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From this vantage point, it’s easy to see where crews have applied a final top coat to the steel (blue/gray), and where the bridge still needs preservation work (light gray). The $40 million painting project is more than two-thirds complete.
With the unofficial painted names clearly visIble that were painted on the sole bars for this tour, the Class 20 Locomotive Society's "Three to the Sea" which was headed by BR green liveried duo 20064 (D8064) 'River Sheaf' & 20030 (D8030) 'River Rother', along with 20118 (D8118) 'River Don'.
Seen standing at Sheffield as we await our 09.24 departure to Brighton, on what was a bitterly cold wet May morning, a total contrast to the heatwave conditions awaiting us in Brighton!
2nd May 1987
I've been working in this watercolor for a while,it has been waiting to be finished but for some reason I got discouraged...
It has a few good-positive things...
I was really excited when I started,there's not much left to do.
I started it some months ago and when I started I was really into it...
not sure how long do i have to wait before it is completely done...
May the 23rd '13
#AbFav_LIFE_NOW_👀
The Moon is Earth's only natural satellite.
At about one-quarter the diameter of Earth, it is the largest natural satellite in the Solar System relative to the size of a major planet, the fifth largest satellite in the Solar System overall, and larger than any known dwarf planet.
The Moon's phases, its waxing and waning, has allowed people since pre-historic times to keep record of time.
Tally sticks, notched bones dating as far back as 20–30,000 years ago, are believed by some to mark the phases of the Moon.
The tracked four phases gave rise to the time period of the approximated seven day week[citation needed] and, as a full cycle, the approximated 30 day month.
Tidal forces affect both the Earth's crust, seas and oceans.
The gravitational attraction that masses have for one another decreases inversely with the square of the distance of those masses from each other.
As a result, the slightly greater attraction that the Moon has for the side of Earth closest to the Moon, as compared to the part of the Earth opposite the Moon, results in tidal forces.
Have a beautiful day and thank you for your comments, M, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. Sharing is fine, WITH NAME! © All rights reserved
World, planet, moon, satellite, city, view, sky, night, light, colour, horizontal, NikonD7200, "Magda indigo"
These wonderful Hammond 'visible' pumps, dating from the 1920s, were still in full (if dilapidated) 1970s Pace livery when I first came across them in 2000 (see www.flickr.com/photos/danlockton/15641765224 ) and then the next time, in 2006, they'd been painted green and tidied up www.flickr.com/photos/danlockton/15641708664 but by 2016, the Pace globes were back! Pace, of course, was based not far away, in Farnham.
I'm not giving the exact location, out of a bit of caution.
UV Fluorescence Photography is also known as Ultraviolet Induced Visible Fluorescence Photography (UVIVF). Most living things have some degree of UV fluorescence. Flowers are the most common subjects for UV photography, it seems. Some flowers under 100% UV light will illuminate with spectacular results. Some people speculate that insects, especially bees, know this because they can see in UV light, while humans typically can’t. By fluorescing in UV light, flowers draw attention to themselves for the purposes of pollination. This kind of photography with flowers can be a matter of trial and error—finding those flowers that irradiate and those that don’t. (A red rose, for instance, will simply show up red in a UV time-exposure; likewise, the Chrysanthemum I photographed was useless. Yellow Daylily? Meh. Calla Lily? Meh.) We began by snipping a few different kinds from our garden. Most didn’t give the results we were hoping for but the Purple Sage fluoresced very nicely. My own experience so far shows the following flowers also work: Anthuriums, white Impatiens, Lilies, Columbines, white Gerbera Daisies, Orchids, Milkweed, Gladiolus, and Sunflower.
The set up requires a dark room (absolutely no ambient light), tripod, a macro lens if you want to get close up to your flower specimen, and—most importantly—a UV lighting setup. What you are seeing here was shot in total blackness with five UV lighting arms. But this is a potentially dangerous kind of photography: you need to ensure that you don’t look directly into the bulbs at the end of the lighting arms and that you don’t get the light in your eyes or on your skin. Glasses with UV protection help as far as your peepers are concerned. As well, the end of the arms where the lighting bulbs are can get awfully hot so don’t touch the metal when adjusting the arms; handle the rubber coating them. (They cool down very quickly, at least.)
This type of photography can be a challenge. You need to keep the normal room lights on in order to focus in manual mode. Once focused, with the UV bulbs lighting up the object to your satisfaction, turn off the regular lights then prepare for a time-exposure of several minutes. An f-stop closed right down (f22) will help with focusing issues (depth of field) but will mean a very long exposure unless you up the ISO, but too high an ISO will mean a lot of noise. An f-stop of, say, f9 will allow much more light in a shorter time. We found, after our first experimentation, that a wider aperture at a higher ISO (say, 1600) will get results quickly (but, again, a lot of noise). Subsequently, however, we have been settling typically on around 200 ISO, f8 or f9, and exposures of around four to five minutes.
But then post-processing is a challenge as well. Depth of field is a problematic issue. Focus-stacking may solve that problem if you have the software and the computer can handle the load. Noise is also something you’ll need to deal with, esp. with the black background. That’s not necessarily a problem as a high noise reduction can give the photo a softer look. For the black background, sometimes I use the Eyedropper Colour Sampler tool with the Cloning Brush in Photoshop to “paint” out the noise.
it has been a while since the last time that I've posted something in here.
this painting was a little bit of a struggle,the hard part for me was the Textured wall on the right.
I started This painting a couple of months ago but didn't have the courage to work in the texture,I've never done anything like that...
I actually had to crop the painting because some of the texture didn't look right.
I used William F. Martin photo that was posted in the PMP website...
you can see it here...
paintmyphoto.ning.com/photo/padlock-gate-05-it-bluepg?con...
14x17 watercolor on Arches hot pressed
)ct. the 27th '13
SOLD
Bradford, PA. September 2022.
If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.
The Visible Pinball Machine. Will be on display at this year's Pacific Pinball Expo (http://nbam.org/ppexpo/visiblePinball.html.)
Taken in my office this afternoon, just before I went home for the day. This is part of my bookshelf, on which, prominently displayed, are framed 5x7 prints of a few of my favorite pictures, all of which appear in digital form here on Flickr and were printed by Mpix. The most recent addition is partly visible on the upper shelf; it's the one of Joshua and Laurie, taken at the Fred Astaire showcase a couple of weeks ago. Most of the books are work-related reference materials, but not all; my Spanish copy of Don Quixote is clearly visible, for instance, as is part of a book titled Cockatiels for Dummies. (That's the yellow volume at the extreme left end of the upper shelf.) My Hollander edition of Dante's Inferno can't be seen here, although I'm sure some who know me well might be wondering where it is. That particular book sits atop my desk, where I always have it readily available.
There is a small but temporary gap behind the picture of Miss Amanda Lee. That spot is normally occupied by a hardbound copy of Sussman's Amateur Photographer's Handbook, published in 1973. I brought that book home with me today, and it provided my reading material during the 45-minute bus commute. It will be returned to its usual spot in the morning.
Ely Cathedral is in the top rank of the great English cathedrals, and indeed earns its place among the best of medieval churches internationally for its unique architecture and astonishing beauty. It is a church I've visited several times over the years and never fails to impress, its form at once imposing and strikingly individual. Owing to the flatness of the surrounding countryside it is visible from afar as a major landmark, which makes approaching this tiny city all the more enticing.
The church was founded as an abbey by St Etheldreda in 672 and didn't achieve cathedral status until the foundation of the diocese in 1109. Much of the present building dates from the following years, with the nave and transepts still substantially as they were built (aside from a few altered windows and later ceilings) and a fine example of Norman / Romanesque architecture. A little later during the 1170s the soaring west tower and western transepts were added which would have created a magnificent facade when complete and of a type rarely seen in this country. The style is richer with more use of ornamentation than before, but also many of the arches (particularly the upper parts of the tower) are pointed, making it an early example of the transition to Gothic (the octagonal top storey is from two centuries later, but follows the original overall plan in form, if not detail). The north-west transept however collapsed in the late 15th century and was never rebuilt, leaving the front of the cathedral will the curiously lopsided but not unattractive west front we see today. The Galilee porch that projects from the base of the tower dates from the beginning of the 13th century, only a few decades later but now fully Gothic in style.
The Norman eastern limb had been fairly short so the next major building phases saw the great eastward extension of the presbytery built in Gothic style in 1234-50. It makes an interesting contrast with the earlier parts of the building being so rich in style, externally punctuated with pinnacles and flying buttresses and profusely ornamented withing, making the Romanesque nave and transepts seem somewhat austere by comparison. Then in 1321 an ambitious new lady chapel was begun at the north-east corner, but soon afterwards work was delayed by unforeseen events.
In 1322 the old Norman central tower collapsed, bringing down with it most of the old Romanesque choir (but not the recently built presbytery beyond). The aftermath left the cathedral with a gaping hole at its heart, but this must have inspired those charged with its recovery, and under the direction of Alan of Walsingham the crossing was rebuilt in a unique way; rather than build a new tower of a similar form the central piers that supported it were entirely cleared away along with the adjoining bay of nave, transepts and choir to create a much larger octagonal central space. This then rose to become the unique central tower that Ely is so famous for, the Octagon, a combination of a lower octagonal tower built of stone crowned by a delicate lantern built of wood and covered with lead externally. The result is an incredible, piece of architecture, and the view inside of the open space rising to the curved vaults above on which the glazed lantern appears to float is unforgettable.
After the Octagon and beautifully spacious and richly adorned Lady Chapel were completed there was no more major work at the cathedral. The transept roofs were replaced in the 15th century with the wooden hammerbeam structures we see today, adorned with large angel figures in the East Anglian tradition. The most significant late medieval additions are the two sumptuously decorated chantry chapels built within the end of each choir aisle, each a riot of later medieval ornament and Bishop West's also being remarkable for its fusion of Gothic and Renaissance detail. The cloister appears to have been rebuilt at a similar stage though sadly very little of it survives today.
Sadly the Reformation saw a wave of iconoclasm of particular ferocity unleashed here in Ely. The most telling reminder is the Lady Chapel with its richly ornamented arcading carved with hundreds of small scenes and figures, all brutally beheaded (not a single head survives). Free standing statues in niches have all gone without trace, but in the case of Bishop West's chantry chapel the topmost figures were carved in relief, so these were hammered away leaving the mutilated remains as a testament to zealotry and intolerance. Most of the stained glass appears to have also been removed around this time, so there was surprisingly little damage here during the Civil War a century later as the Puritan frenzy had already been unleashed.
A corner of the north transept collapsed in 1699 but was rebuilt almost identically, a rare early example of such an exacting approach to reconstruction. The classical form of a window and doorway below are the only reminders of the rebuilding, some say with advic from Christopher Wren whose uncle had been bishop here decades earlier (Wren knew the cathedral as a result, and the Octagon is believed to have inspired his plans for St Paul's, as the ground plans of the Octagon and his domed central space at St Paul's are remarkably similar).
The cathedral saw further changes in the 18th century when the structure was in need of repair. James Essex was called in to repair the Octagon and the wooden lantern was stabilised but its external was appearance simplified by stripping away much of its original detail. The medieval choir stalls had originally sat directly underneath the Octagon with painted walls on either side, but these were removed at this time and the stalls relocated further east to the position they are in now. Sadly the Norman pulpitum screen at the end of the nave was also removed (the earliest of its kind to survive in any cathedral).
By the mid 19th century tastes had changed again and the Victorian preference for richness over Georgian austerity saw the cathedral restored under the direction of George Gilbert Scott. He restored the Octagon lantern to something much closer to its original appearance and added new screens at the crossing and behind the altar. Stained glass gradually filled the cathedral again and it remains one of the richest collections of Victorian glass in the country. The ceiling of the nave which had been left plain for centuries was given a new richly painted finish with scenes from the Old & New Testaments, begun by Henry le Strange but finished by Thomas Gambier Parry after the former had died halfway through the project. Gambier Parry also undertook the lavish redecoration of the interior of the Octagon lantern.
The cathedral has remained little change since and is one of the rewarding in the country. There is much of beauty to enjoy here beyond the architecture, with many interesting tombs and monuments from the medieval and post-Reformation periods. There is a wealth of stained glass of unusual richness; not everyone appreciates Victorian glass (indeed Alec Clifton Taylor was quite scathing about the glass here) but while it is very mixed I find much of it is of remarkably high quality.
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
Visitors can usually take tours to ascend the Octagon and even the west tower on more select days. Tours do get booked up though so it took me many visits before I could make my ascent, but happily this time I finally managed it and it was a wonderful experience I won't forget. Frustratingly I was unable to ascend the west tower since I was at a symposium on the day when tours were held so I hope to have better luck next time.
For more historical detail and context see below:-
en.wikipedia.org/wiki/Ely_Cathedral
For entry fees and tower tours see the cathedral's website below:-