View allAll Photos Tagged adayattheraces
Apologies for yet another pano ..... well, maybe.
Shortly before bagging the pair of 68s working the "Belmond Northern Belle" a few uploads ago, I snapped this one of Arriva Train Wales 13.07 Holyhead - Manchester Piccadilly service (1H89) in the hands of class 67 no. 67016.
In some ways I prefer this composition but figured that what might work for a shorter train probably wouldn't for the longer special and, anycase, being on the right-hand track, it would possibly unbalance the image.
So, at least I managed to get the combination of the splendidly located Chester Racecourse, the Cathedral tower, plus a loco in the frame, even if it is a less than splendid class 67.
29th September 2017
#12 in my 100 x challenge - Monochrome
I went to Towcester (pronounced toaster) Racecourse with my camera club yesterday. It was bitterly cold, wet and miserable. We only stayed for two races and the light was appalling for photography. This man caught my eye when he was looking at the odds for the races.
Also for Monochrome Bokeh Thursday. HMBT
Falcon
"Times Past" Collection
10061
card
1,000 pieces
49 x 68 cm
19.3 x 26.8 in
TED: "Can yew spot wot's rong wiv this pussle? No? Let Donald tell yew, cuz 'e did it all on 'is own."
DONALD: "It's in the wrong box! Mom and Pop thought they were buying a Renoir painting from Ravensburger, but it's actually a view of the 1928 Derby, painted by Garry Cartwright in 1996 for Falcon. I offered to make it because Ted was busy with other stuff, and I really enjoyed it! The plastic bag was still sealed so everything was there and the pieces were in superb condition."
As many of you may be aware I began my switch over from Canon DSLR to Sony Mirrorless in May 2010 when I purchased a NEX-5 with a kit lens. The following Christmas I purchased a Sony VG10E camcorder because it came with a zoom lens that I needed for a specific project. I now use the Sony A7RIII and despite claims that there are few lenses available I have a large number E-Mount lenses but there a few more that I would like to purchase within the next 12 months: The 100-400mm GM, the 14-24mm G, the 16-35mm GM and the 100mm STF lens.
Anyway Sony gave me the opportunity to try all their E-Mount lenses at Leopardstown racecourse in Dublin but I actually only used the 100-400mm GM to take the photographs published here. I also got the opportunity to use the 400mm prime lens which is huge - it is a monster of a lens.
Format: Glass plate negative.
Rights Info: No known restrictions on publication.
Repository: Thomas Lennon Photographic Collection, Powerhouse Museum www.powerhousemuseum.com/collection/database/collection=Thomas_Lennon_Photographic
Part Of: Powerhouse Museum Collection
General information about the Powerhouse Museum Collection is available at www.powerhousemuseum.com/collection/database
Persistent URL: http://www.powerhousemuseum.com/collection/database/?irn=388541
American postcard by Ludlow Sales, New York, N.Y, no. FC-105-50. Photo: MGM. The Marx Brothers in A Day at the Races (Sam Wood, 1935).
The Marx Brothers was the name for a group of American-Jewish comedians from the first half of the 20th century who were actually brothers. Their career started in theatre, but they became world-famous through their films. They are known for their wild, anarchic and often surrealist humour. Their jokes consist of slapstick, but also puns and intelligent dialogue. With their rebellious jokes, they were the forerunners of generations of anti-sentimental comedians. Five brothers together formed The Marx Brothers, even though the five of them never actually performed at the same time: Harpo, Chico, Groucho, Gummo and Zeppo.
The eldest brother, Chico (1887-1961) was born Leonard Marx. Manfred was actually the eldest, but he died as a child. Chico was the one who decided to make musical comedies with his other brothers. At the time, he had learnt an Italian accent to convince any anti-Semites in the neighbourhood that he was Italian and not a Jew. This accent, along with his talent as a piano player, became one of his trademarks. In the films, he usually fulfilled the role of a sly and shady con man, the confidant of Harpo, a confident pianist and the sceptical assistant of Groucho.
Harpo (1888-1964) was born Adolph and changed his name to Arthur in WWI because he found the name too German. As an actor, Harpo played the role of a mute, who never speaks but expresses himself through sign language, whistling and using his horn. Like a cross between a child and a wild beast, he sets everything in motion, harassing everyone, pulling the most peculiar things out of his coat (such as a candle burning on two sides, a coiled rope, a pin-up poster, etc.), and chasing women with his horn. His pseudonym "Harpo" was derived from the fact that he played the harp, for which there was a musical interlude in almost every film.
Groucho (1890-1977) was born Julius Henry Marx. His trademarks were his grin, thick cigar, waddling gait and sarcastic remarks, insults and puns. In the films, he was constantly trying to get money or women, talking everyone under the table with his witty and intelligent remarks. He was also a singer and some of his songs have become classics, such as 'Lydia the Tattooed Lady'.
Gummo (1892-1977) was born Milton and was the least-known Marx Brother. He was the one who first performed with Groucho, but before the big Broadway success came he had stopped acting. For years, he was his brother's manager.
Zeppo (1901-1979) was born Herbert Marx and was the youngest of the Marx Brothers. He took over the role of Gummo when the latter quit. Zeppo was the romantic declarer. Though he could take on more versatile roles, he was typecast as the most serious of the four.
The Marx Brothers were the five surviving sons of Sam and Minnie Marx. The family lived in Yorkville on New York's Upper East Side, a neighbourhood sandwiched between the Irish-German and Italian quarters. Their career already began at the beginning of the century in vaudeville shows, with which their maternal uncle, Al Shean, had already been successful. Groucho was the first to embark on a career on stage, but initially with very little success. Their mother and sister also appeared on stage with their sons at times. However, the focus soon shifted from music and singing with humorous segues to comedy with musical interludes. The different roles of musicians and comedians crystallised relatively early. While Chico developed the stereotype of the womaniser with an Italian accent who was always chasing the chicks, Groucho dropped his accent as a German during the First World War due to a lack of popularity. Harpo remained speechless on stage, as he had the greatest successes playing his jokes as a mime in a red or, in films, blond curly wig, or playing his grandmother's old harp. A classroom sketch in which Groucho tried to teach his brothers evolved into the comedy show 'I'll Say She Is which became their first success on Bradway and in England. This was followed by two more Broadway hits: 'The Cocoanuts' and 'Animal Crackers'. The Marx Brothers' shows became popular at a time when Hollywood was experiencing the transition from silent film to talkies. The brothers signed a contract with Paramount Pictures and thus launched their film career.
The last two Broadway shows of The Marx Brothers became their first films, The Cocoanuts (Robert Florey, 1929) and Animal Crackers (Victor Heerman, 1930). Their next film was Money Business (Norman Z. McLeod, 1931). Between 1932 and 1933, a total of 26 episodes of the radio show 'Flywheel, Shyster & Flywheel' were made, with Groucho voicing the lawyer Waldorf T. Flywheel and Chico voicing his sidekick Emmanuel Ravelli. The first three episodes were broadcast under the title 'Beagle, Shyster & Beagle'. The title was then changed after a New York lawyer named "Beagle" threatened to sue. Some of the dialogue from the radio broadcasts was later used in the Marx Brothers films. Their most successful film of the early period was Horse Feathers (Norman Z. McLeod, 1932), a satire on the American college system. But Duck Soup (Leo McCarey, 1933), generally considered their masterpiece, had much less success. It marked their break with Paramount. Zeppo, who always played serious roles, stopped making films after this. The Marx Brothers' first five films are generally considered their best, expressing their surrealist and anarchic humour in its purest form. The three remaining brothers moved to Metro-Goldwyn-Mayer and changed the formula of their subsequent films. Their remaining films were given romantic plots and serious musical interludes, often intended as resting points between the often hilarious comic sketches. In A Night at the Opera (Sam Wood, 1935), a satire on the opera world, the brothers help two young singers in love. The film was very successful and was followed by the equally popular A Day at the Races (Sam Wood, 1937), where they kicked up a fuss at a race track. Several less memorable films followed until 1941. After the war, two more films A Night in Casablanca (Archie Mayo, 1946) and Love Happy (David Miller, 1949) followed to pay off Chico's gambling debts. This was followed by the mediocre film The Story of Mankind (Irwin Allen, 1957), and a television special The Incredible Jewel Robbery (1959). These productions were already interludes, while each brother had already picked up a career of his own. Chico and Harpo continued on stage and Groucho had started a career as a radio and television entertainer. With his television and radio show 'You Bet Your Life', he became one of the most popular show hosts of the 1950s in the USA. The first episodes of the show were still broadcast live, as was customary at the time. But because Groucho's unbridled wordplay caused headaches for those in charge of the show, they deviated from this for later episodes and the programme was broadcast as a recording. He also wrote a number of books. Gummo and Zeppo ran a theatre agency together. A final film project planned for 1960, starring the Marx Brothers once again and directed by Billy Wilder, did not materialise due to Chico's poor health. It was to be an anti-war satire in the style of Duck Soup. Even Groucho, who at the time was no longer very interested in further Marx Brothers films, is said to have been enthusiastic about the project because he considered Billy Wilder to be one of the best directors.
Sources: Wikipedia (Dutch and German) and IMDb.
And, please check out our blog European Film Star Postcards.
Taken at Hastings Park Race Track with a Nikkor 70-300mm lens. She has the most beautiful curly red hair! The hat is pretty funky too!!
Hastings Park Race Track. Taken with a Nikkor 70-300mm lens from about 5 metres away. Love her smiling eyes!
My Mum always said "you have to suffer to be beautiful". I'm not sure this is the look she had in mind.
A selfie from a couple of years ago.
Does anyone else feel like they've aged 20 years in the space of just 2?! ;-)
Falcon
"Times Past" Collection
10061
card
1,000 pieces
49 x 68 cm
19.3 x 26.8 in
We thought we were buying a Ravensburger, Renoir's "On the Terrace" at a bargain ÂŁ2, but when opened we found a sealed bag containing a Falcon puzzle, Garry Cartwright's "The Derby, 1928", although Falcon had seen fit to rename it "A Day at the Races",
So we were faced with a puzzle with no guide image, in a totally unrelated box.
Did we hesitate? Did we heck!
Despite the lack of an image to follow, this turned out to be relatively easy to assemble, and what's more in good condition and complete.
Recriei um comercial antigo da Cadillac com a Day at the Races Silkstone.
I´ve recreated a vintage Cadillac advertising with a Day at the Races Silkstone.
She was walking from the paddock area with her partner--boyfriend, husband, or date-- at Hastings Park Race Track.
A Bloomingdale's window display presenting Bridgerton, "a most anticipated pop-up shop of the season has the ton all abuzz."
The night version of these windows will come in the future.
See more of my Candids from Tauranga Races here - aperturepriority.co.nz/?p=817#!prettyPhoto/2/
Leica M9 - 75mm Voigtlander Heliar f/1.8
As many of you may be aware I began my switch over from Canon DSLR to Sony Mirrorless in May 2010 when I purchased a NEX-5 with a kit lens. The following Christmas I purchased a Sony VG10E camcorder because it came with a zoom lens that I needed for a specific project. I now use the Sony A7RIII and despite claims that there are few lenses available I have a large number E-Mount lenses but there a few more that I would like to purchase within the next 12 months: The 100-400mm GM, the 14-24mm G, the 16-35mm GM and the 100mm STF lens.
Anyway Sony gave me the opportunity to try all their E-Mount lenses at Leopardstown racecourse in Dublin but I actually only used the 100-400mm GM to take the photographs published here. I also got the opportunity to use the 400mm prime lens which is huge - it is a monster of a lens.
A Bloomingdale's window display presenting Bridgerton, "a most anticipated pop-up shop of the season [that] has the ton all abuzz."
As many of you may be aware I began my switch over from Canon DSLR to Sony Mirrorless in May 2010 when I purchased a NEX-5 with a kit lens. The following Christmas I purchased a Sony VG10E camcorder because it came with a zoom lens that I needed for a specific project. I now use the Sony A7RIII and despite claims that there are few lenses available I have a large number E-Mount lenses but there a few more that I would like to purchase within the next 12 months: The 100-400mm GM, the 14-24mm G, the 16-35mm GM and the 100mm STF lens.
Anyway Sony gave me the opportunity to try all their E-Mount lenses at Leopardstown racecourse in Dublin but I actually only used the 100-400mm GM to take the photographs published here. I also got the opportunity to use the 400mm prime lens which is huge - it is a monster of a lens.
Photographer: Unidentified for Truth Newspaper, Qld
Location: Brisbane, Queensland, Australia
View this image at the State Library of Queensland: hdl.handle.net/10462/deriv/82883
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.