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Stunner Pass, Colorado. This image made it to #343 in flickr's Explore pages for November 19, 2008 -- thanks to everybody for your comments and favorites!
Copyright © 2008 Old Dog Photography, all rights reserved.
1772. Dangerously close to the Diamond Shoals off North Carolina’s Outer Banks, the sloop Thunderbolt, battered by a fierce storm and rough sea, catches fire from an overturned cook stove. All aboard scramble to put out the flames while trying to keep from being tossed overboard. The shoals, sand dunes just below the water’s surface, reach out some 18 miles past Hatteras Point. Hundreds of ships have run aground here, miles from shore, to be pulverized by the relentless waves... and often, all aboard drown.
On this day, a terrified 17-year old orphaned boy from St. Croix, on his way to an American education, is among those fighting to save the ship... he is Alexander Hamilton, who would get that education and become the first U. S. Secretary of the Treasury under President George Washington. Resting against the rails of the saved ship, he watches as the shoals recede away... and vows to one day do something so that others would not know such fear.
There was a reason ships were drawn near the shoals... wind-driven ships also relied on ocean current, which at times can move better than 40 mph. The Labrador Current sweeps down from the north and hugs this coast to about two miles off the beach. Beyond that is the Gulf Stream that moves up from the south toward the upper tier states. Often, it was faster for ships coming to Boston or New York from Europe to actually work their way south to catch the Gulf Stream than it was to come straight across the Atlantic. Even back in the day, folks in the shipping business knew that time is money. The confluence of the cold Labrador Current and the warm Gulf Stream also set up perfect conditions for violent storms and ocean swells. Add to that the shoals, which extended beyond sight of land in the midst of that confluence, and many an unwary ship’s captain left “money” to shift among the sands of these underwater dunes. Only jetsam and flotsam found on the beaches along the Outer Banks gave evidence of the fate of the ship.
As Secretary of the Treasury, Hamilton finally has the power to make good on his vows, and the U. S. Lighthouse Service, and eventually the U. S. Coast Guard fall under the auspices of the Treasury Department. The first lighthouses along the east coast were functional, if just barely, and were not constructed to the exacting standards you see here... there’s something to be said of building your house on shifting sand, as many of the early lighthouses here in North Carolina actually toppled shortly after construction. Under the supervision of Dexter Stetson, Hatteras Lighthouse rose up 210 feet from a foundation of granite, rubble, and entire lengths of pine pushed to the bedrock... and stayed up, as it has since 1870. With a focal plane at 187 feet, its light could be seen for 28 miles, well before a ship reached the shoals at night. Its conical tower with black and white spiral bands is visible by day on the horizon.
After his success at Hatteras, Stetson turned his attention here at Bodie Island. The name of the island is at contention, largely due to revisionist historians... the name is pronounced “body”, and is an archaic form of that word. Legend has it the name comes as a result of bodies washing ashore after some ship found its resting place in the of the Graveyard of the Atlantic. According to some historians, however, the name comes from a family that once lived here, though that has never been proven... the legend may not be so legendary, as such things did happen. A lighthouse would save lives here too.
There were two lighthouses located here previous to the one you see here. The first one leaned toward the sea shortly after it was built. That was in the day before electrical power, so the lighthouse had to be tended to every day... could you imagine having to climb up a structure so unstable that it might topple any second, at least twice a day? Me neither. It failed and was replaced, but Confederate troops blew the second one up in 1861 during a series of skirmishes as Yankee troops descended on Fort Fisher. The third installment of Bodie Island Lighthouse projected light from its first order Fresnel lens for the first time in 1872. At a height of 165 feet, its beam can still be seen 21 miles out to sea.
Though built on a land that shifts with the wind and tide, Bodie Island Lighthouse has withstood hurricanes, nor’easters, floods, lightning, heat, and humidity, but 148 years of such conditions had taken its toll. After much determination, restoration of the lighthouse began in 2010. The last of the project was the installation of the refurbished Fresnel lens early last year... after a re-lighting ceremony, the lighthouse was returned to service April 18, 2013. Seen here in morning light after 152 years, Bodie Island Lighthouse is every bit the historical standout in its new-paint splendor.
Had trouble identifying the others, as I'm not a bird guy, but this one I know... it's a Blue Jay....right?
Fired Canon 420 threw cheese grater at camera right and a Canon 580 flash threw a blue glass I had laying around. I fired both with a STE2. This is my first time on Strobist, I came across the site only a couple of weeks ago and can't get enough! I am only a hobbyist so I would love any feed back.
The Hyatt Regency San Francisco’s iconic atrium at the Embarcadero is a breathtaking feat of modern architecture, representing a pinnacle of 1970s design. When you step inside, you’re immediately enveloped by a grand, light-filled space that rises 17 floors, showcasing a geometric marvel of concrete, glass, and steel. Designed by architect John Portman and completed in 1973, the atrium became one of the largest enclosed public spaces in the world, setting the stage for a wave of atrium hotel designs across the globe.
One of the standout features is the dramatic hanging sculpture suspended from the ceiling, which seems to defy gravity, creating a dynamic focal point within the immense open space. The angular balconies, which recede into the building, evoke an almost futuristic atmosphere, a tribute to the Brutalist and Modernist movements. It's no surprise that the atrium has been featured in numerous films, most notably in High Anxiety and The Towering Inferno.
The natural light pouring through the expansive glass skylights enhances the grand scale of the atrium while offering a striking contrast to the sharp architectural lines. The Hyatt Regency atrium was revolutionary not just in its aesthetics but in its concept of communal space—blurring the lines between interior and exterior, private and public. Whether you're visiting for the first time or strolling through after a day in the Financial District, the atrium offers a quintessential San Francisco experience that blends history, art, and cutting-edge design.
Laying flat on a 45 degree slope is easier said than done. But I managed to stop slipping down the hillside long enough to frame in some shots like this.
'Nespresso' coffee capsule for the Strobist Cooking Light assignment. This is a small orange capsule with a silver foil cap. I wanted to try to play the complimentary blue off the orange capsule colour to get some dynamic play between the colours and create some depth/ drama.
Strobist info. The 'stage' is an inverted collander, with a SB-28 inside, set to about 1/8th power and a wide beam/zoom, with a PW Multi II to trigger. That gives the background and light/ reflections for the orange flares.
I then used a Canon 580EX with a blue gel to the camera right, with a grid over the front to direct the blue colour to just the foil. Had to play around a bit with the angles to ensure that the blue hit the foil only and reflected in to the camera, but that I wasn't getting a real strong direct reflection, so feathered it slightly and caught it more on the edge of the beam. Had originally tried to bounce some light from a blue card but the reflections were problematic. There is a small piece of putty just behind the coffee capsule to raise the face up from the silver background so that I can bounce the light in at the right angles from the flash.
Reading Light Science & Magic last night helped a lot with the discussions of families of angles and lighting surfaces independently.
Learn how to light at Strobist.
This impressive Miss Havisham style champagne glass fountain was one of the standout installations of the Rone "Empire" exhibition. Long after the champagne, and the love, has dried up, the glasses remain as a reminder of what once was.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Pineland Daisy (a.k.a. White Sunbonnet, Woolly Sunbonnet, Night Nodding Bog Dandelion; (Chaptalia tomentosa) - Tosohatchee Wildlife Management Area, 3365 Taylor Creek Road, Christmas, Florida
The white petals on these guys really stand out in the pineland understory environment they prefer.
Standard issue Daisies are just as bright,
but tend not to stand out as much in sunny fields
where you find them.
(DSCN1485-_________corvallisgrandoldladyhistorichome)
Maybe I didn't convey the situation on this one very well. It looks abandoned and in lots of disrepair. However, there are people living in it, and it is not scheduled for any renovations that I know of. I didn't put it on the Abandoned groups because it doesn't appear to be. I think it could be an absolute standout home if someone did a lot of work on it, a really valuable asset to the historical part of Corvallis; however, I don't see that happening. It isn't up to me to advise or tell people what they should do with their home.
This home is in Corvallis, Benton County, Oregon USA. I purposely did not put it on my *map* nor give the street address.
The photo of the very old school house that I posted recently does look like it is being restored. That gives me faith.
When I was in Hillsboro, Texas I saw many homes that used to be very stately; and now they are just going to ruin. Sad, but it happens.
This was the best shot I got of this wonderful classic, but I didn't like the background. I made a few edits and, voila, here it is.
1976 Chevrolet Corvette Stingray, at Montrose Beach.
Uptown, Chicago, Illinois.
Friday, September 2, 2022.
Labor Day weekend.
A standout from my latest photoshoot with Mistress Faye. In net gloves and black lingerie, her authority fills the frame—every pose unmistakable, every look unyielding. Part of a new collection I’m sharing.
She is mistress faye latex on here - www.flickr.com/people/204337993@N08/
and you may also contact her at the following places
account.wire.com/user-profile/?id=ba2b5545-2898-4381-a91c...
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
From a trip to the Rose Garden awhile back. There weren't many blooms that caught my eye, but this one did.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.