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Pierre-Joseph Redouté (1759 -1840) was a Flemish painter and botanist renowned for his exquisite watercolors of lilies, roses, and other native plant species. His prolific career spanned the turbulent years of the French Revolution and resulted in the "Raphael of Flowers" being regarded as one of the finest botanical illustrators of all time.
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Now for all the moaning about British Leyland I do, I will give it to them that when they got it right, they really got it right, and the Jaguar XJS is a fine sentiment to that.
However, even from before it was conceived the XJS was in boiling water, namely because of what it was replacing, the E-Type, a car which had cemented itself in the hearts and minds of so many as one of the greatest things mankind has ever made, so trying to build a car to emulate this machine of wonders was already going to be a difficult task. This was later compounded by the fact that the chief designer Malcolm Sayer, died in 1970 whilst the car was still in development, which meant that it was up to the British Leyland team in the Jaguar department to finish off the design. But in the end when the car was launched in 1975, the styling wasn't actually as bad as many make it out to be. Don't get me wrong, the car was absolutely hounded for its looks, its angular corners, ridiculous buttresses on the back that were feared to obscure rear visibility, and straight lines, not even remotely like the smooth, wind-tunnel designed E-Type, but when you get down to it, it is a lovely looking machine, it looks exactly like a sports car should, low, smooth, sleek, and generally pleasing to the eye.
The car was also one of only a handful of cars to be launched with a V12 engine, the only other cars being the extreme 200mph Lamborghini's and Ferrari's of the time such as the Countach. Putting a V12 in a luxury Limousine however was certainly a daring move by Jaguar, and with it's 5.3L powerhouse under the bonnet, the car could be whisked to a top speed of 143mph. However, putting the V12 in was not only daring, it was massively audacious as at the time there was a fuel crisis on, and thus the market for owning a gas-guzzling engine such as this was not exactly a big one. However, British Leyland were always one for product placement, and were able to promote the car by way of the TV Series 'The New Avengers' (along with a Triumph TR7 that broke down every 20 minutes, but that's another story). Build quality problems were also another major issue, including unreliable engines and being prone to rust, but the folks at Jaguar's factory in Coventry were willing to step up their act, and such the XJS became one of the more reliable models of the British Leyland range.
The car did eventually start to get sold though, primarily in America, where it became quite a fashionable Florida tourer for the new money. However, the car wasn't available as an open-roof cabriolet initially, which resulted in the Series II XJS in 1980, being known as the XJS-HE for its High Efficiency engine. In 1983 the XJS finally had it's roof partially cut off in the form of the XJS-SC, which also came with a much less thirsty 3.6L V6 for the more fuel sensitive new money millionaire. However, threats of legislation still lurked in the US about banning convertibles, so a roll-bar was placed over the passenger compartment in similar fashion to that of the Triumph Stag, so as to protect the occupants but still provide that wonderful sensation that only a convertible car can give. Eventually the car did get it's roof fully cut off when the legislation threats went away in 1988, although prior to this various coachbuilders would gladly take your regular XJS and remove its roof for you.
In 1986, during the breakup of British Leyland, Jaguar was made independent for a short while before being bought by Ford, who then wanted to give the XJS another update to keep it in the flow. So in 1990, the XJS Series III was launched, with a revised rear end to remove the two buttresses that had haunted its design from the beginning, a straight set of rear light clusters, and revised bumpers to make them look like part of the body rather than just yoked on at the last minute. These last XJS's were amongst the most reliable and popular sports cars on the market, selling in massive numbers both in Europe and the United States. The XJS once again was in the California sunlight, but the design from the early 70's was starting to look very tired. It was time for Jaguar to axe the XJS and in 1996 they did just that, replacing it with the surprisingly satisfying but sadly under-appreciated XK8. After 21 years of production, the British Leyland wonderchild ended off with 115,000 examples built.
Today you can find a fair few XJS's out and about in both Britain and America. In the UK you're more likely to find the later models from between 1988 and 1996, as most of the earlier British Leyland examples probably rusted away in someone's garage a long time ago. But although this car may receive a fair amount of bashing from classic Jag enthusiasts for committing the sinful crime of replacing the E-Type, the XJS certainly looked a lot more handsome than the MkIII E-Type, which looked like some kind of tugboat into which the passenger cabin had sunk!
Shot with Minox 35 GT-E
Minox Color-Minotar 35mm f/2.8 lens
Derev Pan 400 film
Shot at EI 400, developed normally
Developed and scanned by The Darkroom
de la KDD del passat diumenge mentre xerràvem i provaba l'angular d'en Sergio,
la casualitat em va portar al lloc més monumental del barri vell de Girona, van ser uns minuts molt intensos i breus!
durante la KDD del domingo pasado, probando el angular de Sergio, en el sitio más monumental del barrio antiguo de Girona,
fueron unos minutos intensos y breves
An airshaft as seen ( via wide-angle lens) from the ground floor of the Pacific Design Center complex in Los Angeles, CA.
An angular unconformity is evident between the eroded limb of the syncline and the overlying horizontal younger layers.
An unconformity occurs when deposition of sediment is "not conform" to an ideal continuous sequence of materials that would record time uninterruptedly (given that rocks are our only evidence of past events). Unconformities can be of different kinds, but they all imply that an interval of time is not present in our rock record.
This unconformity is called "angular" because there is an angle between the layers of the lower unit (the limb of the Miocene Barstow syncline) and those, more recent, of the upper unit.
After the layers that now form the syncline were deposited, the area was subject to compression and the layers folded. After the folding, the area was exposed to the atmosphere and eroded. Then new sedimentation started (the upper unit). The time interval not represented in this image is that between the beginning of the folding and the beginning of the new cycle of deposition.
Note the Joshua Trees on top of the mountain for scale.
Barstow, California
Kuro's best spin of the day. The lighting here sure does get tricky, especially with partly cloudy days and shifting clouds. Exciting stuff.
keiko @ across the lancang/mekong river from menghan/ganlanba village 橄榄坝, xishuangbanna 西双版纳傣族自治州, yunnan province 云南, china 中国
Day 16: Angular
Inktober
I really want to branch out in posing for a bit. For this particular photo, I took the prompt Angular to give me some inspiration to switch it up. Much like my Photober shoots in 2013, for this one I was bouncing and jumping around to try and get that movement. I didn't necessarily go for angular poses, though that was my first intention, just something different.
I have a few outtakes from this that you'll be able to see on my personal Instagram, @kaldec_
Something else that I love about Photober is that it not only challenges me in shooting, but in editing as well. As seen in my Rose post, I have been experimenting with different types of editing in my photography. I edited this one as if it were going to go on my @kaldec_ Instagram.
The Grade II Listed former Sheffield Boys School (later the Central Technical School), now one of the frontages of Leopold Square in Sheffield, South Yorkshire.
Leopold Square is a mixed use development located at the corner of Leopold Street and West Street. The development, by Ask Developments and Gleeson's in collaboration with local architects AXIS Architecture, comprises the refurbishment of the former Central Technical School buildings built between 1870 and 1894. The development also has a new angular building to house a bar and a restaurant, and the creation of a brand new public square. The redevelopment of the old buildings began in 2004 following years of use as council offices after the closure of the Schools.
At an awards ceremony held at the Showroom on 16 February 2011, the scheme won the People's Award as part of the Sheffield Design Awards 2010 - an event sponsored by Sheffield Civic Trust and RIBA Yorkshire every two years.
The public square is surrounded by the original buildings from the old technical school and a dynamic new building fronting onto West Street. These buildings house 9 individual bars and restaurants and the 4 star hotel. The square is marked with an illuminated water feature and a tree lined square. Benches specially designed for the square have been cast by an artist out of Bronze and will provide resting places under the trees around the central square. The new angular building is built from locally sourced stone and genuine bronze cladding.
To the west of the site the smaller former school buildings have been converted to residential use and the new apartments surround a private courtyard. The apartments are unusual and often occupy double height spaces and contain retained existing features. The entrance to the Holly Building on Holly Street is particularly noteworthy for it ornate timber vestibule.