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***PLEASE!!! NO MULTI-GROUP OR STRING GROUP INVITATIONS. ONLY ONE GROUP INVITE PER COMMENTOR. THANK YOU!!***
An old image from our archives, edited in Photoshop Elements 11, which I'm still learning. The original foliage and dirt background was very distracting.
i really liked this shot. the sand-breaker just stands out, and looks like its been shot in a studio. but obviously it wasn't, and its unedited, like the majority of my photos (except hdr, focus stacked etc)
-Birth- 'Last Unicorn' - Bracers
Step into subtle fantasy with the Last Unicorn Bracers - intricate detail and finished in rich, 2K textures for standout clarity.
These bracers with unicorn reliefs give these pieces are as cute as they are mythical.
Birth social links -
Discord:
SLURL:
maps.secondlife.com/secondlife/DLicious/91/239/28
FLICKR
www.flickr.com/photos/54911392@N03/
FLICKR GROUP
[www.flickr.com/groups/1551722@N24/](www.flickr.com/groups/1551722@N24/)
MARKETPLACE:
marketplace.secondlife.com/stores/57814
GROUP
search > groups > Birth - Update Group
BLOG
[birthsl.wordpress.com](birthsl.wordpress.com/)
@ Dollholic (starts 18th)
LM: maps.secondlife.com/secondlife/Sweet%20Daydream/59/194/27
Lel EvoX Lilly
*CK* Picky Baby dress
NO_MATCH NO_DEPTH hair
lovely sweet Oh My pose
British postcard.
Independent, outspoken Constance Bennett (1904-1965) was a Hollywood star of the 1920s and 1930s. Her classy blonde looks, husky voice, and unerring fashion sense gave her a distinctive style. In the early 1930s, she was for a time Hollywood's most popular and best-paid star and is known for e.g. What Price Hollywood? (George Cukor, 1932). She was the older sister of actress Joan Bennett.
Constance Campbell Bennett was born in 1904 in New York City. She was the eldest of three daughters of actress Adrienne Morrison and actor Richard Bennett. Her younger sisters were actresses Joan Bennett and Barbara Bennett. All three girls attended the Chapin School in New York. Hal Erickson at AllMovie: "Though her father did everything he could to discourage her from pursuing an acting career, Constance was willful and rebellious almost from the moment of her birth." After some time spent in a convent, Bennett went into the family business. Independent, cultured, ironic, and outspoken, Constance, the first Bennett sister to enter motion pictures, appeared in New York-produced silent films before a meeting with Samuel Goldwyn led to her Hollywood debut in Cytherea (George Fitzmaurice, 1924). Hal Erickson: "She treated her silent-film career as a lark, but along the way she developed a superb sense of comic timing and an instinctive gift for heavy dramatics." She abandoned her burgeoning career in silents for marriage to Philip Plant in 1925 but resumed her film career after their divorce. With the advent of talking pictures, and with her delicate blonde features and glamorous fashion style, she quickly became a popular film star. In the early 1930s, Bennett was frequently among the top actresses named in audience popularity and box-office polls. The hit Common Clay (Victor Fleming, 1930) launched her in a series of loose lady and unwed mother roles. For a short time, she was the highest-paid actress in Hollywood. So successful was Bennett during this time, that RKO, Bennett's home studio at the time, controlled the careers of actresses Ann Harding and Helen Twelvetrees in a similar manner, hoping to duplicate Bennett's success. In 1931, a short-lived contract with Metro-Goldwyn-Mayer earned her $300,000 for two films which included The Easiest Way (Jack Conway, 1931) and made her one of the highest-paid stars in Hollywood. Warner Brothers paid her the all-time high salary of $30,000 a week for Bought! (Archie Mayo, 1931). Richard Bennett, her father, was also cast in this film. The next year she moved to RKO, where she acted in What Price Hollywood? (George Cukor, 1932), an ironic and at the same time tragic behind-the-scenes looks at the old Hollywood studio system, in which she portrayed waitress Mary Evans, who becomes a movie star. Lowell Sherman co-starred as the film director who discovers her, and Neil Hamilton as the wealthy playboy she marries. It was a critical and box office hit. The film Morning Glory (Lowell Sherman, 1933) had been written with Bennett in mind for the lead role, but producer Pandro S. Berman gave the role to Katharine Hepburn, who won an Academy Award for her performance. Bennett next showed her versatility in the likes of Our Betters (George Cukor, 1933), writer/director Gregory La Cava's Bed of Roses (1933) with Joel McCrea, and After Tonight (George Archainbaud, 1933) in which she co-starred with future husband Gilbert Roland. Next, she appeared in The Affairs of Cellini (Gregory La Cava, 1934), After Office Hours (Robert Z. Leonard, 1935) with Clark Gable, and the original Topper (Norman Z. McLeod, 1937), in a career standout as Marian Kerby opposite Cary Grant. She repeated the role in the sequel, Topper Takes a Trip (Norman Z. McLeod, 1939). Then followed the ultimate madcap family comedy Merrily We Live (Norman Z. McLeod, 1938) and Two-Faced Woman (George Cukor, 1941) in which she supported Greta Garbo.
By the 1940s, Bennett was working less frequently in films but was in demand in both radio and theatre. Her stage acting debut was Noël Coward's 'Easy Virtue (1940). She had her own program, 'Constance Bennett Calls on You', on ABC radio in 1945-1946. Shrewd investments had made her a wealthy woman, and she founded a cosmetics and clothing company.
Bennett was married five times and had three children. In 1921, Bennett eloped with Chester Hirst Moorehead, a student at the University of Virginia. Bennett was 16 at the time and her parents were opposed to their marriage solely on account of their youth. The marriage was annulled in 1923. Bennett's next serious relationship was with millionaire socialite Philip Morgan Plant. Her parents planned a cruise to Europe, taking Constance with them, to separate the couple. As the ship was preparing to leave port, however, the Bennetts saw Plant and his parents boarding, too. A contemporary newspaper article reported, "Now the little beauty and the heir to all the Plant millions were assured a week of the cosy intimacy which an ocean liner affords." In 1925, the two eloped and were married and they divorced in a French court in 1929. In 1932, Bennett returned from Europe with a three-year-old child, whom she claimed to have adopted and named Peter Bennett Plant (1929). In 1942, however, during a battle over a large trust fund established to benefit any descendants of her former husband, Bennett announced that her adopted son actually was her natural child by Plant, born after the divorce and kept hidden to ensure that the child's biological father did not get custody. During the court hearings, the actress told her former mother-in-law and her husband's widow that "if she got to the witness stand she would give a complete account of her life with Plant." The matter was settled out of court. In 1931, Bennett made headlines when she married one of Gloria Swanson's former husbands, Henri le Bailly, the Marquis de La Coudraye de La Falaise, a well-known playboy of questionable royal lineage. She and de la Falaise founded Bennett Pictures Corp. and co-produced two films which were the last filmed in Hollywood in the two-strip Technicolor process, Legong: Dance of the Virgins (Henri de La Falaise, 1935) filmed in Bali, and Kilou the Killer Tiger (1936), filmed in Indochina. They were divorced in Reno, Nevada in 1940. Bennett's fourth marriage was to actor Gilbert Roland. They were married in 1941 and had two daughters, Lorinda "Lynda" (1938) and Christina "Gyl" (1941). They divorced in 1946, with Bennett winning custody of their children. Later that year, Bennett married for the fifth and final time to US Air Force Colonel (later Brigadier General) John Theron Coulter. After her marriage, she concentrated her efforts on providing relief entertainment to US troops still stationed in Europe, winning military honors for her services. Bennett and Coulter remained married until her death in 1965. In 1947, Bennett had a major supporting role in The Unsuspected (Michael Curtiz, 1947), in which she played Jane Moynihan, the program director who helps prove that radio host Victor Grandison (Claude Rains) is guilty of murder. In 1957–1958, she toured the United States in the title role of Auntie Mame, and in 1945-1946, she hosted 'The Constance Bennett Show' on ABC Radio. In the 1950s, As Young as You Feel (Harmon Jones, 1951) found her playing opposite a young Marilyn Monroe, and she played herself in a cameo on It Should Happen to You (George Cukor, 1954). Bennett made her final screen appearance in Madame X (David Lowell Rich, 1966) as the blackmailing mother-in-law of Lana Turner. Shortly after filming of Madame X was completed, Bennett collapsed and died from a cerebral hemorrhage at the age of 60. In recognition of her military contributions, and as the wife of John Theron Coulter, who had achieved the rank of brigadier general, she was buried in Arlington National Cemetery. Coulter died in 1995 and was buried with her. Bennett has a motion pictures star on the Hollywood Walk of Fame for her contributions to the film industry. Her star is located at 6250 Hollywood Boulevard, a short distance from the star of her sister, Joan.
Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
In a very dry year of gaming in 2015, Splatoon was one of the standouts of that year and was a pleasant surprise for me. Now with the Switch being announced back in November, it was only a matter of time before a Splatoon game came to the console due to it’s popularity. Now with Splatoon 2 out on the Switch for a few weeks, I’m ready to give my thoughts on the game as a whole? Now has Splatoon 2 fixed the problems from the original Splatoon, or is it another shitty sequel? Let’s check it out!
Good: The greatest thing that Splatoon 2 has built upon the original is Salmon Run. At first I was a little hesitant on the concept, but now after playing a good amount of it, I absolutely love it. It’s mixing the classic Splatoon mechanics with the “enemy comes in waves” form of battle gameplay that’s in lots of other shooters. Another great thing that Splatoon 2 builds upon is the single player. The single player campaign is a lot like the first game, but with new stages and fun new mechanics like grinding on rails and these fun foam cylinders that roll and destroy enemies when you shoot it. The story is pretty simple like the first game, but that’s fine, I wasn’t expecting anything spectacular. Besides those two features, everything else is still the same. There are a few cool weapons like the splat dualies and the brella, ut besides that, everything else that’s new isn’t quite memorable in terms of weapons, gear, stages; but it doesn’t detract from the game.
Bad: My biggest problem with Splatoon 2 is although there are more features from the first game, I feel like the developers didn’t fix any issues from the last game. There’s still the problem about online communication which really take away from online matches where you can’t fully communicate with your teammates. They also didn’t fix the problem with stage selection, it’s only two stages every few hours and it’s annoying as hell. Once I spent like 8 matches playing the exact same stage! They should at least do stage selection like Mariokart 8 where players vote on the stage. There also aren’t any new versus modes, it’s still the same modes from the first game and the only fun ones are still Tower Control and Turf War. And even then, you can rarely choose tower mode because the ranked matches rotate! And then to top it all off, they give us this amazing new mode in Salmon run, but it’s only available at certain times, which is bullshit!
Overall, Splatoon 2 is an absolute blast… when the game allows you to have an absolute blast. It just feels like there are so many small and unnecessary things that block the player from having an amazing experience all the time! That being said, it still has lots of fun stuff for me to call it a good game, so I’m going to give Splatoon 2 an 8/10. If you want more games for the Switch, I suggest you pick up this game, but if you weren’t a fan of the first Splatoon, I’d say this is just more of the same so you can skip it. If you have Splatoon 2, let me know what you think of it in the comments below!
Photo taken with iPhone 5s and Olloclip macro lens and edited on iPad in the app Waterlogue.
The Beauty berries are such colorful standouts in the late autumn and winter they are just to irresistible to pass bye. I really like how there colors vary from purple to magenta.
Ours are getting pretty shriveled now, and soon enough the hungry birds will gobble them all up.
I was interested in seeing how Waterlogue would handle the bright berries against the snow and leave litter on ground.
Stand out - Red apple amongst Green
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
Image captured at Dow Gardens in Midland, Michigan with handheld Pentax K-S2 and SMC Pentax-F 1:4.5-5.6 100-300mm
Choa Chu Kang Christian Cemetery, Singapore
5 Exposure HDR (-2, -1, 0, +1, +2), Post processed with Photoshop CS3.
Finally achieve another off my wishlist! Yes!
I actually had a wishlist of places and ideas/themes i wanna photograph.
I had planned, googled, etc of visiting this place but was eventually persuaded not to.
Many reasons, one of them, the place is very very inaccessible. And there'll be no light at all after nightfall, we used touchlight to get around.
I meant no disrespect in any way. Before i took this photo, I said a little prayer for the lady, aged 15, whom laid peacefully with this angel watching over her.
My friends are there for a model-shoot theme, and i tag along for the landscape! Of cos, i too shoot a little of portrait. Learn about the lighting setups, tips and advices from the pros.
Ok, as for this photo, i actually tried out a new effect, or rather pp method i watch from a tutorial. Making my subject brighter. In this case my background which is the sunset really fits this metohd so i applied it on this and i kinda like it. I always like under-expo sky with rich details making the subject standout. If you still finds halo on the subject, trust me... I've tried my best. I'm still not as good in pp...
Many thanks for your visits, kind comments, have a great day my friends!
HDR set I Digital Blending set I Panorama set I Sunrise Sunset I Cityscape set
I looked into the woods on the trail up to the Upper Falls in Letchworth SP and saw this one standout fall-colored tree up there.
West Point has a long tradition in turning out outstanding contributors to the American tradition. There are so many more but this tribute on the grounds of West Point Visitor’s Center honors a few examples.
Chassis n° 08061
Engine n° 08061
Bonhams : the Zoute Sale
Estimated : ?
Sold for € 2.875.000
Zoute Grand Prix 2019
Knokke - Zoute
België - Belgium
October 2019
'The 275 GTB is... a superlatively vigorous, very agile and quick automobile. Its comfort, the quality of its finish, the original lines of its bodywork all justify its exceptionally high price, for it is an exceptional automobile. It is a thoroughbred, with luxury devoid of excess, and a fiery temperament... ' Jose Roskinski, Sport Auto, July 1965.
When Ferrari's highly successful '250' series was superseded in 1964 by the '275', Pininfarina was once again called upon to work his magic for the Maranello concern, creating a true classic of sports car design for the 275 GTB. Penetrative nose, long bonnet, purposeful side vents, high waistline, and short be-spoilered tail: these were all ingredients of the recipe, yet the result was so much more than merely the sum of its parts. The tail spoiler and cast-alloy wheels echoed developments first seen on Ferrari competition cars, while beneath the skin there was further evidence of racing improving the breed, the independent rear suspension - seen for the first time on a road-going Ferrari - employing a double wishbone and coil-spring arrangement similar to that of the 250LM racer. The adoption of a rear-mounted five-speed transaxle combining the gearbox and differential in a single unit helped improve weight distribution, and this feature would characterise future generations of front-engined Ferrari road cars. Body construction was entrusted to Carrozzeria Scaglietti, Ferrari's close neighbour in Maranello.
Now enlarged to 3.3 litres, the 60-degree V12 engine remained the familiar Colombo type, in standard form producing 280bhp at 7,600rpm. A higher - 300bhp - state of tune employing six Weber carburettors was available, and this was used for the handful of aluminium-alloy bodied 275 GTB/C (Competizione) models built, though customers purchasing a 275 GTB for road use could also specify aluminium coachwork and/or the six-carburettor engine.
Despite its near-perfect appearance, revisions to the original 275GTB were not long in coming: a longer nose, enlarged rear window, and external boot hinges being introduced towards the end of 1965. Mechanically the only major change was the adoption of torque tube enclosure for the prop shaft., replacing the sometimes troublesome open shaft. The prototype Series 2 'long nose' was built on chassis number '07707GT' and the last 'short nose' on '07827GT'.
The model's ultimate incarnation - the 275 GTB/4 - appeared in October 1966, the '/4' suffix denoting the presence of four, rather than the original's two, overhead camshafts. Sadly, by 1968 the progress of automobile emissions legislation had effectively outlawed the 275 GTB and its like from Ferrari's most lucrative export market, the United States, and the model was phased out later that same year after only 460 two-cam and 350 four-cam cars had been completed. Of the two-cam cars, the short nose/long nose split was approximately 250/210.
The 275 GTB had not been designed with competition in mind and there are only two works entries on record: in the Targa Florio and Nürburgring 1,000km, both in 1965. Nevertheless, the model became a favourite with privateers, the latter's standout achievement being Écurie Francorchamps' magnificent 3rd place at Le Mans in '65. Now acknowledged as one of the finest road-going Gran Turismo models ever produced by the Maranello manufacturer, the 275 GTB is among the most covered of all Ferraris.
Chassis number '08061' has the desirable long-nose aluminium-alloy bodywork, and left the factory equipped with triple-Weber carburettor induction. Finished in Rosso Chiaro, the Ferrari was first registered on 20th January 1966 in the Reggio Emilia region of Italy. Seven days later the car was sold new by Sefac SpA to its first owner, local resident Rodolfo Landini, who paid 5,750,000 Italian lire. Mr Landini had his Ferrari serviced regularly at the factory's Assistenza Clienti department in Modena before selling it in January 1968 to second owner John Michael O'Keefe, an Italian-domiciled Irishman living in Reggio Emilia. The car continued to be serviced and maintained by the factory in Modena, the last visit being recorded in May 1970.
Sometime later the Ferrari was exported from Italy to the USA and in 1974 was owned by Douglas Wolfe of Shoemakersville, Pennsylvania. '08061' was later listed in the Ferrari Owners Club Membership Roster as owned by Terence M Clark of Charlottesville, Virginia and in 1977 was sold to Mr Ed berner of New York, who kept the car until 2001. In October 2001 the Ferrari was advertised for sale in the USA, and the following year was sold by the UK-based dealership Fiskens to Gregory Noblet, son of the legendary French gentleman racing driver and works Ferrari GTO pilot, Pierre Noblet. The car was reregistered on UK plates as 'JGC 457C'.
Mr Noblet maintained the Ferrari with no expense spared, and over the next ten or so years he and '08061' would enjoy an outstanding run of successes in some of the most prestigious historic motor sports events, beginning with the Tour Auto in August 2004 and culminating in the Navarra Tour in October 2013. In between, Mr Noblet entered his 275 GTB in the following events, achieving numerous podium finishes (full results available):
Rallye Bugatti-Ferrari (June 2004)
2nd Biennial Le Mans Classic (July 2004)
Tour Auto (April 2006)
Ferrari Days at Spa Francorchamps (June 2006)
3rd Biennial Le Mans Classic (July 2006)
Shell Ferrari Maserati Historic Challenge Finals at Monza (October 2006)
Tour Auto (April 2007)
Shell Ferrari Maserati Historic Challenge races at Mugello (April 2008)
Shell Ferrari Maserati Historic Challenge at Paul Ricard/Le Castellet (May/June 2008)
4th Biennial Le Mans Classic (July 2008)
Shell Ferrari Maserati Historic Challenge at the Hungaroring (August 2018)
Shell Ferrari Maserati Historic Challenge at the Nürburgring (October 2008)
Shell Ferrari Maserati Historic Challenge at Circuit Le Vigeant (June 2009)
5th Biennial Le Mans Classic (July 2010)
Spa Francorchamps Classics (May 2011)
2nd Spa Francorchamps Classic Trofeo Nastro Rosso (May 2012)
250 GTO 50th Anniversary Meeting at Reims (July 2012)
3rd Spa Francorchamps Classic Trofeo Nastro Rosso (May 2013)
It is worthwhile noting that '08061' was the only Ferrari 275 GTB invited to the prestigious 250 GTO road rally, and for a time led the event.
In 2014 the Ferrari was sold to its next owner who commissioned a full 'bare metal' restoration, which was undertaken in the UK by GTO Engineering at a cost in excess of €250,000. The rebuilt Ferrari then took part in the 2014 Tour Auto. The car has since been reregistered on French plates as 'EA-275-EK'.
In 2015 '08061' passed to the current vendor. Its current specification includes a Roelofs Engineering engine equipped with six Weber carburettors. As one would expect, the braking system has been upgraded appropriately. Although mildly race-prepared, this car could be easily returned to original specification using the two boxes of spares and original parts included in the sale. These parts include the following:
Original Weber 40 carburettors (x3)
Original air filter
Fuel tank
Rear window in glass
Spare roll cage
Spare wheel floorboard
Original starter motor
Cromodora 6.5"x14" wheels (x5)
Borrani wheels, front and rear (x4)
Roelofs wheels 7"x15" (x4)
Original front and rear bumpers in steel
Front and rear bumpers in alloy (by l'Atelier de l'Artisan in Tournai)
A Bonhams specialist was fortunate enough to drive this 275 GTB at the Montlhéry circuit in France: "The car drives very well with an amazing sound and great brakes. It is the best Ferrari I have ever driven and faultless – what an experience!"
'08061' is Ferrari Classiche certified and comes with its Red Book. Also include is a copy of its Foglio di Montaggio, FIA HTP valid until 2026, French Carte Grise, Massini Report, and a comprehensive history file containing invoices and other documents. Presented in truly wonderful condition, and one of the nicest we have ever seen, this recently restored Ferrari 275 GTB Alloy wants only for an enthusiastic new owner keen to continue its illustrious career in historic motor sports or, alternatively, could easily be returned to original condition thanks to all the parts mentioned above.
This 1951 Willys 4x4 Pickup was a standout for an obvious reason. It was Vitamin C on a sunny day. This vehicle along with over 1300 others appeared at the 2021 Ol' Marais River Run Car Show held in Ottawa Kansas.
Willys Trucks are perhaps not nearly as well known as the ubiquitous and familiar "Jeep" (CJ Universal) or Station Wagon. Nevertheless, Willys did produce a number of different truck models, including the Pickup, Stake Bed, and Cab & Chassis models.
Similar to the Willys Jeep Wagon, and equipped with the same 134 cu in "Go-Devil" engine and 3-speed Borg-Warner T-90 manual transmission as the CJ-2A, the Willys Pickup Truck was introduced in 1947, available in both 2T and 4T models. The 4x4 "Jeep Truck" model had the same 118-inch wheelbase as the 4x2 pickup, and an identical pickup bed which was 79" (w) x 15.75" (h). The 4WD model was rated at 5,300 gvw, with a 1 ton payload. The three-speed transmission and two speed transfer gave six forward speeds, two in reverse, and could be ordered with a PTO."
"In 1949, the "Jeep Truck" emblem was replaced by an emblem reading only "4-wheel drive" and a single bench unit replaced the 1/3-2/3 seat, which now tilted forward for access to undersea storage."
In 1950, the truck became the "473" with the "Hurricane" 4-cyl engine as an option. Like the Station Wagon, the 473 model included a modification to the grille, which now formed a "V" shape in the center, and included the addition of 5 horizontal bars. When this happened, the radiator attachment was changed from the chassis to the nosepiece. Another change in 1950 saw the discontinuation of the two-wheel drive model. In the following year (1951), the 2WD 1-ton and 1/2-ton trucks were also discontinued, leaving only the 4WD models.
"In 1951, a few new body styles were added to the options list including the stake bed, a Flat Face Cowl model (FFC), and a cab and chassis option (no rear body). These options were available until 1964. Aside from this, and the changes for the new starter (bell-housing and flywheel), the 1951 trucks remained very similar to the 1950 and 1952 models."
In 1953, the 473 became the "475" and the number of horizontal grille bars dropped from five to three. The 475 did not last considerably long, and was available only until the introduction of the 6-226 model in the following year. The 6-226 model, with a 226 cu in 6-cylinder "Super Hurricane" engine, continued in production through 1962, when it was replaced by the 6-230 Tornado OHC engine. One more change was notable in 1954, which was the addition of a large window in the back which essentially covered the cab of the truck.
"1955-1958 saw very little changes, with a few modifications to the center grille bar location, and conversion to 12-volt electrics, until 1959, when a chrome strip was added, running from the edge of the hood to the trailer edge of the door. While this new strip adopted a style similar to that of the station wagon in the years following, this look remained somewhat unchanged through the rest of production, which ended in 1964."
Grassy Knoll, part three - from Hikes of 2024.
This was a short but lovely hike, and every single one of these photos was made within 100 yards of the trailhead. The flowers in that stretch were tiny and beautiful and the sun was dreamily peeking in on the blooms from the adjacent trees.
Image made with my Hasselblad 500 C/M.
Sagrada Família again, and this time it's great doors, which serve as the main entrance, are printed with words from the Bible in various languages including Catalan; the word JESUS and select others are painted to stand out.
When the sun starts to set the embossed lettering casts shadows and catches light to create vivid contrasts.
A lone man walks casually along the passageway at the Westfield World Trade Centre Shopping Mall in Lower Manhatten, New York. It was a fabulous opportunity to compose and wait for the right moment to get the shot, it was getting late and the mall was quiet allowing me to capture the incredible detail of the corridor, vast in appearence but isolative with the presence of the lone stranger.