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I really like my new Sony NEX - 6 mirrorless. It is small yet solid, and with very careful application I am getting the IQ I had hoped for. Now I have discovered my Canon lenses, and my 25 year old "Legacy" Olympus Zuiko lenses will fit with adapters. The possibilities seem endless. Here I have one of my all-time favorites, the Zuiko 24 mm. Its an equivalent 36 mm on this format so is ideal for a lot of situations. It doesn't allow auto focus but that isn't a problem for the subjects I shoot, and if set on aperture priority the camera automatically sets the shutter speed.
No doubt, the mini-trucking scene had its prime time back in the 80s and early 90s. Some guys still have mini trucks today and it's been noticed that there has been a steady increase in its popularity again. This photo was taken by me in Orange County, California. It is a heavily customized '87 Nissan Hardbody known as the Crown Royale (owned by Ernie Gonzalez). Shot on a Canon T3i, 18-55mm lens.
Early 16th century figure from the east window of the north aisle.
Shelton church is one I've known from photos for some time, so I was particularly pleased to be visiting it at last. You always have certain expectations in such cases so it's always intriguing to see how they'll measure up to reality. It looks quite a grand building so imagined a more dignified approach, instead we simply pulled up by a gate on a leafy country lane and there it was!
This is clearly an above average building that has had a lot of money put into it, and sure enough its rebuilding was funded by Sir Ralph Shelton (High Sheriff of Norfolk) from the 1490s to at least the 1520s (work may well have continued up to the eve of the Reformation). This work was never finished, as witnessed by the humble west tower that clearly belonged to the previous church, and the curiously hollow south porch, where a fan-vault was obviously planned but never materialised (leaving the upper chamber without a floor).
The church is unusual in the area for showing so little flintwork, the usual building material in these parts. Aside from the tower the walls are mostly of brick and the clerestorey of stone (quite a luxury). Its proportions make the building appear larger than it is, fairly short in length owing to the lack of a structurally defined chancel, but given more height by the handsome row of clerestorey windows above.
Within the church the sense of height is maintained, the proportions again accentuating this with a fairly narrow central aisle that rises to a flat plaster ceiling (replacing the original timber one in the 18th century). The nave columns are slender and elegant, all very much in the last phase of Gothic where the ratios of stonework to glass changed dramatically. This seems a very light building in every sense.
The best original surviving features here are in the windows at the east end, with much early 16th century glass remaining, collected into the three windows of the east wall (and therefore not in situ) with more remains in the traceries of the aisle windows. Most of the larger figures are kneeling donors of the Tudor period, but a few more saintly individuals also remain. There is another font following the usual local design at the west end, but this one has sadly suffered some mutilation. There are tombs of the Shelton family at the east end, but most are plain aside from the early 17th century one on the south side with a group of kneeling figures.
Shelton church is a bit of a gem and well worth a visit, and was open and welcoming when we called in happier (pre Covid) times.
For more see its entry on Simon's Norfolk Churches site below:-
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The east window of the south aisle by Arts & Crafts artist Edward Woore, 1921. Remarkably it survived the serious fire at the church in 1963.
I had long been keen to visit St Andrew's church at Scole, having first read about it on Simon's Norfolk Churches site some years ago, where I learned of the dramatic impact of its recent history and saw photos of a stunning modern window by Patrick Reyntiens. The church suffered serious damage in an arson attack in 1963, and the subsequent rebuilding gave us the intriguing fusion of ancient and modern that we see today (along with the aforementioned rather fetching glass!). I thus got rather excited when Phil announced at the start of our morning's excursion through south Norfolk that we could aim to finish our itinerary of churches with Scole, time permitting. I do hope my desperate repetitions as the morning wore on of 'Will we still have enough time for Scole?' wasn't too testing for him!
Externally at least this appears to be quite an ordinary Norfolk church of 14th / 15th century date, a fairly plain west tower followed by a nave with an aisle on the south side only and a rather restored looking chancel; this chancel gives the only clue outside to the changes within, with new brickwork suggesting structural intervention in more recent years.
Within the modern restoration is rather more apparent, the 1963 fire had destroyed all the roof and most of the previous furnishings and the restored interior has a much more contemporary feel; all is light and pleasingly simple with white-washed walls and plain wooden ceilings (flat over the nave, pitched over the aisle). The nave is saved from starkness by the rich splash of colour of Patrick Reyntiens's bold semi-abstract window serving as a focal point at the east end, a warm inviting glow that draws the viewer forward. The south aisle clearly suffered less serious damage in the fire given that not only has the richly carved medieval font survived unscathed but also a handsome 1920s window by Edward Woore behind it, two very fortunate survivors of the disaster.
Scole church is refreshingly different, I really liked its synthesis of old and new and the striking glass in particular. It used to have a reputation for being very difficult to visit but happily the mood has changed and the church made open and welcoming on a regular basis in time for our pre-Covid visit.
For more on this and detail of the church in general see Simon's description on his Norfolk Churches site below:-
I have never been able to keep an orchid alive.
At first you buy one and think, ‘This is great, why does anyone buy cut flowers when this orchid stays in bloom for weeks and weeks?’ The reason is once your cut flowers are past it you chuck them away and forget about them and have the space that the vase occupied back. Once the orchid has finished blooming you are left with a green twig, clipped with a hair clip to a green stick for the rest of eternity, but you can’t throw it out, it’s apparently still alive, and it cost fifteen quid, so you keep the potted twig with a few tonguey leaves at the bottom and bits of bark and have to keep moving it around the house to where you will notice it least. And then you get another orchid, needing to fill the gap the old one left, and that too ends up bare twig.
After six months you have no flowers in the house but five pots of twigs totalling £75 reminding you of your failure. At no point, ever, has one of my potted twigs returned to bloom.
Having supposedly learnt my lesson I haven’t bought an orchid for years. After finally purging myself of the last of the pots of bark I was resolute about not wanting to go through the feeling of inadequacy again. I could walk past all of the cerise orchids in the entrance foyer of Tesco and every other supermarket and feel nothing. But one day I saw a yellow orchid, I’m a sucker for yellow; ‘Maybe yellow orchids are different to the bog standard pinky-mauvey ones.’ I thought, ‘Maybe they are hardy, and ever-yellow.’
It looked splendid in the bathroom. Every time (for the first two days) I walked in I thought, ‘Ooh yellow, a living thing, not dead, in my bathroom, how wonderful life is.’ After three days the first flower went all flaccid and dropped off. Then, in quick succession each brilliant yellow bloom turned brown and plopped off. I hadn’t even enjoyed my normal grace period before death descended. I moved it to the kitchen; perhaps conditions would suit it better. No. But it was nearer the bin, which was useful as each flower fell off.
So for the last few months I have been managing this pot of twigs, I say managing, I mean avoiding looking at. After discovering the artist and genius Nina Katchadourian, thanks to a lecture at the School of Life, my brain, for ten minutes after the lecture, started to fire on more than half a cylinder and I came up with the solution to my orchid issue (perhaps I could have used that glimmer of light for more useful endeavours). This has changed everything for me; screw waiting for flowers to come out, I can simply faux my own.
The ultimate endorsement ensued; the new installation was presented in the main viewing spot of the household, five centimetres to the left of the TV, and the man of the house came home and simply thought that I had bought a new orchid. This means that I can now save half an hour a day on attempting and failing at meticulous makeup as I realise that people give other things and other people only the most cursory of glances.
This old Rock Island car in the bankrupt blue couldn't have been positioned any better, with the Iowa Northern sign now displaying its ownership and resurrection of this former Rock Island route through Waterloo, IA. Even the reporting marks now show IANR.
Male rendition of Mercy the healer, Overwatch, a video game from Blizzard Entertainment.
Supanova Expo, Sydney Olympic Park, Sydney, Australia (Saturday 17 June 2017)
Parchemin et par vaux...le ciel, de son astre éclairé, nous guide sur les routes du devenir et illumine nos plumes sur les pages du savoir...
Le clocher de Château-Landon
It is not so much that the number of miracles is getting very few and far between which is characteristic of the modern world, but rather the almost absolute exhaustion of the spiritually orientating power of miracles. If let’s say someone appeared who surpassed all the previous magicians, and wandering about the world resurrected all the dead in the cemeteries, what would happen then? Would everyone convert »crying peccavi«? Probably not. They would say: »There seem to be things like this.«
9. The »ideal« of dark tendencies is the person without world-views.
29. In the background of the modern world’s conceptions, elaborated by a vast rational apparatus, there work manias which are generated by demonic forces.
138. Sticking to the only-human leads not to remaining in the human sphere but to becoming sub-human. For persisting in something is to loose it: to loose that which was intended to be retained.
307. Those forces that manipulate the world, so that they can work undisturbed, want to accomplish two things: first and foremost that their existence be questioned, and if this does not work, they would at least like to appear undefeatable.
309. Disintegration can also be seen on the surface. The act of disintegration, however, is forever under the surface which makes it even more difficult to notice it.
310. The path leading to chaos is not yet chaotic, only in its ultimate phase. For, though a chaos-creating force is creating chaos in its course, it necessarily gets structured into dark order of things.
314. That which is in opposition to what transcends life, ultimately, is in opposition to what belongs to the domain of life - for life gets life from what transcends life.
315. As the forces of modernity first annihilate the connection with the supernatural and ruin man’s relationship with nature and only then destroy nature, in the same way they destroy the connection with what transcends life first and only then annihilate life itself.
318. Those things which are usually referred to as superstitions are in fact innocent and harmless superstitions. The harming and harmful superstitions appear in totally different forms such as evolutionism, antihierarchical views, beliefs in the equality of mankind and as all those phenomena which, philosophically speaking, belong to the realm of humanism.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali-yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
341. Kali-yuga is present in the consciousness, in the strict sense of the word, in the human psyche, in the spiritual manifestations and deeds of man, just as it is present in the surrounding world, in buildings, in music, in the different manifestations of artistic trends and in the very processes of nature. Wherever man directs his attention, be it inward or outward, he is everywhere surrounded and ruled by a world which is under the aegis of antitraditionality - that is being cut off from God, heaven, transcendence, superiority and the essence.
344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.
361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural.
364. The specific blindnesses of the dark age as a rule cloak themselves in rationalism.
366. A machine is demonic for it contributes to the emergence of a considerable alienation between producer, production and product - and this is always accompanied by an inner alienation.
375. The forces of darkness and the forces of light in a way want the same in the present age: to make the kali-yuga progress to its end. But whereas the forces of darkness tend to annihilate the true values as well, the forces of light tend to maintain the true values in the course of kali-yuga so as to serve in the building up of a future golden age.
376. One has to accommodate himself to the modern world so that his powers will not wear him out - but not in the sense of bending and assimilating to it, but as a kind of acclimatisation; for he who gets acclimatised will not »serve« the climate but resists the climate.
377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness.
381. The postmodern state, in which everything can be manifested without any real consequence, and in which everything will be free, but nothing will matter, must be accomplished before everything falls apart in postmodernity. Without this, the final disintegration will not come about, since there would always be left certain positive remnants.
404. As light magnetises certain insects, so spiritual darkness attracts the overwhelming majority of people.
427. Everything that is against the supernatural also turns, sooner or later, against the natural.
488. Liberalism not only represents the view according to which every man is equal (to one another), but it also does its best to abolish quality in order to make every men equal.
528. Modern culture is the culture of anti-spirituality and anti-traditionality. Consequently, it can only be considered as pseudo-culture, or rather, counter-culture. This term denotes counter-cultivation, that is, the cultivation of man and the world in such a way and to such a degree that they are continually becoming more fit to receive the dark instead of the light.
529. Counter-culture does not simply mean being a poor hand at culture or that man’s world is inundated with cheap things instead of higher values. The real meaning of counter-culture is that man and his world turn in a completely different direction to the one they ought to, since instead of dominating and cultivating the light, he dominates and cultivates the dark.
531. That which is called the Enlightenment today was, unambiguously, darkening; and exactly that which was dark in it resulted in it being called »Enlightenment«: the denial of the spirit.
533. Turning towards the earth clearly reveals darkening and decay. But how degenerated this [materialistic] view has become is really shown by the fact that it is called »Enlightenment« instead of »Endarkenment«.
[The contemporary manifestations of these kinds of processes at the time were similarly criticised by Plato, according to whom this attitude originated in »grievous ignorance which, however, appears to be the greatest discretion.« (Laws 886B).]
538. The bulk of negative processes and tendencies, be they communism, environmental pollution or economic crises, might be suppressed and reversed. However, there is one process which cannot be held back, and there is not even a wish to hold it back, namely, the rapidly increasing »not-anything-like-ness« or »not-any-kind-of-ness«.
738. Each world that has lost its origin-awareness is characterized by annihilation.
773. Since the return to the origin is only possible from well-ordered states, anti-traditional forces and powers primarily attack the internal and external order of man. This way they create such counter-conditions from which the return to the origin becomes impossible, or almost impossible.
La chapelle Saint-Gonéry se situe dans la commune de Plougrescant dans les Côtes-d'Armor en Bretagne
The retable behind the altar in St Saviour's chapel (on the site of the former Lady Chapel) contains five fine 15th century panel paintings (rare survivals in English medieval art) that were originally in the nearby church of St Michael at Plea. They were brought together in the present framework and placed here in the mid 20th century.
Images from a brief revisit to one of my favourite places, Norwich Cathedral, scene of some of my earliest memories and what inspired my interest in church architecture at an early age. There had been some changes since my last visit, with the new hostry building (an empty ruin previously) to the west of the cloister now serving as the main entry for visitors. The weather/lighting could have been better, alas!
Norwich Cathedral is one of England's finest buildings and greatest cathedrals; It is one of the most complete examples of Romanesque architecture in the country (arguably the least altered Norman cathedral), has the second tallest spire in Britain and it's vaulted ceilings contain the largest collection of carved medieval roof bosses anywhere.
Surprisingly for so grand a building it is relatively inconspicuous from the city itself, standing on low ground and concealed within the old Cathedral Close, an enclave of tradition and relative peace apart from the noise of the city beyond it's gates. It's monastic past is much in evidence, particularly the magnificent cloisters, the largest and some of the finest in the country.
As stated most of the building dates from the 12th century and therefore exudes that solid Norman aesthetic, massively built but still graceful and beautiful. The central tower is unusually designed with arcading and windows beneath a double row of oculi, the tapering spire above it is a 15th century addition, aside from this the only major alterations to the ancient fabric externally are the tall 14th century clerestorey and flying buttresses of the choir and the gothic enlargement of various nave and aisle windows, principally the great perpendicular west window that takes up most of the west facade.
The interior is predominantly Norman too, except for the elaborate gothic vaulted ceilings that cover nave, choir and both transepts with a uniform design (originally these higher celings would have been of wood, stone vaults were added in the late medieval period to protect against fire, a job they performed well when the transept roofs were hit by incendiary bombs in World War II). These vaults display an unrivalled collection of narrative roof bosses, carved and coloured with Old & New Testament scenes (mainly in the nave and transepts, the choir bosses are mostly decorated with the emblem of their donor, Bishop Goldwell).
The cathedral has surprisingly few major monuments and sculptures compared to most of it's peers, but does have more exceptional medieval art in it's 14th & 15th century painted altarpieces, the most important being the Despenser Retable in the south east chapel, a unique survivial, hidden from danger during the Reformation & Civil War by being converted to the underside of a table. Further altarpieces here are formed of salvaged panels from redundant city churches. The medieval choir stalls also survive with a full set of carved misericords.
The stained glass by contrast is mostly Victorian and quite mixed (very little medieval glass survives). Striking modern glass by Keith New and John Hayward was installed in the north transept to commemorate the Millennium.
The cloisters to the south of the nave are one of my favourite places, all four walks are covered by yet more vaulted ceilings with over 400 more carved and repainted bosses (lower down and much easier to study than those inside the main body of the cathedral) spanning the long period of the cloister's construction throughout the 14th & !5th centuries.
Norwich Cathedral is special to me as being the subject of my earliest memories, recalling having been taken around the cathedral and cloisters as a 3 year old, which left a vivid impression on me and lead me to pursue an interest in church art and architecture years later, ultimately towards my present career in stained glass. Norwich Cathedral will always therefore have a touch of that nostalgic magic to me.
For more details see the Cathedral website below:-
www.cathedral.org.uk/historyheritage/Default.aspx
For more images and details see below:-
www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...
Taking Pup down to view the pond, I found this poor beastie in the water(Top Left). Fishing it out as quickly as possible - it was out of reach so had to use a stick - and placing it on the ground it looked as though I was too late (Top Right).
So, getting the camera out to record it I spotted it suddenly on its back and kicking like mad! Swiftly setting it upright it blew out quite a lot of water (Bottom Left) and then started exploring its surroundings (Bottom Right).
As it was a blazing hot day (unlike today, pouring with rain!) I then picked it up and settled it in the shade, leaving it to recover. Later it was long gone!
It is a large (22 to 26mm), greenish bronze ground beetle with reddish or coppery pronotal edges. Lives under stones, loose bark and among litter.
Adults are active from early spring, breed in the summer, and persist into the autumn.
This species forages at night when prey includes slugs and snails, woodlice, millipedes and centipedes. A Gardener's friend, then!
Widespread and fairly frequent in most of Britain, but much less common in western areas and rare in Wales.
Thank you rockwolf for the ID! Carabus nemoralis, Ground Beetle
The central nave of the Cathedral of the Resurrection of Christ (Собор Святого Воскресіння), at Ivano-Frankivsk, Ukraine, December 2019. The original church built between 1720 and 1729 was demolished due to technical errors, and the present, Baroque church was built between 1752 and 1761 by the ruler of the city, the governor of Poznan and Kiev Stanisław Potocki.
USA Opening. #keanu #keanureeves #neo #matrix #resurrections #matrixresurrections #premiere #castro #sf #sanfrancisco #movie
This lens was removed from a dead Kodak Pony IV camera. It has a nice coating and a relatively fast f3.5 lens. Still looking for ways to mount this lens on the Sony A7.
Here's to the tireless effort of workers across the world this Labour Day.
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