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A musician during a break in rehearsal – he looks tired and bored.
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Ein Musiker während einer Pause bei den Proben – er sieht müde und gelangweilt aus.
On my nice scrambling ascent to Sgùrr nan Each I had superb view onto the stunninly structured and coloured slopes of Belig, the last hill of my walk on that day.
Inspired by Stephen Shore's gorgeous photo; U.S.10 Post Falls, Idaho and it's lyrical beauty and acceptance of the world around us I went this morning searching for just such a scene.
I looked for a location with minimal expression and inherent beauty, yet without drama. Found it 16 miles away.
Some photos are created in a snap or two. this one took me 10 minutes to compose and click.
Full of elements, yet those puddles are the most important ones.
They give your eyes a runway to take off and escape this place.
he same perspective in color, showing the rust tones and patina of the blast furnace installations.
This image presents the same furnace corridor in full color. The exposure and film simulation emphasize rust tones, oxide layers, and paint remnants on the large cylinders to the left. The central structure with pipes and catwalks reveals variations in material condition through color differences. Compared with the medium black-and-white version, the color view communicates material status more directly, since corrosion, discoloration, and patina cannot be separated in monochrome. Compared with the sepia version, this rendering provides the highest level of visual information for material evaluation, but at the cost of reduced mood and historical association. The advantage of this approach is the ability to document surface condition and color-coded piping or structural paint marks, which are otherwise lost. The GFX100RF sensor records fine-grain differences between oxide layers and intact coatings. This file is relevant for situations where technical documentation of material state is required or where later color-based analysis of degradation is possible.
This two-storeyed former hotel was constructed in 1885 for Brisbane publican Daniel Costigan. It replaced a previous, less substantial structure on the site, which had functioned as the Plough Inn since 1864. The new building was erected during South Brisbane's heyday and was part of the 1880s boom-time reconstruction of Stanley Street premises.
The building was designed by architect Alexander B. Wilson, who is more known for his domestic work. It was built by contractor Abraham James, whose tender of £3,300 was accepted in March 1885.
The hotel, prominently located in central Stanley Street, serviced the commercial heart of South Brisbane. Its proximity to the South Brisbane wharves ensured its popularity amongst those engaged in shipping interests.
Initially the L-shaped interior comprised on the ground floor: a central hall, staircase, dining room, two private rooms (probably for dining also), bar, parlour, storage spaces, billiard room, and lavatories; the first floor contained fourteen guest rooms and a bathroom. A verandah along the back of the building connected it to a detached single-storey kitchen. A cellar completed the facilities.
The building has been altered a number of times since its initial construction. In 1922, additions were made by contractors Robertson and Corbette, following the designs of GHM Addison and Son. It is thought that the street awning was added at this time.
In 1987 the building was modified to function as a tavern during Expo '88. Most of the internal walls were removed, the central fireplace and chimney were taken out, and the interior was re-fitted. Also the front verandah was widened, the rear verandah extended, and windows and doors replaced at this time.
In 1991 - 1992 a conservation plan for the Plough Inn was prepared by Bruce Buchanan architects, and the interior was fully refurbished. The front verandah was also reconstructed.
Source: Queensland Heritage Register.
Originally a 19th century brick factory along the Mohawk River, currently converted into living space. Halfmoon, NY.