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article Midi Libre 16/01/2016
Un ministère de l'écologie qui ne respecte pas la Nature !!!
En France, on estime à environ un million le nombre de chiens divaguants. Les témoignages et les preuves concrètes d’attaques sur des troupeaux domestiques (et même sur des gens !) ne manquent pas. Cette problématique est connue et bien réelle,.... et là, le gouvernement ne prend aucune mesure !... Mais on n'abat toujours pas les chiens errants .... Il y a pourtant des dizaines de milliers (!!!!) d'attaques en FRANCE !!!
LE PIRE EST ENCORE A VENIR : MÊME L'ASSEMBLÉE NATIONALE VOTE POUR LA CHASSE => VOIR LIEN CI DESOUS !
NB : 142 députés de toutes couleurs politiques sont membres du groupe Chasse et territoires !!!!!!!
LA NATURE EN FRANCE EST BIEN MAL LOTTIE !!!!!!
Mardi 19 janvier 2016 : Biodiversité : le lobby de la chasse impose ses volontés !!!!
www.reporterre.net/Biodiversite-le-lobby-de-la-chasse-imp...
Pastoralisme et subventions !
Une vidéo qui ouvre les yeux !!!!
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This photo was taken at the Gloucester Point end of the George P. Coleman Memorial Bridge (in Virginia). Before the bridge was constructed, residents on either side of the York River depended on ferries. At that time Gloucester Point (where I grew up) was a loosely connected rural community of perhaps 200 people. Today it’s an unincorporated place of about 9,500.
“The George P. Coleman Memorial Bridge (known locally as simply the Coleman Bridge) is a double swing bridge that spans the York River between Gloucester County and York County between Yorktown, Virginia and Gloucester Point, Virginia. It connects the Peninsula and Middle Peninsula regions of Tidewater Virginia.
Originally built in 1952, it was reconstructed and widened in 1995 through an unusual process which greatly reduced the time the important commuter artery was out-of-service from conventional methods. The current 3,750-foot (1,140 m)-long double-swing-span swing bridge carries U.S. Highway 17, a 4-lane arterial highway. The movable span is needed to allow ship access to several military installations that are upstream of the bridge, most notably, the U.S. Navy's Naval Weapons Station Yorktown. The roadways are almost 90 feet (27 m) above the river at the highest point of the bridge. The bridge is the largest double swing bridge in the United States, and second largest in the world.
The toll bridge was named for George P. Coleman, who from 1913 to 1922 was the head of the Virginia Department of Highways and Transportation, predecessor to the Virginia Department of Transportation (VDOT).”
en.wikipedia.org/wiki/George_P._Coleman_Memorial_Bridge
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Live Paint que eu e Alex Senna fizemos no RESPECT Festival de Música, Arte e Cultura... uma experiência única pintar num evento loko como esse e interagir com o público de várias partes de SP e até de MG... mto bom conhecer várias pessoas novas e ouvir muitos elogios, povo pedir pra tirar fotos dos graffs e inclusive com a gente rsrs... sensacional!!!
Uma das coisas mais recompensadoras q ouvi foi um tiozinho simples q estava estava trabalhando na festa q disse: "Meu nunca vi uma coisa como essa na minha vida, estou impressionado" ele disse que num tem acesso a arte, na cidade dele num existia graffiti e que nunca tinha visto alguém fazer uma pintura ao vivo, de poder acompanhar o processo todo... legal poder proporcionar isso...
Bom agradeço ao brother Alex Senna pelo rolê e oportunidade, a festa foi cansativa mas bem recompensadora...
Desenho feito no improviso...
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
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Photograph taken at an altitude of six metres, at 09:28am on Thursday 5th September 2019 off Cordova Bay road on the shoreline of Mt Douglas Beach in Victoria on Vancouver Island in British Columbia, Canada.
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Nikon D850. Focal length 24mm Shutter speed 1/15s Aperture f/16.0 iso80 RAW (14 bit uncompressed) Image size L (8256 x 5504 FX). Hand held with Nikon VR Vibration reduction enabled. Focus mode AF-C focus 51 point with 3D- tracking. AF-Area mode single point & 73 point switchable. Exposure mode - Aperture priority exposure. Nikon Back button focusing enabled. Matrix metering. ISO Sensitivity: Auto. White balance: Natural light auto. Colour space Adobe RGB. Nikon Distortion control on. Picture control: Auto. High ISO NR on. Vignette control: normal. Active D-lighting Auto.
Nikkor AF-S 24-120mm f/4G ED VR. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 0.6 (2 stops) ND Grad soft resin. Lee SW150 Filters field pouch.Nikon EN-EL15a battery.Mcoplus professional MB-D850 multi function battery grip 6960. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
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LATITUDE: N 48d 29m 48.45s
LONGITUDE: W 123d 19m 58.45s
ALTITUDE: 6.0m
RAW (TIFF) FILE: 130.00MB NEF: 91.6MB
PROCESSED (JPeg) FILE: 37.70MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.3.1 11/07/2019). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
Centrum Park Kerkrade Limburg Nederland.
Thank you everyone for your visit, favorites and comments.
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
Leica-M6 TTL 0.72. Elmarit-M 1:2.8/21mm ASPH. Ilford FP 4 plus 125asa.
Developer Ilford ID 11 1+1 20º 11 min.
Nikon Super Coolscan 5000 ED, Film Scanner.
Maastricht Limburg Nederland
The Netherlands.
I'm not sure the identification of this flower. If you know or have a suggestion please let me know. Thanks.
If you like this photo, see also...
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© Bob Cuthill Photography - All rights reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
BobCuthillPhotography@gmail.com
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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Photograph taken at an altitude of Six metres, at 14:00pm on Monday 20th January 2020, on a beautifully sunny afternoon off Birdcage Walk and Horse Guards Road in the grounds of St James's Park. Situated in the City Of Westminster, the Park spans twenty three Hectares and is the oldest of the Royal Parks of London, with a variety of visiting and nesting birds that include Ducks, Canada Geese and Pelicans.
Here we see, Sciurus Carolinensis (Eastern Gray Squirrel or Grey Squirrel), a tree squirrel native to North America and first introduced to the UK in the 1870's. Though it was largely resonsible for the decimation of our own native red squirrel population, those are now on the increase and found in certain parts of the UK including Scotland. The Greys are still an ecologically essential natural forester regenerator.
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Nikon D850 Hand held with Sigma OS Optical Stabilization enabled on Normal setting. Focal length 280mm Shutter speeed 1/25s Aperture f/16.0 iso400 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space Adobe RGB. Nikon Back button focusing enabled. Focus mode AF-C focus 51 point with 3-D tracking. Exposure mode - Shutter priority mode. Matrix metering. ISO Sensitivity: Manually set. Active D-lighting on Automatic. Picture control: Standard with Sharpening A+3.00 and clarity +1.00
Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS (Firmware version 1.00 05/11/2019). Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 30m 3.29s
LONGITUDE: W 0d 8m 20.54s
ALTITUDE: 6.0m
RAW (TIFF) FILE: 130.00MB NEF: 93.7MB
PROCESSED (JPeg) FILE: 46.10MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty eight metres at 07:50am on a beautiful Spring morning on Sunday 8th May 2022, off Chessington Avenue in Bexleyheath, Kent.
Here we see an adult Vixen Red fox (Vulpes vulpes), the largest of the true foxes (a genus of the sub-family Caninae which form a proper clade or monophyletic or natural group). She is with one of her cubs, teaching it to wait in line for food. Red foxes are the largest of the worldwide foxes, and also the most commonly widespread across the Northern hemisphere, Europe and North Africa.
Nikon D850 Focal length: 300mm Shutter speed: 1/250s Aperture: f/5.6 iso500 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (4410k) Colour space: RGB Picture control: Neutral (Sharpening +2) Active D-lighting: Low
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 28m 28.45s
LONGITUDE: E 0d 8m 10.28s
ALTITUDE: 58.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 92.5MB
PROCESSED (JPeg) FILE: 38.50MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
© István Pénzes.
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19th January 2025, @home, The Netherlands
Hasselblad X2D 100C
Hasselblad XCD38mm f2.5
Please NOTE and RESPECT the copyright.
© 2017
photos4dreams - All rights reserved.
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
for purchase information see my profile
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Nuevo Museo de la Acrópolis
C/ Dionysiou Areopagitou 15, área histórica de Makrygianni, Atenas. Grecia
Bernard Tschumi, Arquitectos: Bernard Tschumi y Michael Photiadis 1999-2009
La Acrópolis, que data del siglo V antes de nuestra era, es el símbolo de la civilización griega antigua y uno de los lugares más visitados del mundo. El Nuevo Museo se encuentra en la ladera sureste de la colina de la Acrópolis, en el antiguo camino que conducía a la "roca sagrada" en la época clásica. Se ubica a 280 metros en línea recta colina abajo del Partenón, a la entrada de una red de caminos peatonales que enlazan los sitios arqueológicos y monumentos de la Acrópolis. Este lugar fue seleccionado cuidadosamente para permitir un diálogo entre los espacios de exposición del museo y los edificios de la Acrópolis.
El museo primitivo se situaba dentro de la Acrópolis, y tuvo su origen en 1833, después de la retirada de los turcos, cuando se almacenaron los primeros descubrimientos arqueológicos en una cisterna, sita al oeste del Partenón. Entre los años 1865 y 1874, el arquitecto Panages Kalkos construyó un primer museo que es ampliado tras las excavaciones de 1866-1889. Tras la Segunda Guerra Mundial parte del edificio fue derribado. En la década de 1950 se procede a su restauración y modernización a cargo del arquitecto Patroklos Karantinos. En 1978 el gobierno heleno decidió trasladar el museo fuera de la Acrópolis debido a la falta de espacios de exposición. Hubo para ello cuatro concursos, los dos primeros, con participación de arquitectos griegos únicamente. Estos no produjeron ningún resultado ya que las parcelas seleccionadas para las construcciones propuestas se consideraron inadecuadas. En 1989, un tercer concurso, internacional esta vez, con tres posibles ubicaciones, es ganado por los arquitectos italianos Nicoletti y Passarelli. Los trabajos de construcción del nuevo museo comenzaron sobre la base de este tercer diseño, pero se detuvieron en la fase de las excavaciones para los cimientos debido al descubrimiento de los restos de una antigua ciudad de Atenas, excavando más de 43.000 m2. Se levantó entonces una polémica sobre la conveniencia de encontrar otra ubicación al edificio, que desembocó en la anulación de la competición en 1999. El cuarto concurso se realizó con la premisa inicial de la preservación de los restos arqueológicos, por lo que el edificio debería levantarse sobre pilotes. El nuevo concurso fue por invitación, siendo ganado por el estudio del arquitecto suizo asentado en New York Bernard Tschumi, en colaboración con el arquitecto griego Michael Photiadis. En su proyecto, los restos arqueológicos descubiertos fueron conservados e integrados en el diseño del Museo, siendo una parte importante de la experiencia del visitante.
El Nuevo Museo de la Acrópolis, inaugurado el 20 de junio de 2009, contiene esculturas de piedra y bronce, procedentes de excavaciones próximas a la Acrópolis. Las colecciones expuestas en él se dividen en dos grandes épocas, la Época Arcaica y la Época Clásica. Con el museo en funcionamiento las autoridades helenas esperan ganar la larga batalla para recuperar los restos que fueron trasladados a Londres en el siglo XIX y que Grecia reclama insistentemente.
El proyecto se basa en tres conceptos que transformaron las limitaciones del sitio en potencialidades: luz, movimiento, y concepto tectónico y programático.
La Luz: Más que en cualquier otro tipo de museo, la luz se tomó como concepto primordial en el diseño. Al tratarse de exposiciones de esculturas, las condiciones necesarias difieren de las que se encuentran en una exposición de pinturas. Es, en primer lugar, un museo de la luz natural, relacionada con la presentación de objetos escultóricos dentro de él.
Movimiento: El recorrido ofrecido a los visitantes se basó una rica secuencia de movimiento, tanto a través del tiempo como en la espacialidad.
El concepto tectónico y programático La manifestación de la estructura del edificio se refleja en el exterior y en el interior del mismo. Se articula de tal manera que está diseñado en torno a las necesidades específicas de cada parte del programa.
El volumen del edificio se articula mediante tres cuerpos superpuestos y con perímetro diferenciado: base, cuerpo central y nivel superior, diseñados en torno a las necesidades específicas de cada parte del programa.
En la base, realizada sobre pilotes que flotan sobre el sitio arqueológico, se ubica el hall de acceso con vistas a las excavaciones Makrygianni, los espacios de exposiciones temporales y todos los servicios de apoyo, incluyendo la tienda de regalos. Al estar implantado sobre pilotes en un sitio arqueológico, se usó en algunos sectores pavimento a base de vidrio transparente a través del cual el visitante puede ver las excavaciones.
El central es una gran plaza de forma trapezoidal de doble altura donde se ubican las galerías de la época arcaica del Imperio Romano, con total flexibilidad. Se accede aquí a través de una rampa de cristal transparente. En una sala central, iluminada cenitalmente, se sitúan las Cariátides procedentes del Erecteion. Una entreplanta acoge un auditorio multimedia para 200 plazas, un bar con vistas a la excavación arqueológica y un restaurante con una terraza y espectaculares vistas a la Acrópolis.
La parte superior, “la galería del Partenón”, es rectangular con más de 7 metros de altura y una superficie superior a 2.050 m2. Su eje gira 23 grados respecto del resto del edificio al objeto de situarse en paralelo a la Acrópolis y orientar los mármoles del friso exactamente como estaban dispuestos en el Partenón. La cubierta transparente proporciona una luz ideal para las esculturas y una visión directa hacia y desde la Acrópolis. Uno de los objetivos de la galería principal es reunir a los frisos del Partenón, actualmente dispersos en varios museos del mundo. Aquí núcleo de hormigón del edificio, que penetra hacia arriba a través de todos los niveles, se convierte en la superficie sobre la que se montan las esculturas de mármol del friso del Partenón. Este núcleo permite que la luz natural llegue a las Cariátides en el nivel inferior. La Parthenon Gallery ofrece una vista panorámica de 360 grados de la Acrópolis y la Atenas moderna.
La circulación dentro del museo está planteada de forma cronológica, de tal manera que el visitante recorre un paseo arquitectónico e histórico.
El edificio se construye sobre una red de columnas, dispuestas de forma que se conservan cuidadosamente los restos arqueológicos del sitio. Los pilotes atraviesan el suelo hasta la roca firme y flotan en los rodamientos de rodillos capaces de soportar un terremoto de máxima magnitud.
La construcción fue pensada en relación a la durabilidad y la resistencia al paso del tiempo, para que el edificio envejezca con gracia, a pesar del pesado volumen de tráfico de un destino turístico internacional. Los materiales fueron seleccionados por su sencillez y sobriedad: vidrio, hormigón y mármol. La transparencia del vidrio filtra suavemente la luz a través de un proceso de serigrafía. La estructura es de hormigón armado. El suelo de mármol se diferencia de acuerdo a las zonas del edificio: negro para la circulación, color beige claro para las galerías.
es.wikiarquitectura.com/index.php/Nuevo_Museo_de_la_Acr%C...
www.archdaily.com/office/bernard-tschumi-architects
www.archdaily.com/61898/new-acropolis-museum-bernard-tsch...
www.nuevarevista.net/articulos/el-nuevo-museo-de-la-acrop...
A beautiful Mărțișor - symbol of friendship,love, appreciation and respect for all my Flickr friends!
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Mărțișor (Romanian pronunciation: [mərt͡siˈʃor] is a Romanian celebration at the beginning of spring, on March the 1st in Romania, Moldova, and all territories inhabited by Romanians. Alike, though not identical customs can be found in Bulgaria while similar ones exist in Albania, Greece and Italy.
The name Mărțișor is the diminutive of March, the old folk name for Marț(Martie, in modern Romanian), and thus literally means "little March".
Mărțișor names for the red and white string from which a small decoration is tied, and which is offered by people (esp. girls women) on the 1st day of March. Giving this talisman to people is an old custom, and it is believed that the one who wears the red and white string will be strong and healthy for the year to come. It is also a symbol of the coming spring.
In modern times, and especially in urban areas, the Mărțișor lost most of its talisman properties and became more of a symbol of friendship or love, appreciation and respect.
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© Ioan C. Bacivarov
All the photos on this gallery are protected by the international laws of copyright and they are not for being used on any site, blog or forum, transmitted or manipulated without the explicit written permission of the author. Thank you in advance
Please view my most interesting photos on flickriver stream: www.flickriver.com/photos/ioan_bacivarov/
Many thanks for yours visits and comments
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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This photograph was taken in the magic at an altitude of Nine hundred and eighty eight metres, at 16:11pm on Friday May 13th 2016 off Klondike Highway 2 at the point where it become the Klondike Highway 98 and Canada gives way to Alaska in the United States of America at the border (marked by this very famous sign).
White pass summit rises to 1003 metres with amazing panoramic views from Canada to the USA. At this point we cross from Yukon territory into Alaska and the Klondike Highway becomes the 98.
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Nikon D800 Focal length 70mm Shutter speed 1/200s Aperture f/14.0 iso100 RAW (14Bit) Nikon back focus button enabled. AF-C Continuous point focus with 3-D tracking. Manual exposure. Matrix metering. Auto white balance. Nikon AF Fine tune on (+9).
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Nikon DK-17M 1.2x Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC card. Lowepro Transporter camera strap. Lowepro Vertex 200 AW Photo/ 15.4" Notebook Backpack camera bag. Nikon GP-1 GPS unit.
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LATITUDE: N 59d 37m 41.16s
LONGITUDE: W 135d 9m 52.19s
ALTITUDE: 988.0m
RAW (TIFF) FILE SIZE: 103.00MB (NEF 74.0MB)
PROCESSED (JPeg) SIZE: 25.40MB
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PROCESSING POWER:
Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit.
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 35.019+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on January 19th 2020
CREATIVE RF gty.im/1199866243 MOMENT OPEN COLLECTION**
This photograph became my 4,064th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
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Photograph taken at an altitude of Two hundred and thirty five metres, at 13:48pm on Saturday 18th September 2019 off Ainslie Point Road and Canal Road at the summit of Mount Norman on South Pender Island in British Columbia, Canada.
The summit is nestled within the forrest within the Gulf Islands National Park Reserve, and here we have a view out across to North Pender Island, and the Soutrhern Gulf Islands of British Columbia.
Designated as the fortieth national park in 2003 and covering 36 square kilometres (14 sq mi) of area with 16 islands and more than 30 islets, reefs and surrounding waters, it also contains Douglas-fir trees as well as Pacific dogwood, bigleaf maple, red alder and Western red cedar.
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Nikon D850. Focal length 70mm Shutter speed 1/320s Aperture f/16.0 iso160 RAW (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus 51 point with 3D- tracking. AF-Area mode single point & 73 point switchable. Exposure mode - Aperture priority exposure. Nikon Back button focusing enabled. Matrix metering. ISO Sensitivity: Auto. White balance: Natural light auto. Colour space Adobe RGB. Nikon Distortion control on. Picture control: Auto. High ISO NR on. Vignette control: normal. Active D-lighting Auto.
Nikkor AF-S 24-120mm f/4G ED VR. Cokin GND4 resin filter . Nikon EN-EL15a battery.Mcoplus professional MB-D850 multi function battery grip 6960. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
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LATITUDE: N 48d 45m 31.06s
LONGITUDE: W 123d 14m 28.13s
ALTITUDE: 235.0m
RAW (TIFF) FILE: 130.00MB NEF: 90.4MB
PROCESSED (JPeg) FILE: 40.90MB
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Shot it at GANGASAGAR Fair.
Gangasagar Mela(fair) is the largest fair celebrated in West Bengal. This fair is held where the Ganga and the Bay of Bengal form a nexus. Hence the name Gangasagar Mela. The river Ganga which originates in the Gangotri glacier in the snow clad Himalayas, descends down the mountains, reaches the plains at Haridwar, flows through ancient pilgrimage sites such as Benares and Prayag, and drains into the Bay of Bengal. Sagar Island, at the mouth of the river Hooghly in Bengal where the Ganga breaks up into hundreds of streams, and drains into the sea, is honored as a pilgrimage site.
A dip in the ocean, where the Ganga drains into the sea is considered to be of great religious significance particularly on the Makara Sankranti day when the sun makes a transition to Capricorn from Sagittarius and this town becomes home to vast fairs, drawing visitors and recluses from all over the state. There is a common belief among the locals that the girls who take the holy dip get handsome grooms and the boys get beautiful brides. When they are done with the ritual obligations, they head towards the Kapilmuni Temple situated nearby, to worship the deity as a mark of respect.
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Je ne suis pas croyant... mais je respect humblement et pleinement la croyance des autres... Il m'arrive cependant de parcourir les écritures! Une parabole ne cesse de me questionner; celle des talents, une lecture hâtive pourrait faire passer Dieu pour un fieffé capitaliste, en fait elle est très dure et semble ramener sur scène le Dieu Jaloux et possessif de l'ancien testament. Mais à la lumière de notre époque je pense qui faut prendre le terme talent dans le sens de capacité à utiliser ce que la vie nous a confiée... Mon interprétation (toute personnelle) est, que Jésus, tente de nous faire comprendre que la vie attend que nous nous réalisions, que nous sortions de notre vie douillette, que nous prenions le risque de la vie en cherchant à faire fructifier notre nature personnelle pour être ce que nous sommes destinée à être... ; des femmes et des hommes debout conscient du sens de leur vie en l'assumant pleinement... Autrement nous ne sommes que des personnes vides et sans valeur... aucunes! Avec pour seul bagage les regrets et les larmes...
Pour mémoire voici cette parabole...
« C'est comme un homme qui, partant en voyage, appela ses serviteurs et leur remit sa fortune.
15 A l'un il donna cinq talents, deux à un autre, un seul à un troisième, à chacun selon ses capacités, et puis il partit. Aussitôt
16 celui qui avait reçu les cinq talents alla les faire produire et en gagna cinq autres.
17 De même celui qui en avait reçu deux en gagna deux autres.
18 Mais celui qui n'en avait reçu qu'un s'en alla faire un trou en terre et enfouit l'argent de son maître.
19 Après un long temps, le maître de ces serviteurs arrive et il règle ses comptes avec eux.
20 Celui qui avait reçu les cinq talents s'avança et présenta cinq autres talents : «Seigneur, dit-il, tu m'a remis cinq talents : voici cinq autres talents que j'ai gagnés. » -
21 «C'est bien, serviteur bon et fidèle, lui dit son maître, en peu de choses tu as été fidèle, sur beaucoup je t'établirai ; entre dans la joie de ton seigneur».
22 Vint ensuite celui qui avait reçu deux talents : «Seigneur, dit-il, tu m'as remis deux talents : voici deux autres talents que j'ai gagnés. » -
23 «C'est bien, serviteur bon et fidèle, lui dit son maître, en peu de choses tu as été fidèle, sur beaucoup je t'établirai ; entre dans la joie de ton seigneur».
24 Vint enfin celui qui détenait un seul talent : «Seigneur, dit-il, j'ai appris à te connaître pour un homme âpre au gain : tu moissonnes où tu n'as point semé, et tu ramasses où tu n'as rien répandu.
25 Aussi, pris de peur, je suis allé enfouir ton talent dans la terre : le voici, tu as ton bien. »
26 Mais son maître lui répondit : «Serviteur mauvais et paresseux ! tu savais que je moissonne où je n'ai pas semé, et que je ramasse où je n'ai rien répandu ?
27 Eh bien ! tu aurais dû placer mon argent chez les banquiers, et à mon retour j'aurais recouvré mon bien avec un intérêt.
28 Enlevez-lui donc son talent et donnez-le à celui qui a les dix talents.
29 Car à tout homme qui a, l'on donnera et il aura du surplus ; mais à celui qui n'a pas, on enlèvera ce qu'il a.
30 Et ce propre à rien de serviteur, jetez-le dehors, dans les ténèbres : là seront les pleurs et les grincements de dents. »
Mt 25, 14-30 (Bible de Jérusalem (1973))
The elderly, the old, the seniors, by whatever name we refer to them, respect lies in the class they belong to. Such is the beauty of this so called society that we belong to, the sad truth, the salutation of peace, the Salam, would not even be bestowed upon them because they are poor. The times we live in, how we have become tangled in this gruesome web.
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No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 36.013+ Million visitors to my FLICKR site.
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Photograph taken at an altitude of Thirty six metres at 10:28am on Wednesday 6th May 2020 off Abbey Road B213 and New Road in the grounds of Lesnes Abbey Woods in the London Borough of Bexley, England. Lesnes Abbey woods joins to abbey wood and Abbey wood open space as well as Bostall Heath and woods.
After weeks of self isolation due to the global pandemic that we know as COVID-19 Coronavirus, we are allowed to go out for exercise once per day and keep away from others. A walk in the local woodlands after the rain came today to taste the fresh air and get my limbs moving again.
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Nikon D850 Hand held with Nikkor VR Vibration Reduction enabled on normal setting. Focal length 16mm Shutter speed: 1/100s Aperture f/5.0 iso200 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Manual exposure. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Miniumum shutter speed 125). White blance on: Auto1. Colour space: RGB. Actve D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1
Nikkor AF-S 16-35mm f/4.0G IF ED VR. Lee filters SW150 holder. Lee filters SW150 77mm screw in adapter ring. Lee filters Circular Polariser Glass filter. Lee filters SW150 filters field pouch. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
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LATITUDE: N 51d 29m 12.50s
LONGITUDE: E 0d 8m 1.56s
ALTITUDE: 36.0m
RAW (TIFF) FILE: 130.00MB NEF: 94.0MB
PROCESSED (JPeg) FILE: 41.50MB
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Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
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With arms reversed, a member of the Canadian military stands beside a wreath laid by one of today's twi silver cross mothers in Hamilton.
I have often visited the little fishing village of Avoch, pronounced “Och” by most of the locals it is a quiet little place with quite a lot of houses along the shore. I came to look at the Church out of curiosity, in the hope of finding something unusual. For me to discover that Sir Alexander Mackenzie of Mackenzie River, Canada, was buried here was quite remarkable. The Church itself is of a classic yet unusual style, with a side arch. The steeple is very high with a weather vein at the top, it has a bell tower and because it is surrounded by grave stones requires a good deal of respect. There is a plaque for Sir Alexander Mackenzie which reads thus;
“In mid July 1789 Alexander Mackenzie reached the shores of the Artic Ocean from Fort Chipewyan on Lake Athabasca, having traversed the great river that now bears his name. He returned safely on 12th September, after having travelled by canoe more than 3,000 miles in 102 days, assisted by friendly Indians and propelled by four French-Canadian voyageurs. In 1792 he left Fort Chipewyan again, wintered on Peace River and, once more guided by Indians reached the Pacific Ocean at Bella Coola on the 22nd July 1793, the first explorer to cross the continent. He returned to Fort Chipewyan with all his party”.
The inscription on the stone reads thus:
“In memory of Sir Alexander Mackenzie of Avoch
The Explorer of the North West of America
And discoverer of the Mackenzie River
Died 12th March 1820
And Lady Geddes Mackenzie of Avoch
His widow died 7th July 1860”.
“From the lone shieling of the misty island,
Mountains divide us and the waste of seas,
But still the blood is strong, the heart is highland,
And we in dreams behold the Hebrides”.
The de Havilland DH.98 Mosquito was a British multi-role combat aircraft with a two-man crew that served during and after the Second World War. It was one of few operational front-line aircraft of the era constructed almost entirely of wood and was nicknamed "The Wooden Wonder". The Mosquito was also known affectionately as the "Mossie" to its crews. Originally conceived as an unarmed fast bomber, the Mosquito was adapted to roles including low to medium-altitude daytime tactical bomber, high-altitude night bomber, pathfinder, day or night fighter, fighter-bomber, intruder, maritime strike aircraft, and fast photo-reconnaissance aircraft. It was also used by the British Overseas Airways Corporation (BOAC) as a fast transport to carry small high-value cargoes to, and from, neutral countries, through enemy-controlled airspace.
When the Mosquito began production in 1941, it was one of the fastest operational aircraft in the world. Entering widespread service in 1942, the Mosquito was a high-speed, high-altitude photo-reconnaissance aircraft, continuing in this role throughout the war. From mid-1942 to mid-1943 Mosquito bombers flew high-speed, medium or low-altitude missions against factories, railways and other pinpoint targets in Germany and German-occupied Europe. From late 1943, Mosquito bombers were formed into the Light Night Strike Force and used as pathfinders for RAF Bomber Command's heavy-bomber raids. They were also used as "nuisance" bombers, often dropping Blockbuster bombs - 4,000 lb (1,812 kg) "cookies" - in high-altitude, high-speed raids that German night fighters were almost powerless to intercept.
As a night fighter, from mid-1942, the Mosquito intercepted Luftwaffe raids on the United Kingdom, notably defeating Operation Steinbock in 1944. Starting in July 1942, Mosquito night-fighter units raided Luftwaffe airfields. As part of 100 Group, it was a night fighter and intruder supporting RAF Bomber Command's heavy bombers and reduced bomber losses during 1944 and 1945. As a fighter-bomber in the Second Tactical Air Force, the Mosquito took part in "special raids", such as the attack on Amiens Prison in early 1944, and in precision attacks against Gestapo or German intelligence and security forces. Second Tactical Air Force Mosquitos supported the British Army during the 1944 Normandy Campaign. From 1943 Mosquitos with RAF Coastal Command strike squadrons attacked Kriegsmarine U-boats (particularly in the 1943 Bay of Biscay, where significant numbers were sunk or damaged) and intercepting transport ship concentrations.
The Mosquito flew with the Royal Air Force (RAF) and other air forces in the European theatre, and the Mediterranean and Italian theatres. The Mosquito was also used by the RAF in the South East Asian theatre, and by the Royal Australian Air Force (RAAF) based in the Halmaheras and Borneo during the Pacific War.
By the early-mid-1930s, de Havilland had a reputation for innovative high-speed aircraft with the DH.88 Comet racer. The later DH.91 Albatross airliner pioneered the composite wood construction that the Mosquito used. The 22-passenger Albatross could cruise at 210 miles per hour (340 km/h) at 11,000 feet (3,400 m), better than the 100 miles per hour (160 km/h) Handley Page H.P.42 and other biplanes it was replacing. The wooden monocoque construction not only saved weight and compensated for the low power of the de Havilland Gipsy Twelve engines used by this aircraft, but simplified production and reduced construction time.
Air Ministry bomber requirements and concepts:
On 8 September 1936, the British Air Ministry issued Specification P.13/36 which called for a twin-engined medium bomber capable of carrying a bomb load of 3,000 pounds (1,400 kg) for 3,000 miles (4,800 km) with a maximum speed of 275 miles per hour (443 km/h) at 15,000 feet (4,600 m); a maximum bomb load of 8,000 pounds (3,600 kg) which could be carried over shorter ranges was also specified. Aviation firms entered heavy designs with new high-powered engines and multiple defensive turrets, leading to the production of the Avro Manchester and Handley Page Halifax.
In May 1937, as a comparison to P.13/36, George Volkert, the chief designer of Handley Page, put forward the concept of a fast unarmed bomber. In 20 pages, Volkert planned an aerodynamically clean medium bomber to carry 3,000 pounds (1,400 kg) of bombs at a cruising speed of 300 miles per hour (480 km/h). There was support in the RAF and Air Ministry; Captain R N Liptrot, Research Director Aircraft 3 (RDA3), appraised Volkert's design, calculating that its top speed would exceed the new Supermarine Spitfire. There were, however, counter-arguments that, although such a design had merit, it would not necessarily be faster than enemy fighters for long. The ministry was also considering using non-strategic materials for aircraft production, which, in 1938, had led to specification B.9/38 and the Armstrong Whitworth Albemarle medium bomber, largely constructed from spruce and plywood attached to a steel-tube frame. The idea of a small, fast bomber gained support at a much earlier stage than sometimes acknowledged though it was unlikely that the Air Ministry envisaged it not using light alloy components.
Project Mosquito:
Once design of the DH.98 had started, de Havilland built mock-ups, the most detailed at Salisbury Hall, in the hangar where E0234 was being built. Initially, this was designed with the crew enclosed in the fuselage behind a transparent nose (similar to the Bristol Blenheim or Heinkel He 111H), but this was quickly altered to a more solid nose with a more conventional canopy.
The construction of the prototype began in March 1940, but work was cancelled again after the Battle of Dunkirk, when Lord Beaverbrook, as Minister of Aircraft Production, decided there was no production capacity for aircraft like the DH.98, which was not expected to be in service until early 1941. Although Lord Beaverbrook told Air Vice-Marshal Freeman that work on the project had better stop, he did not issue a specific instruction, and Freeman ignored the request. In June 1940, however, Lord Beaverbrook and the Air Staff ordered that production was to focus on five existing types, namely the Supermarine Spitfire, Hawker Hurricane, Vickers Wellington, Armstrong-Whitworth Whitley and the Bristol Blenheim. Work on the DH.98 prototype stopped, and it seemed that the project would be shut down when the design team were denied the materials with which to build their prototype.
The Mosquito was only reinstated as a priority in July 1940, after de Havilland's General Manager L.C.L Murray, promised Lord Beaverbrook 50 Mosquitoes by December 1941, and this, only after Beaverbrook was satisfied that Mosquito production would not hinder de Havilland's primary work of producing Tiger Moth and Oxford trainers and repairing Hurricanes as well as the licence manufacture of Merlin engines. In promising Beaverbrook 50 Mosquitoes by the end of 1941, de Havilland was taking a gamble, because it was unlikely that 50 Mosquitos could be built in such a limited time; as it transpired only 20 Mosquitos were built in 1941, but the other 30 were delivered by mid-March 1942.
During the Battle of Britain, nearly a third of de Havilland's factory time was lost because the workers took cover in the factory's bomb shelters. Nevertheless, work on the prototype went quickly, such that E0234 was rolled out on 19 November 1940.
In the aftermath of the Battle of Britain, the original order was changed to 20 bomber variants and 30 fighters. It was still uncertain whether the fighter version should have dual or single controls, or should carry a turret, so three prototypes were eventually built: W4052, W4053 and W4073. The latter, both turret armed, were later disarmed, to become the prototypes for the T.III trainer. This caused some delays as half-built wing components had to be strengthened for the expected higher combat load requirements. The nose sections also had to be altered, omitting the clear perspex bomb-aimer's position, to solid noses designed to house four .303 machine guns and their ammunition.
Overview:
The Mosquito was a fast, twin-engined aircraft with shoulder-mounted wings. The most-produced variant, designated the FB Mk VI (Fighter-bomber Mark 6), was powered by two Merlin Mk 23 or Mk 25 engines driving three-bladed de Havilland hydromatic propellers. The typical fixed armament for an FB Mk VI was four Browning .303 machine guns and four 20 mm Hispano cannon while the offensive load consisted of up to 2,000 pounds (910 kg) of bombs, or eight RP-3 unguided rockets.
Construction:
The oval-section fuselage was a frameless monocoque shell built in two halves being formed to shape by band clamps over a mahogany or concrete mould, each holding one half of the fuselage, split vertically. The shell halves were made of sheets of Ecuadorean balsawood sandwiched between sheets of Canadian birch, but in areas needing extra strength— such as along cut-outs— stronger woods replaced the balsa filler; the overall thickness of the birch and balsa sandwich skin was only 7⁄16 inch (11 mm). This sandwich skin was so stiff that no internal reinforcement was necessary from the wing's rear spar to the tail bearing bulkhead. The join was along the vertical centre line. This split construction greatly aided the assembly of the internal equipment as it allowed the technicians easy access to the fuselage interior. While the glue in the plywood skin dried, carpenters cut a sawtooth joint into the edges of the fuselage shells, while other workers installed the controls and cabling on the inside wall. When the glue completely dried, the two halves were glued and screwed together. The fuselage was strengthened internally by seven bulkheads made up of two plywood skins parted by spruce blocks, which formed the basis on each half for the outer shell. Each bulkhead was a repeat of the spruce design for the fuselage halves; a balsa sheet sandwich between two plywood sheets/skins. Bulkhead number seven carried the fittings and loads for the tailplane and rudder, The type of glue originally used was Casein, which was later replaced by "Aerolite", a synthetic urea-formaldehyde, which was more durable. Many other types of screws and flanges (made of various woods) also held the structure together.
The fuselage construction joints were made from balsa wood and plywood strips with the spruce multi-ply being connected by a balsa V joint, along with the interior frame. The spruce would be reinforced by plywood strips at the point where the two halves joined to form the V-joint. Located on top of the joint the plywood formed the outer skin. During the joining of the two halves ("boxing up"), two laminated wooden clamps would be used in the after portion of the fuselage to act as support. A covering of doped Madapolam (a fine plain woven cotton) fabric was stretched tightly over the shell and a coat of silver dope was applied, after which the exterior camouflage was applied. The fuselage had a large ventral section cut-out, which was braced during construction, to allow it to be lowered onto the wing centre-section. Once the wing was secured the lower panels were replaced, and the bomb bay or armament doors fitted.
The all-wood wing was built as a one-piece structure and was not divided into separate construction sections. It was made up of two main spars, spruce and plywood compression ribs, stringers, and a plywood covering. The outer plywood skin was covered and doped like the fuselage. The wing was installed into the roots by means of four large attachment points. The engine radiators were fitted in the inner wing, just outboard of the fuselage on either side. These gave less drag. The radiators themselves were split into three sections: an oil cooler section outboard, the middle section forming the coolant radiator and the inboard section serving the cabin heater. The wing contained metal framed and skinned ailerons, but the flaps were made of wood and were hydraulically controlled. The nacelles were mostly wood, although, for strength, the engine mounts were all metal as were the undercarriage parts. Engine mounts of welded steel tube were added, along with simple landing gear oleos filled with rubber blocks. Wood was used to carry only in-plane loads, with metal fittings used for all triaxially loaded components such as landing gear, engine mounts, control surface mounting brackets, and the wing-to-fuselage junction. The outer leading wing edge had to be brought 22 inches (56 cm) further forward to accommodate this design. The main tail unit was all wood built. The control surfaces, the rudder and elevator, were aluminium framed and fabric covered. The total weight of metal castings and forgings used in the aircraft was only 280 lb (130 kg).
In November 1944, several crashes occurred in the Far East. At first, it was thought these were as a result of wing structure failures. The casein glue, it was said, cracked when exposed to extreme heat and/or monsoon conditions. This caused the upper surfaces to "lift" from the main spar. An investigating team led by Major Hereward de Havilland travelled to India and produced a report in early December 1944 stating that "the accidents were not caused by the deterioration of the glue but by shrinkage of the airframe during the wet monsoon season". However a later inquiry by Cabot & Myers definitely attributed the accidents to faulty manufacture and this was confirmed by a further investigation team by the Ministry of Aircraft Production at Defford which found faults in six different Marks of Mosquito (all built at de Havilland's Hatfield and Leavesden plants) which showed similar defects, and none of the aircraft had been exposed to monsoon conditions or termite attack; thus it was concluded that there were construction defects found at the two plants. It was found that the "Standard of glueing...left much to be desired”. Records at the time showed that accidents caused by "loss of control" were three times more frequent on Mosquitoes than on any other type of aircraft. The Air Ministry forestalled any loss of confidence in the Mosquito by holding to Major de Havilland's initial investigation in India that the accidents were caused "largely by climate" To solve the problem, a sheet of plywood was set along the span of the wing to seal the entire length of the skin joint along the main spar.
Information regarding the de Havilland DH98 Mosquito has been taken from excerpts contained on Wikipedia
Aston Martin Ulster Roadster (1936)
In 1927 Aston Martin was taken over by race driver A. C. Bertelli. He designed a 1.5-litre, SOHC engine which would eventually power the LeMans-racing Ulster. Thoughout the years the engine was devloped to include dry sump lubrication.
The Aston Martin Ulster stands as one of the most respected pre-war racecars. It was largely based on the Mark II which came before it.
The Ulster had a breif two year race program. During this time they dominated the British Tourist Trophy at Goodwood. In 1934, Ulsters took first, second and third place. The best LeMans result was achieved in 1935. Chassis LM20 raced to third overall which put it first in the 1101 to 1500cc class.
After the race efforts, Aston Martin readied a production version of the LeMans cars. Twenty-One of these cars were built of which all are accounted for today.
Aston Martin Ulster information used from:
www.supercars.net/cars/2084.html
In the 1980's a small number (7) replicas of the Aston Martin Ulster Roadster were manufactured as a kit car:
Fergus Mosquito (Aston Martin Ulster replica)
Kop Hill Climb - 25th September 2011
Fergus Mosquito - an Aston Martin Ulster replica.
Only seven were made in Kingsbridge, Devon, in the 1980s, using donor Morris Marina B-series engines and other parts.
UIJ233 is the best of the 7 replicas.
These two models, the de Havilland DH98 Mosquito aircraft and the Aston Martin Ulster Roadster of 1936 have been created in Lego miniland scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts" - featuring automotive vehicles named after, inspired by or related to aircraft.
© István Pénzes.
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17th November 2024, @home
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