View allAll Photos Tagged angular
Las Vegas, Nevada. Crystals, a shopping and entertainment designed by Daniel Libeskind, offers pedestrians walking to the Veer Towers an angular maze to explore, inside and out.
curated in: www.flickr.com/photos/winship/galleries/72157625144550259/
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Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
Showroom
Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
Shot with a Minolta CLE
Voigtlander 21mm f/4 Color-Skopar lens
Ilford HP5+ 400 film
Shot at EI 800 and pushed +1
Developed in the Ego Lab using XTOL (1:1, 7:35 min at 82F, agitating first and each minute)
Scanned on a Coolscan 9000ED
This is a later 16th century copy of the Horenboult miniature painted, almost certainly, to hang in the home of a Catholic English family. The iconography of the painting has been changed to show the monkey choosing the cross on Catherine's dress above the money in her hand. The miniature is a portrait of a real woman and her pet; this image has evolved to impart a religious statement.
Phillip Mould:
Recent dendrochronological dating has concluded that an earliest felling date of 1531 is likely for the production of the panel on which this portrait is painted. Such analysis is based on the measurement of a tree’s growth rings in the panel, and comparison with climate records and other known and dated examples. The analysis of this panel found that the latest, or ‘oldest’, growth ring surviving is that for 1523. More precise dating is then achieved by adding a minimum number of growth rings that may have been lost in the process of manufacture, typically eight rings, or eight years. Such a small amount of wood lost in the process is not untypical, since great care was taken to prevent unnecessary waste. Thus in this case eight years have been added to 1523 to arrive at 1531.
This panel, however, is unusual in that it is made of two boards joined at a skewed angle, and not a straight vertical line as normal. Furthermore, the grain runs at a further skewed angle within the boards, meaning that more – or perhaps less – growth rings could be present. However, the relatively crude manner in which this board is constructed suggests that it was made during the earliest period of manufacture of large artist’s panels in England, not to mention the artistic style and technique of the painting itself. Furthermore, in the absence of any similar dendrochronological analysis for the two other best-known panel portraits of Catherine of Aragon (Museum of Fine Arts, Boston and National Portrait Gallery, London) this example could well be the earliest currently known easel portrait of Catherine, and the only example plausibly datable to her lifetime.
The significance of such an icon produced during the 1530s is apparent. In the midst of her divorce from the King, Catherine and her party may well have been concerned with making sure that her face continued to be seen at home and abroad as part of the concerted programme to maintain her status as Queen. There would, therefore, have been considerable incentive for producing a portrait that repeated a younger, beautiful likeness of the Queen as well as conveying, perhaps, an intelligible iconographic message to her adherents.
The portrait derives directly from a miniature painted c.1525 by Lucas Horenbout d.1544 (Duke of Buccleuch Collection), which again shows Catherine holding a monkey, but makes subtle alterations to the iconography. The monkey is being offered a coin, which he ignores, reaching out instead for the jeweled crucifix that the Queen wears at her breast. The interpretation here is plain: Catherine’s creature expresses his obedience to the church by recognizing that the cross is more precious than money. The fact that these elements are absent from the Buccluech miniature, in which the monkey is merely being offered a tit-bit, and the gesture of its outstretched hand is empty, shows that the portrait’s iconography was deliberately reconfigured to comment on the Queen’s situation in the years c.1527 – 1530 and to make a point of her Catholic orthodoxy. It has even been suggested that the species of the monkey, a marmoset, may be an allusion to the straits of Catherine and her party at that date, since the letters are a near-anagram of the name Thomas More, the most celebrated of Catherine’s supporters and later a martyr for her cause. This is not too-far fetched, since the Tudor audience was schooled in allegory, the essential pabulum of their art. The apparent frivolity of the subject – a court lady playing with her pet monkey – would have delighted them all the more if it was susceptible to a deeper, parallel reading that touched on what was to become the King’s Great Matter. Far more than a flattering likeness of a Queen who felt herself spurned in place of a younger rival, the portrait can also be read as a calculated piece of propaganda and a move in a game being played for the very highest stakes.
Comparison with other known portraits of Catherine again shows the importance of the present example. The exaggerated, angular features of that in the National Portrait Gallery (NPG 163) and its derivatives are clearly a schematized derivation of the pleasanter face in the present painting, which relates so closely to the Buccleuch miniature, traditionally and legitimately considered an ad vivum likeness. The later portraits, described, as with the example in the MFA Boston as ‘mechanical and workshop in quality’1 suggest little of the woman who in 1531 was described as ‘if not handsome she is not ugly; she is somewhat stout and always has a smile on her face.’2
The authorship of the present panel painting is not known. Its close relation to the Horenbout miniature might suggest some connection to the Horenbout workshop, and the old attribution recorded on the verso of the old frame may have some validity. Too little is currently known, however, of the portrait practice of Anglo-Flemish artists’ workshops in the period before the arrival of Hans Holbein the younger for one to be able to pronounce with any certainty. It is worth remembering that the years up to c.1530 represent the very infancy of easel painting in England: royal portraits datable to this period are scarce, and those of non-royal sitters effectively non-existent.
Interesting building in Florianópolis, during the sunset.
No amount of rotate/perspective will "fix" this image.
One of the world’s biggest Angular conference.
The beautiful city of Warsaw, amazing national stadium, 2 days, 15 talks, 5 workshops, Q&A session and much more!
Thank you to our wonderfull sponsors: Acaicoft, 7N, Twilio, SoftwareMill, SoftwarePlant, EDC Aviation Digital, Deloitte, CodiLime, Telerik, JetBrains, DataArt Poland. Thank you for the speakers, we are really appreciate that you came to Poland and share your knowledge! Thank you for communities from all over the world for your support. Thank you for ALL attendees!
Inktober 2018 ( 16 ) ANGULAR
I could not imagine anything more angular than the sinister face of The Shadow.
I have always liked this "pulp" hero, and it seemed like a very good opportunity to draw him.
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No he podido imaginar algo más angular que el siniestro rostro de La Sombra.
Siempre he sentido debilidad por este héroe "pulp", y me ha parecido una muy buena oportunidad para dibujarlo.
One of the world’s biggest Angular conference.
The beautiful city of Warsaw, amazing national stadium, 2 days, 15 talks, 5 workshops, Q&A session and much more!
Thank you to our wonderfull sponsors: Acaicoft, 7N, Twilio, SoftwareMill, SoftwarePlant, EDC Aviation Digital, Deloitte, CodiLime, Telerik, JetBrains, DataArt Poland. Thank you for the speakers, we are really appreciate that you came to Poland and share your knowledge! Thank you for communities from all over the world for your support. Thank you for ALL attendees!
One of the world’s biggest Angular conference.
The beautiful city of Warsaw, amazing national stadium, 2 days, 15 talks, 5 workshops, Q&A session and much more!
Thank you to our wonderfull sponsors: Acaicoft, 7N, Twilio, SoftwareMill, SoftwarePlant, EDC Aviation Digital, Deloitte, CodiLime, Telerik, JetBrains, DataArt Poland. Thank you for the speakers, we are really appreciate that you came to Poland and share your knowledge! Thank you for communities from all over the world for your support. Thank you for ALL attendees!
One of the world’s biggest Angular conference.
The beautiful city of Warsaw, amazing national stadium, 2 days, 15 talks, 5 workshops, Q&A session and much more!
Thank you to our wonderfull sponsors: Acaicoft, 7N, Twilio, SoftwareMill, SoftwarePlant, EDC Aviation Digital, Deloitte, CodiLime, Telerik, JetBrains, DataArt Poland. Thank you for the speakers, we are really appreciate that you came to Poland and share your knowledge! Thank you for communities from all over the world for your support. Thank you for ALL attendees!
One of the world’s biggest Angular conference.
The beautiful city of Warsaw, amazing national stadium, 2 days, 15 talks, 5 workshops, Q&A session and much more!
Thank you to our wonderfull sponsors: Acaicoft, 7N, Twilio, SoftwareMill, SoftwarePlant, EDC Aviation Digital, Deloitte, CodiLime, Telerik, JetBrains, DataArt Poland. Thank you for the speakers, we are really appreciate that you came to Poland and share your knowledge! Thank you for communities from all over the world for your support. Thank you for ALL attendees!
Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!
This little machine is simply known as the Mini! :D
Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.
In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.
But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!
From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.
In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.
Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!
Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.
Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.
However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!
Seen and shot on location as part of the architectural series in Markdorf, Germany. Post-processing done in Capture One 20.
Press 'L' fullscreen mode for optimum optical nerve stimulation.
Como eu havia prometido :)
Essa eu tirei pra Bianca, em homenagem a todos desprovidos de uma grande angular e que tem que se virar em chaleira, bola de engate de carro, espelho de elevador, etc.
A minha ficou no chinelo da dela, mas fiz o que pude. hehe
Once the Shoshone River exits Rattlesnake Mountain into the Big Horn Basin at Cody the river remains in a canyon that has the Cody bench (river terrace) on both sides. An angular unconformity between the Quaternary Cody Terrace Gravels and the red Triassic Chugwater Formation is exposed in the bend of the river on the canyon wall in the center of the image. The Cody Rodeo Arena can be seen on the Cody Bench just behind the exposed unconformity.
Geologically, an unconformity is an erosional or non-depositional surface separating two rock masses or strata of different ages, indicating that sediment deposition was not continuous. In other words, an unconformity indicates that 1- the older rock layer was exposed to erosion for an interval of time before deposition of the younger; 2- there was a period of non-deposition between the time the 2 sediment layers were deposited at least at that location or 3- a combination of both. An angular unconformity is an unconformity where horizontally parallel strata of sedimentary rock are deposited on tilted and eroded layers, producing an angular discordance with the overlying layers. This indicates that the older beds were titled or deformed tectonically, then truncated by erosion, before the younger beds were deposited. The entire package can be subsequently deformed after deposition of the younger beds so they are no longer parallel but the discordance with the older beds still remains. Generally, development of an unconformity is accompanied by or preceded by uplift of the rock units or strata that will be eroded, and/or the fall of relative sea level, thus exposing rock units or strata to erosion. The presence of an unconformity indicates a gap or vacuity in the chronostratigraphic record.
The rocks visible in the foreground from front to back are shales; limestone and cherts on the Permian Park City Formation (also known as the Phosphoria Formation), and the tan sandstones of the Pennsylvanian Tensleep Formation. On top of the cliffs both to the left and the right in the foreground are topped with Quaternary Travertine Deposits that are part of the Colter's Hell (Also know as the Demaris or Cody) hydrothermal (hot springs) area.
for theme of the week "angularity".....taken at a family gathering to celebrate my brother and dad's birthdays, the inside of my brothers radiator !!
still getting to grips with the fuji....
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Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
Annotations
Geological Features
A - angular unconformity
B - fault
Stratigraphy
1 - Quaternary Travertine: hot springs deposits
2a - Quaternary Unconsolidated Recent Terrace Gravels (includes sand silt and cobbles)
2b - Cody Terrace (Bench) Deposits (gravel, sand; cobbles; silt and calcareous cement)
3 - Eocene Willwood Formation: seen in this image on the distant horizon.
4- Triassic Chugwater formation: red siltstone, shale and fine-grained sandstone
5- Triassic Dinwoody Formation: tan to dark red shale, gypsum and thin-bedded limestones and dolomites
6- Permian Park City Formation (also called Phosphoria): light gray to black shales, limestones, dolomites and chert nodules.
7-Pennsylvian Tensleep Sandstone with thin interbeds of limestone and dolomites at the base
Once the Shoshone River exits Rattlesnake Mountain into the Big Horn Basin at Cody the river remains in a canyon that has the Cody bench (river terrace) on both sides. An angular unconformity between the Quaternary Cody Terrace Gravels and the red Triassic Chugwater Formation is exposed in the bend of the river on the canyon wall in the center of the image. The Cody Rodeo Arena can be seen on the Cody Bench just behind the exposed unconformity.
Geologically, an unconformity is an erosional or non-depositional surface separating two rock masses or strata of different ages, indicating that sediment deposition was not continuous. In other words, an unconformity indicates that 1- the older rock layer was exposed to erosion for an interval of time before deposition of the younger; 2- there was a period of non-deposition between the time the 2 sediment layers were deposited at least at that location or 3- a combination of both. An angular unconformity is an unconformity where horizontally parallel strata of sedimentary rock are deposited on tilted and eroded layers, producing an angular discordance with the overlying layers. This indicates that the older beds were titled or deformed tectonically, then truncated by erosion, before the younger beds were deposited. The entire package can be subsequently deformed after deposition of the younger beds so they are no longer parallel but the discordance with the older beds still remains.
Generally, development of an unconformity is accompanied by or preceded by uplift of the rock units or strata that will be eroded, and/or the fall of relative sea level, thus exposing rock units or strata to erosion. The presence of an unconformity indicates a gap or vacuity in the chronostratigraphic record.
The rocks visible in the foreground from front to back are shales; limestone and cherts on the Permian Park City Formation (also known as the Phosphoria Formation), and the tan sandstones of the Pennsylvanian Tensleep Formation. On top of the cliffs both to the left and the right in the foreground are topped with Quaternary Travertine Deposits that are part of the Colter's Hell (Also know as the Demaris or Cody) hydrothermal (hot springs) area.
Showroom
Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
Showroom
Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
This car doesn't really need an introduction does it? It's a car synonymous with raw power and true American grit, built in a time when car development was still very much alive and audacious new strides were being made to create the most outrageous machines. New words such as Muscle Car and Pony Car were being embedded on the public conscience, and the car that has been credited for starting the ball of everything that followed rolling is this, the Ford Mustang of 1968.
The origins of the Ford Mustang and indeed the Pony Car itself are owed largely to the Ford Company itself, with the original Pony Cars of the late 1950's being the two seater Ford Thunderbird. A Pony Car, for all intents and purposes, is an affordable, compact, highly styled car with a sporty or performance orientated image, essentially a sports car that isn't a sports car in the traditional sense, but looks like a sports car.
The Mustang development began in September 1962, and was designed by assistant general manager and chief engineer, Donald N. Frey. Previously, Frey had worked on a concept car known as the Mustang I, a mid-engined sports car similar to that of the early Italian supercars. Frey was tasked with redesigning the concept into a smaller car, and was given 5 goals to fulfill; seat four, have bucket seats and a floor mounted shifter, weigh no more than 2,500lbs and be no more than 180 inches in length, sell for less than $2,500, and have multiple power, comfort, and luxury options.
The Lincoln–Mercury design studio ultimately produced the winning design in the intramural contest, under Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster. To decrease development costs, the Mustang used chassis, suspension, and drivetrain components derived from the Ford Falcon and Fairlane. It used a unitized platform-type frame from the 1964 Falcon, and welded box-section side rails, including welded crossmembers. Although hardtop Mustangs accounted for the highest sales, durability problems with the new frame led to the engineering of a convertible first, which ensured adequate stiffness. Overall length of the Mustang and Falcon was identical, although the Mustang's wheelbase was slightly shorter. With an overall width of 68.2 inches, it was 2.4 inches narrower, yet the wheel track was nearly identical. Shipping weight, approximately 2,570lbs with the Straight-6 engine. A fully equipped V8 model weighed approximately 3,000lbs. Although most of the mechanical parts were from the Falcon, the Mustang's body was completely different; sporting a shorter wheelbase, wider track, lower seating position and lower overall height. An industry first, the "torque box" was an innovative structural system that greatly stiffened the Mustang's construction and helped contribute to better handling.
Finally, after a record 18 months of development, the car entered sales five months before schedule in April 1964. Cars were manufactured alongside 1964 Ford Falcons and 1964 Mercury Comets, the earliest Mustangs are widely referred to as the 1964½ model, and production was divided among the Ford factories at Dearborn, San Jose, Metuchen, Valencia and Mexico City. Entry-level models were produced with a 2.8L Straight-6 engine from the Falcon, and came at a respectable $2,368 (about $16,180 in 2015, the equivalent cost of a small family hatchback!). Several developments were quickly made to the car in 1965, with engines upgraded to 3.3L 120hp units, and the previous 4.3L V8 was replaced by a new 4.7L two-barrel carburettor unit as the base V8. This was later complimented by a 225hp four-barrel carbureted V8. The Mustang GT version was introduced as the "GT Equipment Package" and included a V8 engine (most often the 225hp), grille-mounted fog lamps, rocker panel stripes, and disc brakes. In the interior the GT option added a different instrument panel that included a speedometer, fuel gauge, temp. gauge, oil pressure gauge and ammeter in five round dials (the gauges were not marked with numbers, however.)
Following its launch, the Ford Mustang caught everyone napping, with General Motors having absolutely nothing that could come close. Although a hastily reworked version of Chrysler's newly released Plymouth Barracuda attempted to fight back, the sales numbers for the Ford Mustang were just completely off the scale. The world over people lauded the car's beautifully grunty image, it's comparatively good 20mpg fuel economy at 60mph, its grand interior, even the name was praised, Mustang, a strong word for a breed of American Horse. Its style hearkened back to the lawless and raunchy Wild West era, and its name just added to that premise. So great was this car that it took even the British by storm, a country that has never had a 'Wild-West', with Ford stealing a lucrative market with their derivative European version, the legendary Ford Capri, the wet dream of so many British youths!
The most famous version of the original Ford Mustang MkI's however is almost unanimously considered to be the model of 1967/68. The 1967 model year Mustang was the first redesign of the original model. Ford's designers began drawing up a larger version even as the original was achieving sales success. The major mechanical feature was to allow the installation of a big-block V8 engine. The overall size, interior and cargo space were increased following earlier customer complaints about legroom, and exterior trim changes included concave taillights, side scoop (on the 1967 model) and chrome (on the 1968 model) side ornamentation, square rear-view mirrors, and usual yearly wheel and gas cap changes. A new 320hp 6.4L FE engine from the Ford Thunderbird, which was equipped with a four-barrel carburetor, was made available in place of the previous 289hp power unit. Top Speed of the top-range GT version was 105mph. During the mid-1968 model year, a drag racer for the street could be ordered with the optional 7.0L Cobra Jet engine which was officially rated at 335hp.
My personal favourite though, and the favourite of many other Pony Car fans, is the 1968 Ford Mustang Fastback, primarily due to its appearance in the crime thriller Bullitt. In an exciting chase across San Francisco, Lt. Frank Bullitt, played by actor Steve McQueen, drove a modified Highland Green 1968 Mustang GT fastback with a 6.4L 4V engine in pursuit of two hitmen in a black 1968 Dodge Charger, jumping over the city's many steep hills and streets, sweeping down narrow roads and dodging traffic and the ever popular SFO Cable Car! The chase has gone down in history as one of the most exciting car chases in movie history, and elevated Bullitt's Mustang to everlasting stardom.
The original lines of this particular Mustang ended essentially in 1969, when then model for that year modified the body to make it look more macho. Many Mustang enthusiasts I know choose to forget this particular generation, citing it as the beginning of the long slide down into obscurity that the Mustang went to in the 70's and 80's. Although one of these Mustang's did take part in the spectacular Las Vegas car chase in the James Bond movie Diamonds are Forever, the car simply had not the same style and magnificence that the 1968 model had obtained before in Bullitt. The 2nd Generation Mustang of 1974 however is where most Mustang enthusiasts believe the true spark was lost, with its big chunky panels and downgraded engine being considered a husk of the original, compounded by the 3rd Generation which was to be based off a Mazda!
But it's the original that most people remember as the car that imprinted the word 'Mustang' into the urban dictionary. A car that is simply a telling of raw power, a bandit against any form of environmental consideration, a lawless figure in a world of legislation. So iconic is this amazing machine that Ford went back to its design with the latest generation of Mustang, although a bit more bulky and angular.
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Crta. Santiago-Pontevedra a 9 Km. de Santiago de Compostela en dirección a Pontevedra. 15.866 Ameneiro-Teo (La Coruña) España.
GP-9 7554, in the service of the Penn Central Railroad, soaks up some sunshine in the New Haven engine yard, 1971.