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SNCB/NMBS Class 21 2121 arrives at Schaarbeek station (Gare de Schaerbeek) with P 7907, the 07:11 from Oudenaarde. Class 27, 2706 was at the rear of this morning commuter service that would terminate here.
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The nilgai or blue bull (Boselaphus tragocamelus) (pronounced /ˈnɪlˌgaɪ/, literally meaning "blue cow") is the largest Asian antelope and is endemic to the Indian subcontinent. The sole member of the genus Boselaphus, the species was described and given its binomial name by German zoologist Peter Simon Pallas in 1766. The nilgai stands 1–1.5 m at the shoulder; males weigh 109–288 kg, and the lighter females 100–213 kg. A sturdy thin-legged antelope, the nilgai is characterised by a sloping back, a deep neck with a white patch on the throat, a short crest of hair along the neck terminating in a tuft, and white facial spots. A column of pendant coarse hair, hangs from the dewlap ridge below the white patch. Sexual dimorphism is prominent – while females and juveniles are orange to tawny, adult males have a bluish-grey coat. Only males possess horns, 15–24 cm long.
The nilgai is diurnal (active mainly during the day). The animals band together in three distinct kinds of groups: one or two females with young calves, three to six adult and yearling females with calves, and all-male groups with two to 18 members. Typically tame, the nilgai may appear timid and cautious if harassed or alarmed; it flees up to 300 m - or even 700 m, galloping away from the source of danger. Herbivores, nilgai prefer grasses and herbs, though they commonly eat woody plants in the dry tropical forests of India. Females become sexually mature by two years, while males do not become sexually active until four or five years old. The time of the year when mating takes place varies geographically, but a peak breeding season lasting three to four months can be observed at most places. Gestation lasts eight to nine months, following which a single calf (sometimes twins or even triplets) is born. As typical of several bovid species, nilgai calves stay hidden for the first few weeks of their lives. The lifespan of the nilgai is around ten years.
Nilgai prefer areas with short bushes and scattered trees in scrub forests and grassy plains. They are common in agricultural lands, but hardly occur in dense forest. Major populations occur in the Terai lowlands in the foothills of the Himalayas (northern India), but the antelope is sparsely found in Nepal and Pakistan and is extinct in Bangladesh. Nilgai were first introduced to Texas in the 1920s and the 1930s. As of 2008, the feral population in Texas is nearly 37,000. The nilgai is categorised as Least Concern by the IUCN. The nilgai has been associated with Indian culture since the Vedic period (1500–500 BCE). Hindus revere the nilgai as sacred and associate it with the cow, the mother animal in Hinduism, through its name and loosely similar physical features. They were hunted in the Mughal era (16th to 19th centuries) and are depicted in numerous miniatures. Nilgai have been considered a pest in several north Indian states, as they ravage crop fields and cause considerable damage. In Bihar, authorities have classified the nilgai as vermin.
Source: Wikipedia
"When it comes down to it, it's just a simple numbers game. Us against the machines. If we destroy one of them, a brand new replacement will take it's place, straight off of Skynet's production line. If one of my guys goes down, how many YEARS will it take to replace that human fighter? Ten, thirteen years? We won't win this way. We have to be smarter than the machines. Or we die."
The diaries of John Connor
Réplica utilizada nos filmes "O Exterminador do Futuro 1 e 2" localizada na loja da atração que leva o mesmo nome no parque de diversões Universal Studios em Orlando - Flórida nos EUA.
Here's side by side the first release of the police station terminator on the left next to the ultimate edition by neca.
So this new version I feel pretty much the opposite than I did about the tech noir version. I really like this ultimate edition more. The head is pretty much the same, except the new version added some gloss to the shades so it gets that shine which you can see. the jacket has great weathering which the first version didn't. his hands are actually painted now, the first version they were just all black. the only issue I have with the new version is the pants and boots again. I like the look of the pants and the weathering paint on the boots of the first version. but there is no articulation so I guess an even trade. But the guns are still better in the first release, the new version they are too rubbery. Anyway this figure is still well worth the trade up from the older version, especially with getting the alternate heads that were first released with 2 separate figures.
T-1000: Hey, brother!
T-800: Now what?
T-1000: Isn't your face a little too textured for a Brickheadz?
T-800: What you see is called charisma. By the way, you barely resemble Patrick.
T-1000: That was mean!
T-800: Keep quiet and look at the camera.
Enjoy T-800 (Arnold Schwarzenegger) and T-1000 (Robert Patrick) from Terminator 2: Judgement Day!
This is my entry for the BrickHeadz Building Competition
A Place For Great Photographers
Something a little different. Lots of tweaks done in photoshop. Original was green, I think grey suits it better.
Terminator squirrel has arrived from the future to help present day squirrel handle any hard nut he may have to crack.
Tribute to the Terminator movies and series!
Hair/makeup/wardrobe by: Me
Photo/Special effects by: Jim Brey
The Skull was designed by Tominaga Kazuhiro,from crease pattern published on JOAS special issue 2011.
For the larger skull I used silver Stardream paper,and for the little ones(the eys),I used red Elephant Hide paper.
And the result is the Terminator metallic skull!
*Thanks Artur Biernacki for showing me an easier way to fold it.
37405 seen shortly after arriving with the 2J91 1955 from Lowestoft seen in platform 2 and before departing ECS to Norwich Crown Point 27/12/16.
Made by Kenner in 1991- 92.
From the Terminator 2 line.
Stands about 14 inches tall.
Has sound feature and light up eyes.
Says " Hasta La Vista Baby "
And " I'll be back "
Two different gun firing sounds.
Only articulation is at shoulders.
Back in the day I didn't like that this figure has almost no articulation. But It looks cool just to display. And the fact that the features worked was the sell for me :)
Built in 1906-1917, this Beaux Arts-style Capitol Building was designed by George B. Post to house the state house of representatives, state senate, and offices for the Wisconsin State Government. The fourth state capitol to house the state government since the state’s establishment in 1848, the building is the third building to sit on the present site, and replaced the previous state capitol, built in 1857-1869 and expanded in 1882, which burned down in February of 1904. The capitol houses both the Wisconsin State Assembly and the Wisconsin State Senate, as well as the Wisconsin Supreme Court and the Office of the Governor of Wisconsin. The first capitol of Wisconsin upon the formation of Wisconsin Territory in 1836 was in the village of Belmont, Wisconsin, with the legislature meeting in a hastily constructed wood-frame building, before deciding to designate the future site of Madison as the state capitol, and holding further sessions of the legislature in the much better-developed Mississippi River port town of Burlington (now in Iowa) until a capitol building could be completed in Madison. Upon Burlington becoming part of the new Iowa Territory, the state legislature moved to a log and stone building on the present site of the state capitol, a relatively humble Greek Revival-style building constructed in 1837, which looked much like older capitol buildings in the eastern United States, with doric columns and a rusticated fieldstone exterior. It was most similar to the Old State House in North Carolina, built only four years prior, and the Old State Capitol in Springfield, Illinois, built in the same year, though these two similar buildings were built almost entirely of stone blocks rather than fieldstone. The small second capitol building was the first state capitol of Wisconsin upon its ascension to statehood in 1848, but had become inadequate for the growing population and government by the 1850s. The original building was demolished and replaced with a larger, Classical Revival-style structure with Romanesque Revival elements constructed in stages between 1857 and 1869, which featured a dome inspired by the United Capitol Building, semi-circular porticoes with corinthian columns, and two short side wings with octagonal towers at the corners, which were modified and extended in 1882 with new wings that increased the Classical Revival aspects of the building and helped to downplay the Romanesque Revival elements that originally were very prominent on the structure. This building was oriented with the semi-circular original porticoes aligned with State Street and King Street, with the wings being oriented towards both sections of Hamilton Street, though the building appeared rather small within the large parklike expanse of Capitol Square. By the turn of the 20th Century, the old Capitol had become inadequate for the growing needs of Wisconsin, which had become wealthy, industrialized, and heavily populated by that point, so study of a replacement capitol building began in 1903. In February 1904, the old State Capitol burned to the ground when a gas jet ignited a newly varnished ceiling inside the building, which spread quickly despite the building featuring a then-advanced sprinkler system, as the reservoir of the nearby University of Wisconsin was empty, which allowed the fire to spread out of control. The north wing of the building, built in 1882, was the only portion that survived, with many relics, records, and important historical items being lost in the fire, though the state law library was saved thanks to efforts by University of Wisconsin students. The fire also happened just after the state legislature had voted to cancel the fire insurance policy on the building, thinking it was a costly and unnecessary folly.
The present building was built on the site of the previous building, with the construction process focusing on completing each wing one at a time to provide space to the state government with as much fiscal efficiency as possible due to financial limitations. Due to this, the north wing was built last to allow the remaining portion of the previous capitol to serve as space for the state government during the construction period, with the central rotunda and dome also being built after the other three wings had been completed, as they serve a more symbolic and less utilitarian purpose than the rest of the building. The building stands 284 feet (86 meters) tall to the top of the statue on the dome, which was sculpted in 1920 by Daniel Chester French, and is a personification of the state of Wisconsin, with the outstretched arm of the statue representing the state motto, “Forward”. The exterior of the building is clad in Bethel white granite, sourced from Vermont, with an additional 42 types of stone from a total of eight states and six countries being utilized on the interior of the building. The dome is the largest in the world to be entirely clad in granite, and is the tallest building in Madison, with a state law passed in 1990 stipulating that any building within a one-mile radius of the capitol is limited in height to the base of the columns of the dome, which stand at 187 feet, which preserves the visibility of the building from the surrounding landscape. The building has a greek cross footprint with four five-story wings that are aligned with the compass directions and radial streets following the compass directions that slice through the surrounding street grid, which is at a 45-degree angle to compass directions, instead roughly paralleling the shorelines of nearby Lake Mendota and Lake Monona, with Downtown Madison sitting on an isthmus between the two lakes. This places the building at a unique 45-degree angle orientation relative to the edges of Capitol Square and most buildings on adjacent streets. The building was one of the last works of the prolific architect George B. Post, whom died before the building was completed. The building underwent a major renovation in the 1970s that added modern features to the interior and covered up many original features, with later projects between 1988 and 2002 restoring the building while updating the building’s systems and functions for the modern needs of the state government.
The exterior of the building’s wings feature porticoes on the ends with corinthian columns, arched windows on the third floor, rusticated bases with entrance doors and decorative keystones, decorative reliefs featuring festoons over the windows on the porticoes, cornices with modillions and dentils, and pediments with sculptural reliefs, which were created by several sculptors, and have different symbolism embodied by their design. On the east wing, which is home to the Wisconsin Supreme Court, the sculpture known as Law, created by Karl Bitter, is located on the portico pediment, on the west wing, which houses the chamber of the Wisconsin Assembly, is a sculpture known as Agriculture, also created by Karl Bitter, on the north wing, which is home to a hearing chamber, is the sculpture known as Virtues and Traits of Character, created by Adolph Alexander Weinman, and on the south wing, which houses the chamber of the Wisconsin Senate, is a sculpture known as Wisdom and Learning of the World, created by Attilio Piccirilli. The sides of the wings feature simpler cornices with dentils, pilasters and recessed window openings with arched openings at the ground floor, windows with decorative pedimented headers on the second floor, arched windows on the third floor, two small two-over-two windows on the fourth floor, and a recessed fifth floor features small paired windows, hidden behind a balustrade that runs around the entirety of the building minus the ends of the wings, concealing a low-slope roof at the setbacks on the sides of the wings and above the corner porticoes. The upper roofs of the wings are low-slope with front gabled portions in the middle punctured by skylights, with the roof being almost entirely enclosed by a parapet. At the center of the building in the inside corners of the greek cross are semi-circular portions of the facade with semi-circular two-story ionic porticos with large terraces and grand staircases featuring decorative copper lampposts, decorative stone balustrades, concealed entrances to the ground floor underneath the terraces, and three doorways on the upper level, with drums surrounded by buttresses featuring small windows and domed roofs above the balustrade on the fifth floor. In the center of the building is the rotunda, which is topped with a large dome that rises from a tall base that terminates in a balustrade, with a low-slope roof at the base of the drum of the dome, which features a level with small windows at the base, with projected pavilions at the corners above the semi-circular porticoes below, which were originally to support four smaller domes, but ended up supporting sculptures by Karl Bitter, symbolizing strength, faith, prosperity, and abundance and knowledge. The drum of the dome is surrounded by a corinthian colonnade with corinthian pilasters on the exterior wall of the dome behind the colonnade, arched windows, and recessed decorative panels at the top of the colonnade below the architrave. Above the architrave is a cornice with modillions and dentils, above which is another balustrade, accessed via doors from the interior space above the inner dome of the rotunda, and ringed by six-over-six windows, pilasters, and a cornice with egg and dart motif at the top. Above this last cornice is the dome, which is ribbed, with the ribs terminating in voluted upside down brackets at the base, and clad in granite, terminating at the top at a balustrade around the base of the lantern. The cylindrical landern features corinthian columns, arched windows, festoons, with a concavely sloped roof featuring rubs terminating in volutes, above which is the base of the Wisconsin statue, which is coated in gold leaf.
The interior of the building is richly decorated with Beaux Arts detailing, utilizing plaster, a diverse array of stone and woodwork, engaged columns and pilasters, murals, vaulted ceilings, decorative balustrades, grand staircases, and modern oak furniture. The interior dome features a mural by Edwin Howland Blashfield, known as Resources of Wisconsin, which sits in the middle of the dome’s coffered ceiling, above the upper balcony at the base of the drum. The rotunda features green and white marble corinthian columns with gold leaf on the capitals, vaulted alcoves on the sides with coffered ceilings, a stone floor, and features marble from Tennessee, Missouri, Vermont, Georgia, New York, and Maryland, granite from Wisconsin and Minnesota, limestone from Minnesota and Illinois, marble from France, Italy, Greece, Algeria and Germany, and syenite from Norway. A large circular opening in the floor of the center of the rotunda allows light into the lower level of the building, and is supported by a ring of square columns underneath. The light fixtures in the space are a combination of lampposts and sconces. The pendentives below the drum of the dome in the rotunda are decorated with glass mosaics by artist Kenyon Cox. The interior’s decoration denotes hierarchy of space, with the level of detail varying throughout the building’s interior from simple offices and service areas to the grand public spaces, such as the rotunda and government meeting chambers. The two-story senate chamber is circular with marble cladding, corinthian columns, and pilasters on the walls, a decorative ceiling with a central shallow domed decorative glass skylight, and coffers with rosettes, with murals above the main podium, and balconies inside the alcoves behind the columns for spectators and observers. The two-story assembly chamber features a similar shallow domed decorative glass skylight on the ceiling, but is square in shape with decorative pendentives and arches on the perimeter of the space opening into alcoves with vaulted ceilings, with wood paneling and a large mural behind the main podium, and balconies in the upper level of the alcoves. The supreme court chamber is square with a square decorative glass skylight in the room’s coffered ceiling, white marble pilasters, paneling, and murals on the walls, and arched niches housing candelabra-type lamppost light fixtures. The north wing hearing chamber features a massive cove ceiling with decorative trim and murals, with a large square decorative glass skylight in the middle, and walls lined with ionic pilasters and stone panels. The Governor’s Conference Room, located in the east wing, features a heavily decorated ceiling with multiple coffers housing murals, decorative stained woodwork, a fireplace with a decorative marble surround flanked by two corinthian columns, and gold leaf on some of the trim. The interior of the building is even more richly detailed than the exterior.
The building, which has been fully modernized and restored to some semblance of its original appearance, remains the seat of the government of Wisconsin, presently the 25th largest by land area and 20th largest by population in the United States. The building was listed on the National Register of Historic Places in 1970, owing to its historical and architectural significance, and was listed as a National Historic Landmark in 2001. The building visually dominates the isthmus that makes up Downtown Madison, and sits in the city’s central square, one of the most visually impressive and stunning sitings of any capitol building in the United States.