool off his person, and staggered to his feet, fists raised. "Fine. Was never a good Christian anyway," he growled, firing a web bomb at Azrael; pinning him to a nearby tree. But Azrael was relentless, with his free hand, he gripped the handle of his sword; webbing that would normally bind multiple men, came away like silly string with a single sword stroke. Needham checked his belt; he was running low on webbing. Shit.

Azrael lunged forwards and getting a lucky shot, scratched Needham's shoulder; the mystical blade shone brighter than before; the single cut incapacitating Needham as images of Linda, Mikey, Ferris filled his head, drawing on his guilt and pain.

'That was it.'

Before Azrael could perform a killing strike, Needham webbed his sword, using all his strength to wrench it from the man's hands; the blade landed in his hands, and as Azrael ran forward, Needham drew the sword upwards, cutting through Azrael's chainmail.

Bright, cleansing light burst from the shallow gash on Azrael’s chest and he fell forwards, the Pirate's influence subsiding at last.

Exhausted, Needham stumbled back. "Hhn. I'll be Damned."

==Gotham Shipping Yards==

On the other side of the city, a hooded figure in a purple costume sat atop a large shipping container, her legs dangling off the side; Stephanie Brown was holding a cracked pair of "Clue" goggles in her hands, something that should have been in the Hall of Justice, alongside all the other Supervillain tech recovered from Nanda Parbat. 'So what was it doing all the way out here?' She removed a card from within the broken spectacles and plugged it into her own mask.

Tim's head peered down from the container above hers, his face lined with worry.

"Your dad?" he asked, recognising the damaged goggles.

Steph nodded uneasily. "Yours?" she asked, already knowing the answer.

A bloodied boomerang dropped to the floor, rattling off the corrugated metal surface. "Yeah," he sighed, jumping down to join her. As they together in silent contemplation, a high pitched melodious voice called out to them from below, its' owner's red and black cape blowing in the winter wind:

"Robbie and Spoiler sitting in a tree, k-i-s-s-i-n-g. First comes love, then comes marriage. Then comes a baby in a golden carriage," the Psycho Pirate sang, clapping his hands along to the beat. Tim extended his bo-staff, as both him and Steph leapt into action, landing on the ground beside Hayden. "You had a baby didn't you, Spoiler?" Hayden pointed with a frail finger. "And you gave it away. Oh, well. That's probably the best thing for it. Imagine Granddad Cluemaster taking your child for ice cream. I bet he never took you for ice cream."

"Steph, I've got ear plugs," Tim reached into his belt. "Steph?"

"His father did," Hayden tittered. "His father cared sooooooo much. Didn't want him playing dress up. Didn't want him getting hurt. But he didn't factor in a boomerang to the jugular, did he, little Robin?

"That's why you resent him," he addressed Spoiler. "That's why you hate him. That's why you want to stomp his face into the ground."

"Steph..." Tim grit his teeth, watching as Spoiler's body stiffened, as her fists clenched and she began walking slowly towards him.

"Steph, Steph, wait wait wait wait wait!" Tim pleaded, his bo-staff at the ready, hoping he wouldn't have to use it.

Beneath his golden mask, the Pirate grinned, and then he was gone, carried off by a cloud of yellow lightning.

Tim covered his face, awaiting the onslaught, then... Steph slapped him. Not hard, not maliciously, just a painless tap on the shoulder.

He looked up, a confused expression on his face. "You- You're not trying to kill me?"

She slapped him again, a little harder.

"Course not, I love you, you dummy," she smiled, removing the card from her mask and placing it in Tim's palm. "Guess Dad was good for something after all."

Tim examined it, a geeky smile taking hold. "A neural blocker, nice! But, then, why the act-?"

"Had to play along," Steph explained. "Zoom would've stepped in if I didn't."

==Gotham Waterworks. Outside==

Cassandra Cain was perched on a cliff overlooking the ISA Headquarters, snow sliding down her black cowl, her eyes narrowing. Damian had been gone for a couple of minutes now, and she could a faint voice carried by the wind:

"Raised by assassins. Trained to kill. It's the same story, isn't it? Your story. So why does she get preferential treatment?

You know why.

Because he can look her in the eyes and not be reminded of his failures."

That voice... Melodious. Childish. Sadistic. It was Hayden's and from the sounds of things, he already had Damian. Cassandra kept her guard up, but outwardly, acted as though she suspected nothing was wrong. Until he drew his sword:

"I am the blood son! By all rights, I am his heir! And I shall not be usurped!" he spat, launching himself high above her head.

A single nerve strike took him out.

From a rocky alcove around the corner, The Pirate's pale eyes watched, a slight twinge of dissatisfaction coming over him. But it was nothing compared to the disappointment that took hold of him once Zoom ran in front of him, cutting 'playtime' short.

"We're leeeeeeaaaaaaaving," Zoom hissed, his suit stained with a mix of blood and cranberry sauce.

"That's not fair!" Hayden crossed his arms petulantly. "You got to play with the Misfits!"

"Thisisnot up for debaaaaaaaaate, Mr Haaaaaaayden," Zoom warned, and taking hold of his arm, they vanished into the night.

===GCPD. Outside===

Nightwing and Red Hood's fight had dragged onto the streets below; Dick bounced off the alley walls, using his acrobatics to get the edge on his younger brother; Jason favoured brute strength, having almost exhausted all his ammunition; he hurled a grenade at Dick while he was swinging from a ladder on the fire escape, knocking him down. Dick threw his baton; it ricocheted off the nearby garage door, hurtling towards Jason; he caught it, but didn't account for the charge; Dick pressed a button on his gloves, and a blast of electricity blinded Jason. Jason discarded his red helmet, and while distracted, Dick tackled him. Jason, elbowed him in the face, then grabbed a mix of snow and gravel from the pavement and tossed it in Dick's eyes. Disorientated, Dick flinched, giving Jason the opportunity to trap him in a headlock.

Before he could choke him out, a long black car pulled up to the alleyway. Jason's eyes narrowed as the car door opened and an impeccably dressed man exited, holding a two-barrelled shotgun, and firmly closing the door shut behind him.

"That is quite enough, Master Todd," the man warned.

Jason's featured softened. "You won't shoot me, Alfred," he scoffed.

"Of course not. You're as much my sons as Master Bruce's. Fortunately, I won't have to."

Beneath him, Dick headbutted Jason; stunned, he toppled backwards; Alfred dropped his shotgun, and tossed Dick a sedative from his medical bag, and Dick anaesthetised him. Jason growled an apology as he regained his senses and slumped over unconscious in Dick's arms.

"Sorry, bud," Dick apologised, before turning back to Alfred. "What now?"

"You can start by helping me escort Master Jason into the backseat. Then we are getting you patched up, Master Dick."

"Alright," he laughed in response.

Behind them, a large shockwave emanated from within the Police Department; the windows blew out, and glass shot outwards onto the street; Dick shielded Alfred with his body as shards of glass littered the pavement.

"Bruce was inside-!" Alfred gasped, rising to his feet.

"I can't raise him on comms," Dick frowned, his own worry subsiding once he caught Alfred's expression. "We'll find him, Alfred. What do you need me to do?"

Alfred ran his hand through his thinning hair, as the SAS agent in him took over. "I have an EMT uniform in the trunk, quickly now,"

==Sionis Penthouse. Downtown==

"-explosion from inside the GCPD. Three prisoners are unaccounted for, including Drury Walker. Commissioner Gordon has been rushed to Gotham General and a spokesperson has said that he is now stabilised. Reports say both The Batman and The Joker were inside the precinct when it-"

"Sir, we found it," Li chapped politely at the door.

Sionis muted the TV. "Good. Send 'em in."

The Sea Fox entered the room, dripping seawater onto the varnished floor. Two of his henchmen trailed behind him, carrying a large fish net.

"Well, you get points for presentation," Sionis murmured, sticking his hands into the net, and retrieving the sea-battered mask of Harlan Combs. Combs' head, fell out the bottom, and rolled across the ground.

Sionis' beady red eyes tracked the head as it rolled underneath his dresser. "Li?" he sighed.

"Yes, sir?"

"Get the cleaners in here."

==ISA Headquarters==

Chuck awoke to Flannegan prodding his arm with the base of his staff. He was lying on a bed, in some kind of hospital wing. As he looked around the room, he realised that 'laboratory' might have been more accurate; noting all kinds of jars, vials and half dissected animals.

"What happened?" he asked at last,

"Long or short answer?" Flannegan grunted.

"Short, please," Chuck sighed, clutching his thumping head.

"You got your asses kicked."

Chuck rolled his eyes, resting his head against the plump pillow, undoubtedly filled with Thanagarian feathers.

Flannegan inhaled a puff from his cigarette, then stamped it out on Chuck's bedsheet. "Fortunately, the Lizard of Waverly Place patched you up. Mind, you do look a little greener 'round the gills... Did ya have gills before?"

"What?" Panicked, Chuck shot upright and ran his hand along his mercifully smooth neck.

"Joking! Those two-" he nodded to Ten and Bridget, watching from the side with relieved faces, "-had just come back from whatever bible studies class they were at. They're the ones that called me. Luckily, I was already in the area."

"You mean you were in the sewers," Chuck realised, taking a gulp from the glass of water beside him.

"I do."

"God, it's all such a blur..." Chuck explained, resting his forehead in his hand. "We were in the kitchen, Gar came in trying to rouse us all, then Zoom, and- Drury! Joker was on the TV, he was-"

Flannegan placed his hand on Chuck's shoulder with surprising tenderness, and right then Chuck knew. He didn't even have to say the words: "I'm sorry, Brown."

===<???>===

The hallway was enveloped in scarlet light, as a round portal tore through the stale air. A single figure, dressed in a red cape, black tuxedo and a large square helmet stepped through. He ran his hands along the wallpaper and picked off a thin layer of dust; his excited breaths echoing behind his camera-like mask as he took in the surroundings. The house had been abandoned for months now, but most of its' furnishings remained. And the pictures. Oh, so many pictures.

As he walked, the lens opened and closed, the action accompanied by a loud "shutter" noise. He propped the nearest door open, the floor below him creaking as he entered the pink-coloured bedroom. He cast his eyes over to the bed, almost entirely covered by stuffed animals of every genus. His gloved hand wandered over one such bear, his mask making that same loud "clicking" noise. Then, something else caught his eye; a selections of photos on the corkboard on the farthest wall, their edges brushed with glitter. Oh, he did so like photos.

The next room, could only be the bedroom of a teenaged boy; untidy, its floor littered with old comic books and gag jokes. The man frowned as he peeled a plastic mound of fake dung from the base of his shoe. Continuing on, he shifted the pillow to one side, discovering a single photo below; a picture of a blond boy and a dark-haired girl; the boy he knew, of course, but it was the girl he was drawn to. It was her. The thespian's little scene partner. Beneath his mask, he smiled, as he tucked the photo inside his breast pocket and continued into the next rooms; a large bedroom with an empty aquarium, a pre-schooler's bedroom, complete with a purple and orange racing car bed, a fifth bedroom with a small workbench and scraps of purple and yellow fabric.

This pattern continued as he went from room to room, his helm clicking as he collected a portfolio of photos. He next entered the guest bedroom; a cream coloured room marked with grey scorch marks, with a collection of DVDs stacked beside the television, cult classics mostly. Out of curiosity, he picked one of the cases up, his stance stiffening as he recognised the film: Dread Castle. An anger taking hold of him, he tossed the plastic case to the ground; the silver disk slid out, then he shattered it with the base of his foot.

As his mission drew to a close, he at last found the master bedroom: He took a whiff of old perfume from a half empty bottle on the dresser, he rubbed the yellow strands of a blonde wig peaking out the top drawer. A single moth fluttered out of the large, wooden wardrobe on his right. Then, he crouched under the bed, clutching the hem of his cape as though he were curtseying, and unearthed a battered, dusty shoe box from below. Bingo.

He did so like photos.

Autos To Benicia by FranksRails Photography, LLC.

This Autorack will be the second train to clear 40.1 on a clear signal and thus the problem resolved with the CTC issue in Bahia, CA. Rounding the curve this 1x1 train is creeping at restricted speed with a loaded auto train bound for Benicia, CA.

©FranksRails Photography, LLC.

New Year Resolution # 2 by Shahryar Qayum

Resolve inner confllict

resolve by Sharon Faulk

12 1

"I hate those damn faeries! Sparkles made me see red."

Lego minifigures series 13

Resolve by Gweneal

Book of Genesis...Tree of the knowledge of good and evil...Enlightenment is the "full comprehension of a situation". by Hughes Songe

"The Book of Genesis" redirects here. For the comics, see The Book of Genesis (comics).

The Creation of Man by Ephraim Moses Lilien, 1903.

Jacob flees Laban by Charles Foster, 1897.

Joshua 1:1 as recorded in the Aleppo Codex

Tanakh (Judaism)

Torah (Instruction)[hide]

GenesisBereshit

ExodusShemot

LeviticusWayiqra

NumbersBemidbar

DeuteronomyDevarim

Nevi'im (Prophets)[show]

Ketuvim (Writings)[show]

Old Testament (Christianity)

Pentateuch[hide]

Genesis Exodus Leviticus Numbers Deuteronomy

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vte

The Book of Genesis,[a] the first book of the Hebrew Bible and the Old Testament,[1] is Judaism's account of the creation of the world and the origins of the Jewish people.[2]

It is divisible into two parts, the primeval history (chapters 1–11) and the ancestral history (chapters 12–50).[3] The primeval history sets out the author's (or authors') concepts of the nature of the deity and of humankind's relationship with its maker: God creates a world which is good and fit for mankind, but when man corrupts it with sin God decides to destroy his creation, saving only the righteous Noah to reestablish the relationship between man and God.[4] The ancestral history (chapters 12–50) tells of the prehistory of Israel, God's chosen people.[5] At God's command Noah's descendant Abraham journeys from his home into the God-given land of Canaan, where he dwells as a sojourner, as does his son Isaac and his grandson Jacob. Jacob's name is changed to Israel, and through the agency of his son Joseph, the children of Israel descend into Egypt, 70 people in all with their households, and God promises them a future of greatness. Genesis ends with Israel in Egypt, ready for the coming of Moses and the Exodus. The narrative is punctuated by a series of covenants with God, successively narrowing in scope from all mankind (the covenant with Noah) to a special relationship with one people alone (Abraham and his descendants through Isaac and Jacob).[6]

In Judaism, the theological importance of Genesis centers on the covenants linking God to his chosen people and the people to the Promised Land. Christianity has interpreted Genesis as the prefiguration of certain cardinal Christian beliefs, primarily the need for salvation (the hope or assurance of all Christians) and the redemptive act of Christ on the Cross as the fulfillment of covenant promises as the Son of God.

Tradition credits Moses as the author of Genesis, as well as the books of Exodus, Leviticus, Numbers and most of Deuteronomy, but modern scholars increasingly see them as a product of the 6th and 5th centuries BC.[7][8]

Contents

1Structure

2Summary

3Composition

3.1Title and textual witnesses

3.2Origins

3.3Genre

4Themes

4.1Promises to the ancestors

4.2God's chosen people

5Judaism's weekly Torah portions

6See also

7Notes

8References

9Bibliography

9.1Commentaries on Genesis

9.2General

10External links

Structure[edit]

Genesis appears to be structured around the recurring phrase elleh toledot, meaning "these are the generations," with the first use of the phrase referring to the "generations of heaven and earth" and the remainder marking individuals—Noah, the "sons of Noah", Shem, etc., down to Jacob.[9] It is not clear, however, what this meant to the original authors, and most modern commentators divide it into two parts based on subject matter, a "primeval history" (chapters 1–11) and a "patriarchal history" (chapters 12–50).[10][b] While the first is far shorter than the second, it sets out the basic themes and provides an interpretive key for understanding the entire book.[11] The "primeval history" has a symmetrical structure hinging on chapters 6–9, the flood story, with the events before the flood mirrored by the events after;[12] the "ancestral history" is structured around the three patriarchs Abraham, Jacob and Joseph.[13] (The stories of Isaac do not make up a coherent cycle of stories and function as a bridge between the cycles of Abraham and Jacob.)[14]

Summary[edit]

See also: Primeval history and Patriarchal age

The Creation of Adam by Michelangelo, 1512.

God creates the world in six days and consecrates the seventh as a day of rest. God creates the first humans Adam and Eve and all the animals in the Garden of Eden but instructs them not to eat the fruit of the tree of knowledge of good and evil. A talking serpent portrayed as a deceptive creature or trickster, entices Eve into eating it against God's wishes, and she entices Adam, whereupon God throws them out and curses them—Adam to getting what he needs only by sweat and work, and Eve to giving birth in pain. This is interpreted by Christians as the fall of humanity. Eve bears two sons, Cain and Abel. Cain kills Abel after God accepts Abel's offering but not Cain's. God then curses Cain. Eve bears another son, Seth, to take Abel's place.

After many generations of Adam have passed from the lines of Cain and Seth, the world becomes corrupted by human sin and Nephilim, and God determines to wipe out humanity. First, he instructs the righteous Noah and his family to build an ark and put examples of all the animals on it, seven pairs of every clean animal and one pair of every unclean. Then God sends a great flood to wipe out the rest of the world. When the waters recede, God promises he will never destroy the world with water again, using the rainbow as a symbol of his promise. God sees mankind cooperating to build a great tower city, the Tower of Babel, and divides humanity with many languages and sets them apart with confusion.

God instructs Abram to travel from his home in Mesopotamia to the land of Canaan. There, God makes a covenant with Abram, promising that his descendants shall be as numerous as the stars, but that people will suffer oppression in a foreign land for four hundred years, after which they will inherit the land "from the river of Egypt to the great river, the river Euphrates". Abram's name is changed to Abraham and that of his wife Sarai to Sarah, and circumcision of all males is instituted as the sign of the covenant. Due to her old age, Sarah tells Abraham to take her Egyptian handmaiden, Hagar, as a second wife. Through Hagar, Abraham fathers Ishmael.

God resolves to destroy the cities of Sodom and Gomorrah for the sins of their people. Abraham protests and gets God to agree not to destroy the cities for the sake of ten righteous men. Angels save Abraham's nephew Lot and his family, but his wife looks back on the destruction against their command and turns into a pillar of salt. Lot's daughters, concerned that they are fugitives who will never find husbands, get him drunk to become pregnant by him, and give birth to the ancestors of the Moabites and Ammonites.

Abraham and Sarah go to the Philistine town of Gerar, pretending to be brother and sister (they are half-siblings). The King of Gerar takes Sarah for his wife, but God warns him to return her, and he obeys. God sends Sarah a son whom she will name Isaac; through him will be the establishment of the covenant. Sarah drives Ishmael and his mother Hagar out into the wilderness, but God saves them and promises to make Ishmael a great nation.

The Angel Hinders the Offering of Isaac (Rembrandt, 1635)

God tests Abraham by demanding that he sacrifice Isaac. As Abraham is about to lay the knife upon his son, God restrains him, promising him numberless descendants. On the death of Sarah, Abraham purchases Machpelah (believed to be modern Hebron) for a family tomb and sends his servant to Mesopotamia to find among his relations a wife for Isaac; after proving herself, Rebekah becomes Isaac's betrothed. Keturah, Abraham's other wife, births more children, among whose descendants are the Midianites. Abraham dies at a prosperous old age and his family lays him to rest in Hebron.

Isaac's wife Rebecca gives birth to the twins Esau, father of the Edomites, and Jacob. Through deception, Jacob becomes the heir instead of Esau and gains his father's blessing. He flees to his uncle where he prospers and earns his two wives, Rachel and Leah. Jacob's name is changed to Israel, and by his wives and their handmaidens he has twelve sons, the ancestors of the twelve tribes of the Children of Israel, and a daughter, Dinah.

Joseph, Jacob's favorite son, makes his brothers jealous and they sell him into slavery in Egypt. Joseph prospers, after hardship, with God's guidance of interpreting Pharaoh's dream of upcoming famine. He is then reunited with his father and brothers, who fail to recognize him, and plead for food. After much manipulation, he reveals himself and lets them and their households into Egypt, where Pharaoh assigns to them the land of Goshen. Jacob calls his sons to his bedside and reveals their future before he dies. Joseph lives to an old age and exhorts his brethren, if God should lead them out of the country, to take his bones with them.

Composition[edit]

Abram's Journey from Ur to Canaan (József Molnár, 1850)

Title and textual witnesses[edit]

Genesis takes its Hebrew title from the first word of the first sentence, Bereshit, meaning "In [the] beginning [of]"; in the Greek Septuagint it was called Genesis, from the phrase "the generations of heaven and earth".[15] There are four major textual witnesses to the book: the Masoretic Text, the Samaritan Pentateuch, the Septuagint, and fragments of Genesis found at Qumran. The Qumran group provides the oldest manuscripts but covers only a small proportion of the book; in general, the Masoretic Text is well preserved and reliable, but there are many individual instances where the other versions preserve a superior reading.[16]

Origins[edit]

Main article: Composition of the Torah

For much of the 20th century most scholars agreed that the five books of the Pentateuch—Genesis, Exodus, Leviticus, Numbers and Deuteronomy—came from four sources, the Yahwist, the Elohist, the Deuteronomist and the Priestly source, each telling the same basic story, and joined together by various editors.[17] Since the 1970s there has been a revolution leading scholars to view the Elohist source as no more than a variation on the Yahwist, and the Priestly source as a body of revisions and expansions to the Yahwist (or "non-Priestly") material. (The Deuteronomistic source does not appear in Genesis.)[18]

Scholars use examples of repeated and duplicate stories to identify the separate sources. In Genesis these include three different accounts of a Patriarch claiming that his wife was his sister, the two creation stories, and the two versions of Abraham sending Hagar and Ishmael into the desert.[19]

This leaves the question of when these works were created. Scholars in the first half of the 20th century came to the conclusion that the Yahwist is a product of the monarchic period, specifically at the court of Solomon, 10th century BC, and the Priestly work in the middle of the 5th century BC (with claims that the author is Ezra), but more recent thinking is that the Yahwist is from either just before or during the Babylonian exile of the 6th century BC, and the Priestly final edition was made late in the Exilic period or soon after.[8]

As for why the book was created, a theory which has gained considerable interest, although still controversial is "Persian imperial authorisation". This proposes that the Persians of the Achaemenid Empire, after their conquest of Babylon in 539 BC, agreed to grant Jerusalem a large measure of local autonomy within the empire, but required the local authorities to produce a single law code accepted by the entire community. The two powerful groups making up the community—the priestly families who controlled the Temple and who traced their origin to Moses and the wilderness wanderings, and the major landowning families who made up the "elders" and who traced their own origins to Abraham, who had "given" them the land—were in conflict over many issues, and each had its own "history of origins", but the Persian promise of greatly increased local autonomy for all provided a powerful incentive to cooperate in producing a single text.[20]

Genre[edit]

Genesis is perhaps best seen as an example of a creation myth, a type of literature telling of the first appearance of humans, the stories of ancestors and heroes, and the origins of culture, cities and so forth.[21] The most notable examples are found in the work of Greek historians of the 6th century BC: their intention was to connect notable families of their own day to a distant and heroic past, and in doing so they did not distinguish between myth, legend, and facts.[22] Professor Jean-Louis Ska of the Pontifical Biblical Institute calls the basic rule of the antiquarian historian the "law of conservation": everything old is valuable, nothing is eliminated.[23] Ska also points out the purpose behind such antiquarian histories: antiquity is needed to prove the worth of Israel's traditions to the nations (the neighbours of the Jews in early Persian Palestine), and to reconcile and unite the various factions within Israel itself.[23]

Themes[edit]

Joseph Recognized by His Brothers (Léon Pierre Urban Bourgeois, 1863)

Promises to the ancestors[edit]

In 1978 David Clines published his influential The Theme of the Pentateuch – influential because he was one of the first to take up the question of the theme of the entire five books. Clines' conclusion was that the overall theme is "the partial fulfillment – which implies also the partial nonfulfillment – of the promise to or blessing of the Patriarchs". (By calling the fulfillment "partial" Clines was drawing attention to the fact that at the end of Deuteronomy the people are still outside Canaan).[24]

The patriarchs, or ancestors, are Abraham, Isaac and Jacob, with their wives (Joseph is normally excluded).[25] Since the name YHWH had not been revealed to them, they worshipped El in his various manifestations.[26] (It is, however, worth noting that in the Jahwist source the patriarchs refer to deity by the name YHWH, for example in Genesis 15.) Through the patriarchs God announces the election of Israel, meaning that he has chosen Israel to be his special people and committed himself to their future.[27] God tells the patriarchs that he will be faithful to their descendants (i.e. to Israel), and Israel is expected to have faith in God and his promise. ("Faith" in the context of Genesis and the Hebrew Bible means agreement to the promissory relationship, not a body of belief).[28]

The promise itself has three parts: offspring, blessings, and land.[29] The fulfilment of the promise to each patriarch depends on having a male heir, and the story is constantly complicated by the fact that each prospective mother – Sarah, Rebekah and Rachel – is barren. The ancestors, however, retain their faith in God and God in each case gives a son – in Jacob's case, twelve sons, the foundation of the chosen Israelites. Each succeeding generation of the three promises attains a more rich fulfillment, until through Joseph "all the world" attains salvation from famine,[30] and by bringing the children of Israel down to Egypt he becomes the means through which the promise can be fulfilled.[25]

God's chosen people[edit]

Scholars generally agree that the theme of divine promise unites the patriarchal cycles, but many would dispute the efficacy of trying to examine Genesis' theology by pursuing a single overarching theme, instead citing as more productive the analysis of the Abraham cycle, the Jacob cycle, and the Joseph cycle, and the Yahwist and Priestly sources.[31] The problem lies in finding a way to unite the patriarchal theme of divine promise to the stories of Genesis 1–11 (the primeval history) with their theme of God's forgiveness in the face of man's evil nature.[32][33] One solution is to see the patriarchal stories as resulting from God's decision not to remain alienated from mankind:[33] God creates the world and mankind, mankind rebels, and God "elects" (chooses) Abraham.[6]

To this basic plot (which comes from the Yahwist) the Priestly source has added a series of covenants dividing history into stages, each with its own distinctive "sign". The first covenant is between God and all living creatures, and is marked by the sign of the rainbow; the second is with the descendants of Abraham (Ishmaelites and others as well as Israelites), and its sign is circumcision; and the last, which does not appear until the book of Exodus, is with Israel alone, and its sign is Sabbath. A great leader mediates each covenant (Noah, Abraham, Moses), and at each stage God progressively reveals himself by his name (Elohim with Noah, El Shaddai with Abraham, Yahweh with Moses).[6]

Judaism's weekly Torah portions[edit]

Main article: Weekly Torah portion

First Day of Creation (from the 1493 Nuremberg Chronicle)

Bereshit, on Genesis 1–6: Creation, Eden, Adam and Eve, Cain and Abel, Lamech, wickedness

Noach, on Genesis 6–11: Noah's Ark, the Flood, Noah's drunkenness, the Tower of Babel

Lech-Lecha, on Genesis 12–17: Abraham, Sarah, Lot, covenant, Hagar and Ishmael, circumcision

Vayeira, on Genesis 18–22: Abraham's visitors, Sodomites, Lot's visitors and flight, Hagar expelled, binding of Isaac

Chayei Sarah, on Genesis 23–25: Sarah buried, Rebekah for Isaac

Toledot, on Genesis 25–28: Esau and Jacob, Esau's birthright, Isaac's blessing

Vayetze, on Genesis 28–32: Jacob flees, Rachel, Leah, Laban, Jacob's children and departure

Vayishlach, on Genesis 32–36: Jacob's reunion with Esau, the rape of Dinah

Vayeshev, on Genesis 37–40: Joseph's dreams, coat, and slavery, Judah with Tamar, Joseph and Potiphar

Miketz, on Genesis 41–44: Pharaoh's dream, Joseph in government, Joseph's brothers visit Egypt

Vayigash, on Genesis 44–47: Joseph reveals himself, Jacob moves to Egypt

Vaychi, on Genesis 47–50: Jacob's blessings, death of Jacob and of Joseph

See also[edit]

Adam and Eve (Latter Day Saint movement)

Dream of the Rood

Enlightenment (spiritual)

Original sin

References[edit]

^ Jump up to: a b Gordon, Cyrus H.; Rendsburg, Gary A. (1997). The Bible and the ancient Near East (4th ed.). New York: W.W. Norton & Co. p. 36. ISBN 978-0-393-31689-6.

^ Harry Orlinsky's notes to the NJPS Torah.

^ Wyatt, Nicolas (2001). Space and Time in the Religious Life of the Near East. A&C Black. p. 244. ISBN 978-0-567-04942-1.

^ Alter 2004, p. 21.

^ Rashi to Genesis 2:25

^ Ramban to Genesis 3:6

^ Ginzberg, Louis, The Legends of the Jews, Vol. I: The Fall of Man, (Translated by Henrietta Szold), Johns Hopkins University Press: 1998, ISBN 0-8018-5890-9

^ Bereishit Rabbah 19: 5

^ Epistle 26, Lessons in Tanya, Igeret HaKodesh

^ ch. 22, Tanya, Likutei Amarim

^ ch. 37, Lessons in Tanya, Likutei Amarim

^ Torah Ohr 3c

^ Torat Chaim Bereishit 30a

^ Bereishit Rabbah 19:7

^ Ramban to Genesis 3:8

^ Augustine, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 4.8; Bibliothèque Augustinniene 49, 20

^ Augustine of Hippo, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 6.12 and 13.28, Bibliothèque Augustinniene 49,28 and 50-52; PL 34, 377; cf. idem, De Trinitate, XII, 12.17; CCL 50, 371-372 [v. 26-31;1-36]; De natura boni 34-35; CSEL 25, 872; PL 42, 551-572

^ "The City of God (Book XIII), Chapter 14". Newadvent.org. Retrieved 2014-02-07.

^ Adams, Cecil (2006-11-24). "The Straight Dope: Was the forbidden fruit in the Garden of Eden an apple?". The Straight Dope. Creative Loafing Media, Inc. Retrieved 2008-10-06.

^ Qur'an 20:120

^ Qur'an 14:24

^ Qur'an 20:120

^ "ورق".

^ Qur'an 7:19

^ Qur'an 7:23

^ Qur'an 2:37

^ Mitchell, T.C. (2004). The Bible in the British Museum : interpreting the evidence (New ed.). New York: Paulist Press. p. 24. ISBN 9780809142927.

^ The British Museum. "'Adam and Eve' cylinder seal". Google Cultural Institute. Retrieved 2017-04-06.

Bibliography[edit]

Alter, Robert. A translation with commentary (2004). The five books of Moses. New York: W.W. Norton. ISBN 0-393-33393-0.

Knight, Douglas (1990). Watson E. Mills (ed.). Mercer dictionary of the Bible (2d corr. print. ed.). Macon, GA: Mercer University Press. ISBN 0-86554-402-6.

Media related to Tree of the knowledge of good and evil at Wikimedia Commons

en.wikipedia.org/wiki/Tree_of_the_knowledge_of_good_and_evil

Resolve by Stuart Thatcher

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resolving problems by Larry Nunziato

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Pentax KX film camera first try.

Photography, wether digital or film, done all manual is about resolving problems. A headache I welcome.

Resolving Clouds by Kris

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Still more than 3.5 hours before transit will start.

Location: at Störsvik near Störslett.

green resolve by designerpete

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Crumbling Ruins Of the Mount Elliott Smelter (Selwyn, North West Queensland) by Buddy Patrick

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The Mount Elliott Mining Complex is an aggregation of the remnants of copper mining and smelting operations from the early 20th century and the associated former mining township of Selwyn. The earliest copper mining at Mount Elliott was in 1906 with smelting operations commencing shortly after. Significant upgrades to the mining and smelting operations occurred under the management of W.R. Corbould during 1909 - 1910. Following these upgrades and increases in production, the Selwyn Township grew quickly and had 1500 residents by 1918. The Mount Elliott Company took over other companies on the Cloncurry field in the 1920s, including the Mount Cuthbert and Kuridala smelters. Mount Elliott operations were taken over by Mount Isa Mines in 1943 to ensure the supply of copper during World War Two. The Mount Elliott Company was eventually liquidated in 1953.

The Mount Elliott Smelter:

The existence of copper in the Leichhardt River area of north western Queensland had been known since Ernest Henry discovered the Great Australia Mine in 1867 at Cloncurry. In 1899 James Elliott discovered copper on the conical hill that became Mount Elliott, but having no capital to develop the mine, he sold an interest to James Morphett, a pastoralist of Fort Constantine station near Cloncurry. Morphett, being drought stricken, in turn sold out to John Moffat of Irvinebank, the most successful mining promoter in Queensland at the time.

Plentiful capital and cheap transport were prerequisites for developing the Cloncurry field, which had stagnated for forty years. Without capital it was impossible to explore and prove ore-bodies; without proof of large reserves of wealth it was futile to build a railway; and without a railway it was hazardous to invest capital in finding large reserves of ore. The mining investor or the railway builder had to break the impasse.

In 1906 - 1907 copper averaged £87 a ton on the London market, the highest price for thirty years, and the Cloncurry field grew. The railway was extended west of Richmond in 1905 - 1906 by the Government and mines were floated on the Melbourne Stock Exchange. At Mount Elliott a prospecting shaft had been sunk and on the 1st of August 1906 a Cornish boiler and winding plant were installed on the site.

Mount Elliott Limited was floated in Melbourne on the 13th of July 1906. In 1907 it was taken over by British and French interests and restructured. Combining with its competitor, Hampden Cloncurry Copper Mines Limited, Mount Elliott formed a special company to finance and construct the railway from Cloncurry to Malbon, Kuridala (then Friezeland) and Mount Elliott (later Selwyn). This new company then entered into an agreement with the Queensland Railways Department in July 1908.

The railway, which was known as the 'Syndicate Railway', aroused opposition in 1908 from the trade unions and Labor movement generally, who contended that railways should be State-owned. However, the Hampden-Mount Elliott Railway Bill was passed by the Queensland Parliament and assented to on the 21st of April 1908; construction finished in December 1910. The railway terminated at the Mount Elliott smelter.

By 1907 the main underlie shaft had been sunk and construction of the smelters was underway using a second-hand water-jacket blast furnace and converters. At this time, W.H. Corbould was appointed general manager of Mount Elliott Limited.

The second-hand blast furnace and converters were commissioned or 'blown in' in May 1909, but were problematic causing hold-ups. Corbould referred to the equipment in use as being the 'worst collection of worn-out junk he had ever come across'. Corbould soon convinced his directors to scrap the plant and let him design new works.

Corbould was a metallurgist and geologist as well as mine/smelter manager. He foresaw a need to obtain control and thereby ensure a reliable supply of ore from a cross-section of mines in the region. He also saw a need to implement an effective strategy to manage the economies of smelting low-grade ore. Smelting operations in the region were made difficult by the technical and economic problems posed by the deterioration in the grade of ore. Corbould resolved the issue by a process of blending ores with different chemical properties, increasing the throughput capacity of the smelter and by championing the unification of smelting operations in the region. In 1912, Corbould acquired Hampden Consols Mine at Kuridala for Mount Elliott Limited, followed with the purchases of other small mines in the district.

Walkers Limited of Maryborough was commissioned to manufacture a new 200 ton water jacket furnace for the smelters. An air compressor and blower for the smelters were constructed in the powerhouse and an electric motor and dynamo provided power for the crane and lighting for the smelter and mine.

The new smelter was blown in September 1910, a month after the first train arrived, and it ran well, producing 2040 tons of blister copper by the end of the year. The new smelting plant made it possible to cope with low-grade sulphide ores at Mount Elliott. The use of 1000 tons of low-grade sulphide ores bought from the Hampden Consols Mine in 1911 made it clear that if a supply of higher sulphur ore could be obtained and blended, performance, and economy would improve. Accordingly, the company bought a number of smaller mines in the district in 1912.

Corbould mined with cut and fill stoping but a young Mines Inspector condemned the system, ordered it dismantled and replaced with square set timbering. In 1911, after gradual movement in stopes on the No. 3 level, the smelter was closed for two months. Nevertheless, 5447 tons of blister copper was produced in 1911, rising to 6690 tons in 1912 - the company's best year. Many of the surviving structures at the site were built at this time.

Troubles for Mount Elliott started in 1913. In February, a fire at the Consols Mine closed it for months. In June, a thirteen week strike closed the whole operation, severely depleting the workforce. The year 1913 was also bad for industrial accidents in the area, possibly due to inexperienced people replacing the strikers. Nevertheless, the company paid generous dividends that year.

At the end of 1914 smelting ceased for more than a year due to shortage of ore. Although 3200 tons of blister copper was produced in 1913, production fell to 1840 tons in 1914 and the workforce dwindled to only 40 men. For the second half of 1915 and early 1916 the smelter treated ore railed south from Mount Cuthbert. At the end of July 1916 the smelting plant at Selwyn was dismantled except for the flue chambers and stacks. A new furnace with a capacity of 500 tons per day was built, a large amount of second-hand equipment was obtained and the converters were increased in size.

After the enlarged furnace was commissioned in June 1917, continuing industrial unrest retarded production which amounted to only 1000 tons of copper that year. The point of contention was the efficiency of the new smelter which processed twice as much ore while employing fewer men. The company decided to close down the smelter in October and reduce the size of the furnace, the largest in Australia, from 6.5m to 5.5m. In the meantime the price of copper had almost doubled from 1916 due to wartime consumption of munitions.

The new furnace commenced on the 16th of January 1918 and 77,482 tons of ore were smelted yielding 3580 tons of blister copper which were sent to the Bowen refinery before export to Britain. Local coal and coke supply was a problem and materials were being sourced from the distant Bowen Colliery. The smelter had a good run for almost a year except for a strike in July and another in December, which caused Corbould to close down the plant until New Year. In 1919, following relaxation of wartime controls by the British Metal Corporation, the copper price plunged from about £110 per ton at the start of the year to £75 per ton in April, dashing the company's optimism regarding treatment of low grade ores. The smelter finally closed after two months operation and most employees were laid off.

For much of the period 1919 to 1922, Corbould was in England trying to raise capital to reorganise the company's operations but he failed and resigned from the company in 1922. The Mount Elliott Company took over the assets of the other companies on the Cloncurry field in the 1920s - Mount Cuthbert in 1925 and Kuridala in 1926. Mount Isa Mines bought the Mount Elliott plant and machinery, including the three smelters, in 1943 for £2,300, enabling them to start copper production in the middle of the Second World War. The Mount Elliott Company was finally liquidated in 1953.

In 1950 A.E. Powell took up the Mount Elliott Reward Claim at Selwyn and worked close to the old smelter buildings. An open cut mine commenced at Starra, south of Mount Elliott and Selwyn, in 1988 and is Australia's third largest copper producer producing copper-gold concentrates from flotation and gold bullion from carbon-in-leach processing.

Profitable copper-gold ore bodies were recently proved at depth beneath the Mount Elliott smelter and old underground workings by Cyprus Gold Australia Pty Ltd. These deposits were subsequently acquired by Arimco Mining Pty Ltd for underground development which commenced in July 1993. A decline tunnel portal, ore and overburden dumps now occupy a large area of the Maggie Creek valley south-west of the smelter which was formerly the site of early miner's camps.

The Old Selwyn Township:

In 1907, the first hotel, run by H. Williams, was opened at the site. The township was surveyed later, around 1910, by the Mines Department. The town was to be situated north of the mine and smelter operations adjacent the railway, about 1.5km distant. It took its name from the nearby Selwyn Ranges which were named, during Burke's expedition, after the Victorian Government Geologist, A.R. Selwyn. The town has also been known by the name of Mount Elliott, after the nearby mines and smelter.

Many of the residents either worked at the Mount Elliott Mine and Smelter or worked in the service industries which grew around the mining and smelting operations. Little documentation exists about the everyday life of the town's residents. Surrounding sheep and cattle stations, however, meant that meat was available cheaply and vegetables grown in the area were delivered to the township by horse and cart. Imported commodities were, however, expensive.

By 1910 the town had four hotels. There was also an aerated water manufacturer, three stores, four fruiterers, a butcher, baker, saddler, garage, police, hospital, banks, post office (officially from 1906 to 1928, then unofficially until 1975) and a railway station. There was even an orchestra of ten players in 1912. The population of Selwyn rose from 1000 in 1911 to 1500 in 1918, before gradually declining.

Source: Queensland Heritage Register.

Resolve by Pete Orelup

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My resolution for the new year? Shoot more geckos! LOL!

Resolving the Moon by Sergei Golyshev

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Strictly for full-size viewing :)

Those, who are familiar with the Moon, check me, please - I see three craterlets at the bottom of Plato here. Can you?

Extra magnification out of thin air :) While normally 2x Barlow lens gives effective focal length of 960 mm, adding an extension tube AFTER it increases EFL to whole 1122+ mm, depending on exact position of the camera in relation to the tube flange. I think even 1200-1300 mm is possible.

Technicalities:

Acquisition time: 20.03.2016 20:10 MSK

Telescope: Meade series 6000 80 mm f/6 ED triplet with 2x Barlow lens and extension tube, EFL 1122 mm, f/14.

Camera: TIS DMK 23U274 (Sony ICX274AL, 1/1.8", 1600x1200).

Panoramic image of 6 panels, 150 out of 2500 frames each (very variable seeing).

Datasets stacked in AS!2, deconvolved and wavelet-sharpened in AstraImage 3.0 PRO, stiched in MS ICE and processed with CLAHE plug-in for ImageJ.

Resolve to fight by Shikher's Imagery

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Foggy mornings are not a blur but a reason to resolve for these brave-hearts. NSG’s Black Cat Commandos at the Republic Day parade rehearsals.

Resolve by Parabola-Pop

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My neighbor's Siberian Husky seen through my fence.

Exercise MAPLE RESOLVE by Combat Camera / Caméra de combat

A light armoured vehicle travels the route to Rocky Ford during Exercise MAPLE RESOLVE’s final training battle at the Canadian Forces Base Wainwright training area, Wainwright, Alberta, May 21, 2022.

Please credit: Lieutenant Joffray Provencher, Canadian Forces Combat Camera, Canadian Armed Forces Photo

Un véhicule d’artillerie légère se dirige vers Rocky Ford lors du dernier combat d’entraînement de l’exercice MAPLE RESOLVE, dans le secteur d’entraînement de la Base des Forces canadiennes Wainwright, à Wainwright, en Alberta, le 21 mai 2022.

Photo : Lieutenant Joffray Provencher, Caméra de combat des Forces canadiennes, Forces armées canadiennes

Resolved by Harper Beresford

slfashionpassion.wordpress.com/2016/01/03/resolved-2/

Epeoloides coecutiens, f, face, H. N'huijsen, Netherlands_2022-02-08-16.02.17 ZS PMax UDR copy by USGS Bee Lab

Epeoloides - Macropis hunting continental twins. Here is E. coecutiens from the Netherlands. In North America we have E. pilosulus. Both species rare (and very small), both nest invaders of Macropis oil collecting bees.

Photo license: CC-BY-SA. This photo can be reused as you wish. When doing so, please credit the creator (USGS Bee Inventory and Monitoring Lab) and the source (Naturalis Biodiversity Center) and adaptations must be shared under the same terms.

The specimen in this photo is provided by Naturalis Biodiversity Center in The Netherlands. For inquiries please contact: Frederique Bakker, email: frederique.bakker@naturalis.nl.

This image is part of the photo series ‘Cool bees of The Netherlands’. For more information: marten.schoonman@naturalis.nl ~~~~~~~~~~{{{{{{0}}}}}}~~~~~~~~~~

All photographs are public domain, feel free to download and use as you wish.

Photography Information:

Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200

We Are Made One with What We Touch and See

We are resolved into the supreme air,

We are made one with what we touch and see,

With our heart's blood each crimson sun is fair,

With our young lives each spring impassioned tree

Flames into green, the wildest beasts that range

The moor our kinsmen are, all life is one, and all is change.

- Oscar Wilde

You can also follow us on Instagram - account = USGSBIML

Want some Useful Links to the Techniques We Use? Well now here you go Citizen:

Best over all technical resource for photo stacking:

www.extreme-macro.co.uk/

Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World:

www.amazon.com/Bees-Up-Close-Pollinators-Around-World/dp/...

Free Field Guide to Bee Genera of Maryland:

bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf

Basic USGSBIML set up:

www.youtube.com/watch?v=S-_yvIsucOY

USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.

www.youtube.com/watch?v=Bdmx_8zqvN4

Bees of Maryland Organized by Taxa with information on each Genus

www.flickr.com/photos/usgsbiml/collections

PDF of Basic USGSBIML Photography Set Up:

Google Hangout Demonstration of Techniques:

plus.google.com/events/c5569losvskrv2nu606ltof8odo

www.youtube.com/watch?v=4c15neFttoU

Excellent Technical Form on Stacking:

www.photomacrography.net/

Contact information:

Sam Droege

sdroege@usgs.gov

301 497 5840

Operation Inherent Resolve by Robert Sullivan

7 1

Royal Canadian Air Force CF-188 "Hornet's" are refueled by a KC-135 "Stratotanker" assigned to the 340th Expeditionary Air Refueling Squadron on October 30, 2014, over Iraq during the first combat mission in the area of operations, supporting Operation Inherent Resolve.

Genuine Dr Who Dalek - Alford Museum - Aberdeenshire Scotland 2017 by DanoAberdeen

Visiting Alford Museum I was delighted to find this genuine Dalek from the BBC Television Show "Dr Who", it was displayed among other materials from the 70s etc, hence a quick video to archive the scene.

I've followed the Dr Who series from my school days ( a long time ago) hence absolute joy to view this item.

The Daleks - (DAH-leks) are a fictional extraterrestrial race of mutants principally portrayed in the British science fiction television programme Doctor Who. The Daleks were conceived by science-fiction writer Terry Nation and first appeared in the 1963 Doctor Who serial The Daleks, in the shells designed by Raymond Cusick.

Drawing inspirations from the real-life example of the Nazis, the Daleks are merciless and pitiless cyborg aliens, demanding total conformity, bent on conquest of the universe and the extermination of what they see as inferior races.

Their catchphrase, "Exterminate!", is a well-recognised reference in British popular culture.

Within the programme's narrative, the Daleks were engineered by the scientist Davros during the final years of a thousand-year war between his people, the Kaleds, and their enemies the Thals.

With some Kaleds already badly mutated and damaged by nuclear war, Davros genetically modified the Kaleds and integrated them with a tank-like, robotic shell, removing their every emotion apart from hate. His creations soon came to view themselves as the supreme race in the universe, intent on purging the universe of all non-Dalek life. Collectively they are the greatest enemies of Doctor Who's protagonist, the Time Lord known as The Doctor.

Later in the programme's run, the Daleks acquired time travel technology and engaged the Time Lords in a brutal Time War affecting most of the universe, with battles taking place across all of history.

They are among the show's most popular villains and their various returns to the series over the years have typically been widely reported in the television press.

Creation

The Daleks were created by writer Terry Nation and designed by BBC designer Raymond Cusick.

They were introduced in December 1963 in the second Doctor Who serial, colloquially known as The Daleks.

They became an immediate and huge hit with viewers, featuring in many subsequent serials and two 1960s motion pictures.

They have become as synonymous with Doctor Who as the Doctor himself, and their behaviour and catchphrases are now part of British popular culture. "Hiding behind the sofa whenever the Daleks appear" has been cited as an element of British cultural identity;and a 2008 survey indicated that nine out of ten British children were able to identify a Dalek correctly.

In 1999 a Dalek photographed by Lord Snowdon appeared on a postage stamp celebrating British popular culture.

In 2010, readers of science-fiction magazine SFX voted the Dalek as the all-time greatest monster, beating competition including Japanese movie monster Godzilla and J. R. R. Tolkien's Gollum, of The Lord of the Rings.

Entry into popular culture

As early as one year after first appearing on Doctor Who, the Daleks had become popular enough to be recognized even by non-viewers. In December 1964 editorial cartoonist Leslie Gilbert Illingworth published a cartoon in the Daily Mail captioned "THE DEGAULLEK", caricaturing French President Charles de Gaulle arriving at a NATO meeting as a Dalek with de Gaulle's prominent nose.

The word "Dalek" has entered major dictionaries, including the Oxford English Dictionary, which defines "Dalek" as "a type of robot appearing in 'Dr. Who' [sic], a B.B.C. Television science-fiction programme; hence used allusively."

But English-speakers sometimes use the term metaphorically to describe people, usually authority figures, who act like robots unable to break from their programming. For example, John Birt, the Director-General of the BBC from 1992 to 2000, was publicly called a "croak-voiced Dalek" by playwright Dennis Potter in the MacTaggart Lecture at the 1993 Edinburgh Television Festival.

Physical characteristics

Externally, Daleks resemble human-sized pepper pots with a single mechanical eyestalk mounted on a rotating dome, a gun mount containing an energy weapon ("gunstick" or "death ray") resembling an egg whisk, and a telescopic manipulator arm usually tipped by an appendage resembling a sink plunger. Daleks have been known to use their plungers to interface with technology, crush a man's skull by suction,[measure the intelligence of a subject, and extract information from a man's mind.[

Dalek casings are made of a bonded polycarbide material dubbed "dalekanium" by a member of the human resistance in The Dalek Invasion of Earth and by the Cult of Skaro in "Daleks in Manhattan".

The lower half of a Dalek's shell is covered with hemispherical protrusions, or "Dalek bumps", which are shown in the episode "Dalek" to be spheres embedded in the casing.[11] Both the BBC-licensed Dalek Book (1964) and The Doctor Who Technical Manual (1983) describe these items as being part of a sensory array,[ whilst in the 2005 series episode "Dalek", they are integral to a Dalek's self-destruct mechanism.

Their armour has a forcefield that evaporates most bullets and resists most types of energy weapons. The forcefield seems to be concentrated around the Dalek's midsection (where the mutant is located), as normally ineffective firepower can be concentrated on the eyestalk to blind a Dalek. Daleks have a very limited visual field, with no peripheral sight at all, and are relatively easy to hide from in fairly exposed places. Their own energy weapons are capable of destroying them.

Their weapons fire a beam that has electrical tendencies, is capable of propagating through water, and may be a form of plasma or electrolaser.

The eyepiece is a Dalek's most vulnerable spot; impairing its vision often leads to a blind, panicked firing of its weapon while exclaiming "My vision is impaired; I cannot see!" Russell T Davies subverted the catchphrase in his 2008 episode "The Stolen Earth", in which a Dalek vaporises a paintball that has blocked its vision while proclaiming "My vision is not impaired!"

Kaled mutants are octopus-like; many are coloured green, such as this one from "Resurrection of the Daleks".

The creature inside the mechanical casing is soft and repulsive in appearance and vicious in temperament. The first-ever glimpse of a Dalek mutant, in The Daleks, was a claw peeking out from under a Thal cloak after it had been removed from its casing.

The mutants' actual appearance has varied, but often adheres to the Doctor's description of the species in Remembrance of the Daleks as "little green blobs in bonded polycarbide armour".

In Resurrection of the Daleks a Dalek creature, separated from its casing, attacks and severely injures a human soldier; in Remembrance of the Daleks, there are two Dalek factions (Imperial and Renegade) and the creatures inside have a different appearance in each case, one resembling the amorphous creature from Resurrection, the other the crab-like creature from the original Dalek serial.

As the creature inside is rarely seen on screen, a common misconception exists that Daleks are wholly mechanical robots.

In the new series Daleks are retconned to be mollusc-like in appearance, with small tentacles, one or two eyes, and an exposed brain.

Daleks' voices are electronic; when out of its casing the mutant is only able to squeak. Once the mutant is removed, the casing itself can be entered and operated by humanoids; for example, in The Daleks, Ian Chesterton (William Russell) enters a Dalek shell to masquerade as a guard as part of an escape plan.

In a dark basement, a white Dalek (see previous description) appears to levitate up a small staircase of approximately seven stairs. The body of the Dalek is white, with shiny gold vertical slats and gold balls on its lower half. There is an orange-yellow glow at the Dalek's base.

For many years it was assumed that, due to their design and gliding motion, Daleks were unable to climb stairs, and that this was a simple way of escaping them. A well-known cartoon from Punch pictured a group of Daleks at the foot of a flight of stairs with the caption, "Well, this certainly buggers our plan to conquer the Universe".

In a scene from the serial Destiny of the Daleks, the Doctor and companions escape from Dalek pursuers by climbing into a ceiling duct. The Fourth Doctor calls down, "If you're supposed to be the superior race of the universe, why don't you try climbing after us?"

The Daleks generally make up for their lack of mobility with overwhelming firepower; a joke among Doctor Who fans goes, "Real Daleks don't climb stairs; they level the building."

Dalek mobility has improved over the history of the series: in their first appearance, The Daleks, they were capable of movement only on the conductive metal floors of their city; in The Dalek Invasion of Earth a Dalek emerges from the waters of the River Thames, indicating that they not only had become freely mobile, but are amphibious;Planet of the Daleks showed that they could ascend a vertical shaft by means of an external anti-gravity mat placed on the floor; Revelation of the Daleks showed Davros in his life-support chair and one of his Daleks hovering and Remembrance of the Daleks depicted them as capable of hovering up a flight of stairs.

Despite this, journalists covering the series frequently refer to the Daleks' supposed inability to climb stairs; characters escaping up a flight of stairs in the 2005 episode "Dalek" made the same joke, and were shocked when the Dalek began to hover up the stairs after uttering the phrase "ELEVATE", in a similar manner to their normal phrase "EXTERMINATE".

The new series depicts the Daleks as fully capable of flight, even space flight.

Prop details

The non-humanoid shape of the Dalek did much to enhance the creatures' sense of menace[citation needed]. A lack of familiar reference points differentiated them from the traditional "bug-eyed monster" of science fiction, which Doctor Who creator Sydney Newman had wanted the show to avoid.

The unsettling Dalek form, coupled with their alien voices, made many believe that the props were wholly mechanical and operated by remote control.

The Daleks were actually controlled from inside by short operators who had to manipulate their eyestalks, domes, and arms, as well as flashing the lights on their heads in sync with the actors supplying their voices. The Dalek cases were built in two pieces; an operator would step into the lower section, and then the top would be secured. The operators looked out between the cylindrical louvres just beneath the dome, which were lined with mesh to conceal their faces.

In addition to being hot and cramped the Dalek casings also muffled external sounds, making it difficult for operators to hear the director's commands or studio dialogue. John Scott Martin, a Dalek operator from the original series, said that Dalek operation was a challenge: "You had to have about six hands: one to do the eyestalk, one to do the lights, one for the gun, another for the smoke canister underneath, yet another for the sink plunger. If you were related to an octopus then it helped."

For Doctor Who's 21st-century revival the Dalek casings retain the same overall shape and dimensional proportions of previous Daleks, although many details have been re-designed to give the Dalek a heavier and more solid look.

Changes include a larger, more pointed base; a glowing eyepiece; an all-over metallic-brass finish (specified by Davies); thicker, nailed strips on the "neck" section; a housing for the eyestalk pivot; and significantly larger dome lights.

The new prop made its on-screen debut in the 2005 episode "Dalek". These Dalek casings use a short operator inside the housing while the 'head' and eyestalk are operated via remote control. A third person, Nicholas Briggs, supplies the voice in their various appearances.

In the 2010 season a new, larger model appeared in several colours representing different parts of the Dalek command hierarchy.

Movement

Terry Nation's original plan was for the Daleks to glide across the floor. Early versions of the Daleks rolled on nylon castors, propelled by the operator's feet. Although castors were adequate for the Daleks' debut serial, which was shot entirely at the BBC's Lime Grove Studios, for The Dalek Invasion of Earth Terry Nation wanted the Daleks to be filmed on the streets of London. To enable the Daleks to travel smoothly on location, designer Spencer Chapman built the new Dalek shells around miniature tricycles with sturdier wheels, which were hidden by enlarged fenders fitted below the original base.

The uneven flagstones of Central London caused the Daleks to rattle as they moved and it was not possible to remove this noise from the final soundtrack. A small parabolic dish was added to the rear of the prop's casing to explain why these Daleks, unlike the ones in their first serial, were not dependent on static electricity drawn up from the floors of the Dalek city for their motive power.

Later versions of the prop had more efficient wheels and were once again simply propelled by the seated operators' feet, but they remained so heavy that when going up ramps they often had to be pushed by stagehands out of camera shot. The difficulty of operating all the prop's parts at once contributed to the occasionally jerky Dalek movements.

This problem has largely been eradicated with the advent of the "new series" version, as its remotely controlled dome and eyestalk allow the operator to concentrate on the smooth movement of the Dalek and its arms.

Voices

The staccato delivery, harsh tone, and rising inflection of the Dalek voice were initially developed by voice actors Peter Hawkins and David Graham, who would vary the pitch and speed of the lines according to the emotion needed. Their voices were further processed electronically by Brian Hodgson at the BBC Radiophonic Workshop.

Although the exact sound-processing devices used have varied, the original 1963 effect used equalisation to boost the mid-range of the actor's voice, then subjected it to ring modulation with a 30 Hz sine wave. The distinctive harsh grating vocal timbre this produced has remained the pattern for all Dalek voices since (with the exception of those in the 1985 serial Revelation of the Daleks, for which director Graeme Harper deliberately used less distortion).

Besides Hawkins and Graham, notable voice actors for the Daleks have included Roy Skelton, who first voiced the Daleks in the 1967 story The Evil of the Daleks and went on to provide voices for five additional Dalek serials including Planet of the Daleks, and for the one-off anniversary special The Five Doctors. Michael Wisher, the actor who originated the role of Dalek creator Davros in Genesis of the Daleks, provided Dalek voices for that same story, as well as for Frontier in Space, Planet of the Daleks, and Death to the Daleks. Other Dalek voice actors include Royce Mills (three stories),Brian Miller (two stories), and Oliver Gilbert and Peter Messaline (one story).

John Leeson, who performed the voice of K9 in several Doctor Who stories, and Davros actors Terry Molloy and David Gooderson also contributed supporting voices for various Dalek serials.

Since 2005, the Dalek voice in the television series has been provided by Nicholas Briggs, speaking into a microphone connected to a voice modulator.

Briggs had previously provided Dalek and other alien voices for Big Finish Productions audio plays, and continues to do so. In a 2006 BBC Radio interview, Briggs said that when the BBC asked him to do the voice for the new television series, they instructed him to bring his own analogue ring modulator that he had used in the audio plays. The BBC's sound department had changed to a digital platform and could not adequately create the distinctive Dalek sound with their modern equipment. Briggs went as far as to bring the voice modulator to the actors' readings of the scripts.

Construction

Manufacturing the props was expensive. In scenes where many Daleks had to appear, some of them would be represented by wooden replicas (Destiny of the Daleks) or life-size photographic enlargements in the early black-and-white episodes (The Daleks, The Dalek Invasion of Earth, and The Power of the Daleks).

In stories involving armies of Daleks, the BBC effects team even turned to using commercially available toy Daleks, manufactured by Louis Marx & Co and Herts Plastic Moulders Ltd. Examples of this can be observed in the serials The Power of the Daleks, The Evil of the Daleks, and Planet of the Daleks.[48] Judicious editing techniques also gave the impression that there were more Daleks than were actually available, such as using a split screen in "The Parting of the Ways".

Four fully functioning props were commissioned for the first serial "The Daleks" in 1963, and were constructed from BBC plans by Shawcraft Engineering.

These became known in fan circles as "Mk I Daleks". Shawcraft were also commissioned to construct approximately 20 Daleks for the two Dalek movies in 1965 and 1966 (see below). Some of these movie props filtered back to the BBC and were seen in the televised serials, notably The Chase, which was aired before the first movie's debut. The remaining props not bought by the BBC were either donated to charity or given away as prizes in competitions.

The BBC's own Dalek props were reused many times, with components of the original Shawcraft "Mk I Daleks" surviving right through to their final classic series appearance in 1988.

But years of storage and repainting took their toll. By the time of the Sixth Doctor's Revelation of the Daleks new props were being manufactured out of fibreglass.

These models were lighter and more affordable to construct than their predecessors. These newer models were slightly bulkier in appearance around the mid-shoulder section, and also had a redesigned skirt section which was more vertical at the back. Other minor changes were made to the design due to these new construction methods, including altering the fender and incorporating the arm boxes, collars, and slats into a single fibreglass moulding.

These props were repainted in grey for the Seventh Doctor serial Remembrance of the Daleks and designated as "Renegade Daleks"; another redesign, painted in cream and gold, became the "Imperial Dalek" faction.

New Dalek props were built for the 21st century version of Doctor Who. The first, which appeared alone in the 2005 episode "Dalek", was built by modelmaker Mike Tucker.

Additional Dalek props based on Tucker's master were subsequently built out of fibreglass by Cardiff-based Specialist Models.

Development

Wishing to create an alien creature that did not look like a "man in a suit", Terry Nation stated in his script for the first Dalek serial that they should have no legs. He was also inspired by a performance by the Georgian National Ballet, in which dancers in long skirts appeared to glide across the stage.[56] For many of the shows, the Daleks were operated by retired ballet dancers wearing black socks while sitting inside the Dalek. Raymond Cusick (who died on 21 February 2013) was given the task of designing the Daleks when Ridley Scott, then a designer for the BBC, proved unavailable after having been initially assigned to their debut serial.

An account in Jeremy Bentham's Doctor Who—The Early Years (1986) says that after Nation wrote the script, Cusick was given only an hour to come up with the design for the Daleks, and was inspired in his initial sketches by a pepper shaker on a table. Cusick himself, however, states that he based it on a man seated in a chair, and only used the pepper shaker to demonstrate how it might move.

In 1964 Nation told a Daily Mirror reporter that the Dalek name came from a dictionary or encyclopaedia volume, the spine of which read "Dal – Lek" (or, according to another version, "Dal – Eks"). He later admitted that this book and the origin of the Dalek name was completely fictitious, and that anyone bothering to check out his story would have found him out.[61] The name had in reality simply rolled off his typewriter.

Later, Nation was pleasantly surprised to discover that in Serbo-Croatian the word "dalek" means "far", or "distant".

Nation grew up during World War II, and remembered the fear caused by German bombings. He consciously based the Daleks on the Nazis, conceiving the species as faceless, authoritarian figures dedicated to conquest and complete conformity. The allusion is most obvious in the Dalek stories penned by Nation, in particular The Dalek Invasion of Earth (1964) and Genesis of the Daleks (1975).

Prior to writing the first Dalek serial, Nation was chief scriptwriter for comedian Tony Hancock. The two had a falling out, and Nation either resigned or was fired.

When Hancock left the BBC, he worked on several series proposals, one of which was called From Plip to Plop, a comedic history of the world which would have ended with a nuclear apocalypse, the survivors being reduced to living in dustbin-like robot casings and eating radiation to stay alive. According to biographer Cliff Goodwin, when Hancock saw the Daleks, he allegedly shouted at the screen, "That bloody Nation—he's stolen my robots!"[69]

The naming of early Doctor Who stories is complex and sometimes controversial. The first Dalek serial is called, variously, The Survivors (the pre-production title), The Mutants (its official title at the time of production and broadcast, later taken by another unrelated story), Beyond the Sun (used on some production documentation), The Dead Planet (the on-screen title of the serial's first episode), or simply The Daleks.

The instant appeal of the Daleks caught the BBC off guard,and transformed Doctor Who from a Saturday tea-time children's educational programme to a must-watch national phenomenon. Children were alternately frightened and fascinated by the alien look of the monsters, and the Doctor Who production office was inundated by letters and calls asking about the creatures. Newspaper articles focused attention on the series and the Daleks, further enhancing their popularity.

Nation jointly owned the intellectual property rights to the Daleks with the BBC, and the money-making concept proved nearly impossible to sell to anyone else; he was dependent on the BBC wanting to produce stories featuring the creatures.

Several attempts to market the Daleks outside of the series were unsuccessful.Since Nation's death in 1997, his share of the rights is now administered by his former agent, Tim Hancock.

Early plans for what eventually became the 1996 Doctor Who television movie included radically redesigned Daleks whose cases unfolded like spiders' legs. The concept for these "Spider Daleks" was abandoned, but picked up again in several Doctor Who spin-offs.

When the new series was announced, many fans hoped the Daleks would return once more to the programme.

The Nation estate however demanded levels of creative control over the Daleks' appearances and scripts that were unacceptable to the BBC.[80] Eventually the Daleks were cleared to appear in the first series.

Fictional history

Main article: History of the Daleks

Dalek in-universe history has seen many retroactive changes, which have caused continuity problems. When the Daleks first appeared, they were presented as the descendants of the Dals, mutated after a brief nuclear war between the Dal and Thal races 500 years ago. This race of Daleks is destroyed when their power supply is wrecked.

However, when they reappear in The Dalek Invasion of Earth, they have conquered Earth in the 22nd century. Later stories saw them develop time travel and a space empire. In 1975, Terry Nation revised the Daleks' origins in Genesis of the Daleks, where the Dals were now called Kaleds (of which "Daleks" is an anagram), and the Dalek design was attributed to one man, the crippled Kaled chief scientist and evil genius, Davros.[84] Instead of a short nuclear exchange, the Kaled-Thal war was portrayed as a thousand-year-long war of attrition, fought with nuclear, biological and chemical weapons which caused widespread mutations among the Kaled race.

Davros experimented on living Kaled cells to find the ultimate mutated form of the Kaled species and placed the subjects in tank-like "travel machines" whose design was based on his own life-support chair.

Genesis of the Daleks marked a new era for the depiction of the species, with most of their previous history either forgotten or barely referred to again.Future stories in the original Doctor Who series, which followed a rough story arc,would also focus more on Davros, much to the dissatisfaction of some fans who felt that the Daleks should take centre stage rather than merely becoming minions of their creator.

Davros made his last televised appearance for 20 years in Remembrance of the Daleks, which depicted a civil war between two factions of Daleks. One faction, the "Imperial Daleks", were loyal to Davros, who had become their Emperor, whilst the other, the "Renegade Daleks", followed a black Supreme Dalek. By the end of the story, both factions have been wiped out and the Doctor has tricked them into destroying Skaro, though Davros escapes.

A single Dalek appeared in "Dalek", written by Robert Shearman, which was broadcast on BBC One on 30 April 2005. This Dalek appeared to be the sole Dalek survivor of the Time War which had destroyed both the Daleks and the Time Lords.

A Dalek Emperor returned at the end of the 2005 series, having rebuilt the Dalek race with genetic material harvested from human subjects. It saw itself as a god, and the new Daleks were shown worshipping it. These Daleks and their fleet were destroyed in "The Parting of the Ways".

The 2006 season finale "Army of Ghosts"/"Doomsday" featured a squad of four Dalek survivors from the old Empire, known as the Cult of Skaro, led by a black Dalek known as "Sec", that had survived the Time War by escaping into the Void between dimensions. They emerged, along with the Genesis Ark, a Time Lord prison vessel containing millions of Daleks, at Canary Wharf due to the actions of the Torchwood Institute and Cybermen from a parallel world.

This resulted in a Cyberman-Dalek clash in London, which was resolved when the Tenth Doctor caused both groups to be sucked back into the Void. The Cult survived by utilising an "emergency temporal shift" to escape.

These four Daleks - Sec, Jast, Thay and Caan - returned in the two-part story "Daleks in Manhattan"/"Evolution of the Daleks", in which whilst stranded in 1930s New York, they set up a base in the partially built Empire State Building and attempt to rebuild the Dalek race. To this end, Dalek Sec merges with a human being to become a Human/Dalek hybrid. The Cult then set about creating "Human Daleks" by "formatting" the brains of a few thousand captured humans, with the intention of producing hybrids which remain fully human in appearance but with Dalek minds.[

Dalek Sec, however, starts to become so human that he changes the DNA to make the hybrids more human. This angers the rest of the Cult, resulting in mutiny and the death of Sec, Thay and Jast as well as the wiping out of all the hybrids. This leaves Dalek Caan as the last Dalek in existence. When the Doctor makes Caan realise that he is the last of his kind, Caan uses emergency temporal shift and escapes once more.

The Daleks returned in the 2008 season's two-part finale, "The Stolen Earth"/"Journey's End", accompanied once again by their creator Davros. The story reveals that Caan's temporal shift sent him into the Time War whence he rescued Davros, in the process gaining the ability to see the future at the cost of his own sanity. Davros has created a new race using his own body's cells.

The episode depicts a Dalek invasion of Earth, which with other planets is taken to the Medusa Cascade, led by a red Supreme Dalek, who has kept Caan and Davros imprisoned in "The Vault", a section of the Dalek flagship, the Crucible. Davros and the Daleks plan to destroy reality itself with a "reality bomb" for which they need the stolen planets. The plan fails due to the interference of Donna Noble, a companion of the Doctor, and Caan himself, who has been manipulating events to destroy the Daleks after realising the severity of the atrocities they have committed.

The Daleks returned in the 2010 episode "Victory of the Daleks", the third episode of the series; Daleks who escaped the destruction of Davros' empire fell back in time and, by chance, managed to retrieve the "Progenitor".

This is a tiny apparatus which contains 'original' Dalek DNA. The activation of the Progenitor results in the creation of a "new paradigm" of Daleks. The New Paradigm Daleks deem their creators inferior and exterminate them; their creators make no resistance to this, deeming themselves inferior as well. They are organised into different roles (drone, scientist, strategists, supreme and eternal), which are identifiable with colour-coded armour instead of the identification plates under the eyestalk used by their predecessors. They escape the Doctor at the end of the episode via time travel with the intent to rebuild their Empire.

The Daleks only appeared briefly in subsequent finales "The Pandorica Opens"/"The Big Bang" (2010) and The Wedding of River Song (2011) as Steven Moffat decided to "give them a rest" and stated "There's a problem with the Daleks. They are the most famous of the Doctor's adversaries and the most frequent, which means they are the most reliably defeatable enemies in the universe."

They next appear in "Asylum of the Daleks" (2012), where the Daleks are shown to have greatly increased numbers and have a Parliament; in addition to the traditional "modern" Daleks, several designs from both the original and new series appear. All record of the Doctor is removed from their collective consciousness at the end of the episode. The Daleks then appear in the 50th Anniversary special "The Day of the Doctor", where they are seen being defeated in the Time War. In "The Time of the Doctor", the Daleks are one of the races that travel to Trenzalore and besiege it for centuries to stop the Doctor from releasing the Time Lords.

Due to converting Tasha Lem into a Dalek puppet, they regain knowledge of the Doctor. In the end, they are the only enemy left, the others having retreated or been destroyed and nearly kill the near-death Doctor before the Time Lords intervene and grant him a new regeneration cycle. The Doctor then uses his regeneration energy to obliterate the Daleks on the planet.

The Twelfth Doctor's first encounter with the Daleks is in his second full episode, "Into the Dalek" (2014), where he encounters a damaged Dalek, which he names 'Rusty', aboard a human resistance ship. Left with the Doctor's love of the universe and his hatred of the Daleks, he spares its life; it assumes a mission to destroy other Daleks. In "The Magician's Apprentice"/"The Witch's Familiar" (2015), the Doctor is summoned to Skaro where he learns Davros is alive, but dying, and has rebuilt the Dalek Empire. He escapes Davros' clutches by enlivening the decrepit Daleks of Skaro's sewers, who tear the empire apart, leaving behind the Master (Michelle Gomez), who accompanied him to Skaro. In "The Pilot" (2017), the Doctor briefly visits a battle in the Dalek-Movellan war while trying to escape a time travelling enemy.

Dalek culture

Daleks have little, if any, individual personality, ostensibly no emotions other than hatred and anger,[11] and a strict command structure in which they are conditioned to obey superiors' orders without question.

Dalek speech is characterised by repeated phrases, and by orders given to themselves and to others.

Unlike the stereotypical emotionless robots often found in science fiction, Daleks are often angry; author Kim Newman has described the Daleks as behaving "like toddlers in perpetual hissy fits", gloating when in power and flying into rage when thwarted.

They tend to be excitable and will repeat the same word or phrase over and over again in heightened emotional states, most famously "Exterminate! Exterminate!"

Daleks are extremely aggressive, and seem driven by an instinct to attack. This instinct is so strong that Daleks have been depicted fighting the urge to kill or even attacking when unarmed.

The Fifth Doctor characterises this impulse by saying, "However you respond [to Daleks] is seen as an act of provocation."

The fundamental feature of Dalek culture and psychology is an unquestioned belief in the superiority of the Dalek race,and their default directive is to destroy all non-Dalek life-forms.[

Other species are either to be exterminated immediately or enslaved and then exterminated once they are no longer useful.

The Dalek obsession with their own superiority is illustrated by the schism between the Renegade and Imperial Daleks seen in Revelation of the Daleks and Remembrance of the Daleks: the two factions each consider the other to be a perversion despite the relatively minor differences between them.

This intolerance of any "contamination" within themselves is also shown in "Dalek", The Evil of the Daleks and in the Big Finish Productions audio play The Mutant Phase.

This superiority complex is the basis of the Daleks' ruthlessness and lack of compassion.[11][93] This is shown in extreme in "Victory of the Daleks", where the new, pure Daleks destroy their creators, impure Daleks, with the latters' consent. It is nearly impossible to negotiate or reason with a Dalek, a single-mindedness that makes them dangerous and not to be underestimated.

The Eleventh Doctor (Matt Smith) is later puzzled in the "Asylum of the Daleks" as to why the Daleks don't just kill the sequestered ones that have "gone wrong". Although the Asylum is subsequently obliterated, the Prime Minister of the Daleks explains that "it is offensive to us to destroy such divine hatred", and the Doctor is sickened at the revelation that hatred is actually considered beautiful by the Daleks.

Dalek society is depicted as one of extreme scientific and technological advancement; the Third Doctor states that "it was their inventive genius that made them one of the greatest powers in the universe."

However, their reliance on logic and machinery is also a strategic weakness which they recognise, and thus use more emotion-driven species as agents to compensate for these shortcomings.

Although the Daleks are not known for their regard for due process, they have taken at least two enemies back to Skaro for a "trial", rather than killing them immediately. The first was their creator, Davros, in Revelation of the Daleks,[39] and the second was the renegade Time Lord known as the Master in the 1996 television movie.[98] The reasons for the Master's trial, and why the Doctor would be asked to retrieve the Master's remains, have never been explained on screen.

The Doctor Who Annual 2006 implies that the trial may have been due to a treaty signed between the Time Lords and the Daleks. The framing device for the I, Davros audio plays is a Dalek trial to determine if Davros should be the Daleks' leader once more.

Spin-off novels contain several tongue-in-cheek mentions of Dalek poetry, and an anecdote about an opera based upon it, which was lost to posterity when the entire cast was exterminated on the opening night. Two stanzas are given in the novel The Also People by Ben Aaronovitch.

In an alternative timeline portrayed in the Big Finish Productions audio adventure The Time of the Daleks, the Daleks show a fondness for the works of Shakespeare.

A similar idea was satirised by comedian Frankie Boyle in the BBC comedy quiz programme Mock the Week; he gave the fictional Dalek poem "Daffodils; EXTERMINATE DAFFODILS!" as an "unlikely line to hear in Doctor Who".

Because the Doctor has defeated the Daleks so often, he has become their collective arch-enemy and they have standing orders to capture or exterminate him on sight. In later fiction, the Daleks know the Doctor as "Ka Faraq Gatri" ("Bringer of Darkness" or "Destroyer of Worlds"), and "The Oncoming Storm".

Both the Ninth Doctor (Christopher Eccleston) and Rose Tyler (Billie Piper) suggest that the Doctor is one of the few beings the Daleks fear. In "Doomsday", Rose notes that while the Daleks see the extermination of five million Cybermen as "pest control", "one Doctor" visibly un-nerves them (to the point they physically recoil).[13] To his indignant surprise, in "Asylum of the Daleks", the Eleventh Doctor (Matt Smith) learns that the Daleks have designated him as "The Predator".

As the Doctor escapes the Asylum (with companions Amy and Rory), a Dalek-converted-human (Oswin Oswald) prisoner provides critical assistance, which culminates in completely deleting the Doctor from the Dalek hive-consciousness (the PathWeb), thus wiping the slate entirely blank. However, this was reversed in "The Time of the Doctor", when the Daleks regained knowledge of the Doctor through the memory of an old acquaintance of the Doctor, Tasha Lem.

Measurements

A rel is a Dalek and Kaled unit of measurement. It was usually a measurement of time, with a duration of slightly more than one second, as mentioned in "Doomsday", "Evolution of the Daleks" and "Journey's End", counting down to the ignition of the reality bomb. (One earth minute most likely equals about 50 rels.) However, in some comic books it was also used as a unit of velocity. Finally, in some cases it was used as a unit of hydroelectric energy (not to be confused with a vep, the unit used to measure artificial sunlight).

The rel was first used in the non-canonical feature film Daleks – Invasion Earth: 2150 A.D., soon after appearing in early Doctor Who comic books.

Showing Some Resolve by Syd Young

13 3

Problems, problems. The Driver of 47769 Resolve trudges disconsolately back to his locomotive which had conked out on arrival at Liskeard with the 08:46 Penzance - Manchester Piccadilly Virgin cross-country service on 7th June 2000. Having had a discussion with the Guard he decided to try and press on, eventually managing to restart the locomotive and get away some 25 minutes late.

Minolta Dynax 5000i Fujichrome 100

Resolve the Sky by Keisuke Takahashi

18 2

iPhone4S, KitCam

COHO RESOLVE by Kaiserjp

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A pair of C-17s break to head to their next stop on their Operation American Resolve flyover of various healthcare facilities around Western Washington.

IF: "RESOLVE..." by Margaret Storer-Roche

10 12

Blogged here...

waterblossoms.blogspot.com/2009/01/if-resolve.html

Boeing F/A-18E Super Hornet - VFA-86 Sidewinders - USS Dwight D Eisenhower by BenSMontgomery

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A sailor conducts routine maintenance on a Strike Fighter Squadron 86 Super Hornet in Hangar Bay 3 of the USS Dwight D Eisenhower, whilst the ship was supporting Operation Inherent Resolve in the eastern Mediterranean.

aeroresource.co.uk/operational-reports/uss-dwight-d-eisen...

aeroresource.co.uk/operational-reports/uss-eisenhower-air...

Resolve by bing dun (nitewalk)

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Marina Bay, Singapore.

This morning sunrise. Finally. Yes, finally I don't get some moody gloomy sky here! Pretty decent clouds and colours this morning and with 3 hours of sleep, it was a bit of a toss up whether I should go for sunrise. I am lucky I did.

Exercise MAPLE RESOLVE by Combat Camera / Caméra de combat

WAINWRIGHT, Alberta, Canada (May 13, 2022) - A British Army soldier mans the turret of a light armored vehicle at Canadian Forces Base Wainwright during Exercise Maple Resolve 2022, May 13, 2022.

(U.S. Navy Photo by Mass Communication Specialist 1st Class Ryan Seelbach)

WAINWRIGHT, Alberta, Canada (13 mai 2022) – Un soldat de l’armée britannique est en poste dans la tourelle d’un véhicule blindé léger à la Base des Forces canadiennes Wainwright au cours de l’exercice Maple Resolve 2022, le 13 mai 2022.

(Photo de la U.S. Navy prise par le spécialiste des communications de masse de 1re classe Ryan Seelbach)

Exercise MAPLE RESOLVE by Combat Camera / Caméra de combat

WAINWRIGHT, Alberta, Canada (May 13, 2022) - Canadian Army light armored vehicles attached to 1st Battalion, The Royal Canadian Regiment traverse the terrain during a ground battle exercise at Canadian Forces Base Wainwright during Exercise Maple Resolve 2022, May 13, 2022.

(U.S. Navy Photo by Mass Communication Specialist 1st Class Ryan Seelbach)

WAINWRIGHT, Alberta, Canada (13 mai 2022) – Des véhicules blindés légers de l’Armée canadienne affectés au 1er Bataillon du Royal Canadian Regiment traversent le terrain lors d’un exercice de bataille terrestre à la Base des Forces canadiennes Wainwright, au cours de l’exercice Maple Resolve 2022, le 13 mai 2022.

(Photo de la U.S. Navy prise par le spécialiste des communications de masse de 1re classe Ryan Seelbach)

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