View allAll Photos Tagged RingStone
I’ve lost track of how many house renovation programmes I’ve seen where the developers have pushed out the boundaries and gone for white walls and grey carpets.
Or how about a contemporary grey kitchen with black tops or dark grey window frames and doors?
That’s not to say we’re devoid of imagination, it’s more to do with developers keeping ‘on trend’ and following a theme that buyers may expect.
In the late nineties and early naughties the trend was for white woodwork, magnolia walls and berber carpet. And you could wander around a million homes up and down the country and find they too had had the exact same makeover.
It’s the same with films, the use of shades of grey in room sets is prolific. It could be that grey provides the perfect backdrop to allow certain colours or features to jump out. Whatever the purpose, it does provide a neutral setting.
It’s a subtle thing that normally you wouldn’t notice, unless of course you’re watching an old black and white movie, in which case you’d really start to see just how many shades of grey there really are. These pioneers of film production used to work hard to get every bit of tonal range they could from any given shot.
And that’s what I’m seeing through the outputs of this monochrome camera.
In this shot, looking over Ringstone Edge Reservoir towards Moss Moor in the far distance, the subtleties start to emerge.
There’s five groups of birds on the water, tiny white dots that you can hardly see unless the picture’s large on the screen or printed out at a decent size.
There’s a distant army of alien looking pylons marching off into the clouds over the moors.
The shades of blue in the sky turn from light grey to dark and clouds drift across in greys and subtle white.
Tiny ripples on an otherwise dead calm surface, catch the clouds and divide them through with tiny lines.
And far away over the moors, the hills diminish in ever lighter shades of grey.
That’s a long way of saying, if I had white walls and grey carpet, perhaps I’d like something like this to hang on the wall. Something to remind me of all the shades of grey there really are, from black to white and everything in between.
The story is set on the Northumberland moors, where Daphne Hazel appears to cross the boundaries of time, becoming involved with terrifying personalities from the mysterious past.
Preserved - Dennis Dominator / East Lancs - N715 TPK is seen with Ringstone Edge Reservoir in the background whilst taking part in a running day on September 22nd 2019
Former Arriva Kent & Sussex, 5215.
New to London & Country DD15
YORKSHIRE RIDER
1617 (F617XWY), is a Leyland Tiger TRCTL11/3RH, with Plaxton Paramount III 3200 Express body, new in August, 1988.
It is in Goldrider livery, used for the express services and private hire, but today it works on a local service to Ringstone.
Gnarled old oak in ancient woodland high in the Yorkshire Pennine hills. This wood has been dated at well over a thousand years old, and the trees' growth phase occured when the climate was a bit cooler than it is currently, leaving all the trees in the wood dwarfed and stunted.
Ringstone Reservoir, West Yorkshire.
Samyang 12mm lens with CPL, 2-stop hard ND graduated filter and a Big Stopper and a two minute exposure
Ringstone Reservoir for World Pinhole Photography Day #WPPD 25/4/2021. Zero Image 612b and Ilford PanF
Similar to my previous photo of 409, here 408 is passing Ringstone Reservoir near Krumlin on the 561, in some lovely Spring sun.
Ringstone Reservoir for World Pinhole Photography Day #WPPD 25/4/2021
LeRouge 135L pinhole camera and FT12 film
Making its way past Ringstone Edge Reservoir in Barkisland, West Yorkshire is a Team Pennine Optare Solo M880SL on the 561 Halifax to Ripponden Circular.
This vehicle is 173 - YJ59 GHD.
This vehicle originally started its life in early 2010, when it was purchased by David Reeves & Gerald Henderson Limited (D&G Bus). This vehicle carried the smart Cheshire Connect livery which was a network of bus services linking several areas of Cheshire. This vehicle ran with D&G until late 2016.
In Late 2016, this vehicle was sent to Thornton's Refurbishment in Northumberland, North East England to be refurbished into the new Yorkshire Tiger livery with the striking Tiger Stripe moquette. This was to prepare the buses for the new contracted routes in South Yorkshire. This vehicle then entered service in January 2017, and began running local bus services across Barnsley, Penistone and Wombwell. The vehicle ran out of the Wombwell depot which consisted a fleet of: 1 Optare Spectra, 1 Dennis Dart MPD, a few Optare Solo M880SLs and two Optare Solo M950s.
In September 2018, Yorkshire Tiger lost their South Yorkshire contracts which meant GHD had to transfer elsewhere. The vehicle was transferred to the Penistone Road depot in Huddersfield for the Huddersfield Yorkshire Tiger Network. This vehicle stayed here until May 2021.
In May 2021, this vehicle was transferred to the Elland bus depot to run local services across Elland and Halifax.
In July 2021, Transdev Blazefield took over the Yorkshire Tiger business retrieving a new legal name of Team Pennine LTD. Whilst being on the path to refurbishment, this bus kept its orange colours and carried the new slogan "I'm now joining Team Pennine, they are going to make me better" until October 2021 where the vehicle was later then sent up to Thornton's again to be refurbished for the Team Pennine Livery.
Fun fact: I have taken a photo of this bus more than any buses.
Pennine Heritage Bus Day 2025: The preserved 1973 ex-Halifax Leyland Leopard, UJX 920M, approaches Ringstone reservoir with a duplicate service from Denshaw. 3/8/2025. I'm glad I caught it here, as I'd no idea it had gone onto this service. A Brucie Bonus!
A Dawn Chorus
It’s Saturday morning and we lay-in a while, listening to the heavenly sounding dawn chorus. The ravine, that’s formed at the lower edges of Beacon Hill, provides a perfect amphitheatre shaped stage for birds of all varieties. Their eclectic sounds echo off the slopes and carry on the breeze towards us, their transfixed audience of two.
A perforated eardrum that I somehow damaged as a child, means that every tweet and high note that comes in through the right ear converts itself somehow into a simultaneous timpani drum beat in the left ear.
We’re listening intently for the whistling crow, his rare sound one that stands out from the norm and one that’s also always preceded by the normal sounding call of the hen.
On a quiet morning you can hear the beck as it tumbles then trickles or gushes its way down from the steep slopes of Ringstone Edge Moor and Beacon Hill, into the culvert and under the road en-route, past the church, to join forces with the Ryburn in the valley below.
I’m reminded, as we lay there, of a concert I once heard at The Halle in Manchester, a magical performance of Carmina Burana. It wasn’t a comparison of the sounds of as such, but more by the way in which the dawn chorus is akin to a pitch perfect orchestral piece, with each bird’s song appearing as though conducted by an unseen baton.
The concert hall, in this case is in the form of these densely wooded slopes. It’s vast and multidimensional. The orchestra well spread out, perched in front of imaginary scores that sit high upon often visited branches and mostly those with the best view of their surroundings.
Radio Three is always on in the mornings when I head down to make the first cup of the day and they’re often intermingling birdsong with classical pieces, so I wonder if that’s where this mornings mental imagery came from.
The difference though is the complete lack of man-made music in this mornings concert. Just the birds. Just the beck and just the multidimensional spacing of the performers with their natural, intuitive sense of timing.
The picture, taken this afternoon, shows a small portion of the concert hall. In this case it’s the south western slope of the ravine. Down to the left is the beck.
Up to the right, a field where the horses sometimes appear on the ridge line.
Bronze with silver inlay, Late 1st century-early 2nd century C.E., probably from Greece
H. 31.3 cm.
The head hollow-cast, very carefully and extensively cold-worked. The eyeballs of silver, the irises formerly inlaid. The bust cast separately, joined to the head by fusion-welding, cold-worked and extensively burnished and polished. The acanthus leaf cast, hammered and cold-worked. The present base, a forged element, probably the top section of a lamp stand [1], here upside down.
Condition: patina a bright green to blackish olive green, most of it a greyish green with traces of earth and limestone deposits. The surface a sandy to smooth texture. Traces of cuprite and green chloride, the odd spot revealing the copper-coloured metal. The lower section of the bust slightly bent out of shape and restored, the tang under the acanthus leaf repositioned in base.
All portraits of Demosthenes hark back to the bronze statue by the artist Polyeuktos that was erected in the Athenian Agora around 280 B.C., where it stood until Roman times. Demosthenes (c. 384-322 B.C.), the Athenian politician and orator, gained great fame for his passionate speeches against Philip II of Macedon and in defence of the independence of Athens. Born to a wealthy and privileged land-owning family, he became an orphan at a young age and was almost totally dispossessed by his tutors. Though he had a stutter, he taught himself to speak in public, overcoming his handicap by training with pebbles in his mouth, so tradition tells us. He developed great character in adversity, and Plutarch says he had an "embittered and hard character, great severity of expression." He was probably unjustly accused of taking bribes from Harpalos, governor of Babylon, and condemned to pay an enormous fine. He left Athens but was recalled from exile after the death of Alexander the Great to rally the fight against Macedon. Unfortunately, the Athenians were defeated at Krannon, and Demosthenes was condemned to death. He fled to the island of Kalaureia, found refuge in the temple of Poseidon, and took poison to avoid capture.
A great patriot and orator, he was especially highly regarded in Roman times, when he was considered a model for the study of rhetoric. The more than fifty surviving portraits from this period attest to his fame. Popular in the late 1st century B.C., his portrait appeared on ringstones, among which is a notable gem by the artist Dioskourides, the court engraver of the Emperor Augustus [2]. Cicero even tells us in one of his orations (Orat. 110) that Brutus kept a bronze bust of him in his villa at Tusculum.
There is also a bronze bust in Naples [3] inscribed with his name, but artistically it is poor, somewhat crude, and little reflects his character. For a better comparison, though the nose is a modern restoration, both for the expression and particularly the hair, there is a marble herm in Munich [4]. Stylistically our bust may be his finest surviving portrait, and the detailing of the hair and beard and the ethos which his face exudes, incline us to think that he may belong to the Hadrianic period, probably made by a Greek artist.
On view: Antikenmuseum, Basel: 1994-1995
1 The acanthus leaf and base are not original to the bust though they are an ancient repair, for stylistic reasons contemporary or nearly contemporary (a decade or two). Busts terminating in an almost straight line were usually mounted on circular bases such as those found in Naples: e.g. busts of Zenon 5468, Epikouros 5465, Hermarchos 5466 and Demosthenes 5467 (Richter, G.M.A.: The Portraits of the Greeks II , figs. 1086-1088, 1175-1177, 1291-1293, 1438-1440). Busts mounted on acanthus leaves seem always to end in a curve (Jucker, H.: Das Bildnis im Blätterkelch , e.g. bust of Domitian, Ny Carlsberg Glyptotek 768, pl. 15 B5). A further indication is a rivet on the lower right hand corner of the bust, slightly protruding at the back and broken, which would have served to fix the bust on a projection from a circular base.
Traces of soldering in the groove of the acanthus leaf and on the edge of the bust confirm a mounting in antiquity, the bulbous tang under the acanthus was inserted into the present base with lead, and to this end the present upper section of the base was adapted in antiquity. To place correctly, the two elements have been detached in modern times and repositioned.
2 Richter, G.M.A.: op. cit., c, p. 222, figs. 1504, 1506.
3 National Museum 5467, from the Villa of the Pisoni, at Herculaneum, found with other busts; see footnote 1. Richter, G.M.A: op. cit., no. 12, pp. 217-218, figs. 1438-1440.
4 Richter, G.M.A.: op. cit., no. 36, p. 220, figs. 1476-1477.
Text and picture from the website of George Ortiz.
Chalcedony ringstone in 19th century gilt-basemetal setting. View of the round temple beside the Tiber, ruins and foliage around, a church beyond and Alban hills in background. A tree enframes the composition at the right.
Provenance
By date unknown: Mrs. Henry Lyman Collection; gift of Mrs. Henry Lyman to MFA, February 14, 1962
Credit Line
Gift of Mrs. Henry Lyman
Neo-Classical, About 1840
Dimensions
Length: 15 mm (9/16 in.)
Accession Number
62.186
Medium or Technique
Chalcedony
A quick foray after work with my 10 stop ND filter
Unity of God, His Prophets (Manifestations) and mankind /. taken at the Shrine of the Báb in Haifa / Israel at the Bahai-World-Centre
I have seen this transistor radio with some variations of the speaker grill, but I think this is the best. Also what distinguishes it´s the ringstone in the dial pointer. The chassis has six transistors powered by two 1.5 V penlite batteries.
This oval gem is engraved with a goat kneeling in right profile with its forelegs lowered, turning its head back to the left. Its mane, rump and belly hair are carefully marked, with deep folds at the neck and a zig-zag lower edge running down to the neck hair.
The image is framed by a poorly hatched border, which may not be original, although it could have been supplied in antiquity for re-use of the stone. The gem is unpierced and rough cut with in-sloping walls. It may have been made from a cut-down scaraboid or stone whose back was spoilt, and finished for use as a ringstone.
Greek, ca. 450-425 BCE. Cornelian.
0.5 × 2.3 × 1.8 cm (3/16 × 7/8 × 11/16 in.)
Getty Villa Museum, Pacific Palisades, California (81.AN.76.42)