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Finding half a bride.
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The day I found the dress, I told the folks I was with that no... absolutely... there was no way I was putting it on. No sirree.
But of course curiosity got the best of me. It took a while to get it on, what with the fabric tearing and the buttons stiff with rust. But I did it. And it gave me another afternoon of happiness, playing with my camera.
One thing I know about the woman who owned it. She was short. At least in comparison to me. The dress comes to just a few inches below my knees. And no, it wasn't gross or disgusting to put it on. Sure it smells, but it smells like the sea. And it's gritty, but it's clean grit. And yes, it has the remnants of living creatures hardened onto it, but they're okay too. The ocean can make almost anything okay.
Rye, CO - As a Real Estate Photographer I'm not often surprised when it comes to a basement but this one has got to be the most unique I've seen. Those weapons and the suit of armor are not props, they are real artifacts. The owner of this house said he had more swords but unfortunately they were stolen.
This place made me want to sit, have a pint, and imagine living in a time centuries ago. Without the Bubonic Plague and the torturing of the innocence of course.
This was a concept that I had to make on location, specifically for this stairs. I had the awesome opportunity to photograph two lovely ladies, Olivia and Kate, at Glendon Hall or Manor (I forgot which, sorry hahaha). The place itself is beautiful. I have been looking for an old mansion type location so that I could shoot there one day. Anyways, we wandered a bit on location, looking for good spots to photograph in, while we were going down this old creeky stairs... something sparked in my head.
I remembered the horror story that my friends and I made sometime during summer school titled "The Basement" which of course has a creepy basement on it. Anyways, I'm not going to go into the full story because it's a very long one. The concept is about two ladies running away from something or someone from a dark horrific basement in which they stumbled upon or should not have stumbled upon.
This is what we hope to have once it's finished.
And as every project must have it's trials one of the three closeout doors is, upon closer inspection, a slightly different color. ARGG! Hopefully we will be able to adjust it to more closely match the other 2.
The timber-framed gabled-end barn was built in 1860 against the hillside to accommodate a basement. For most of the second half of the 20th century the barn was neglected and fell into a state of disrepair. In the early 2000s the barn was restored and is part an event venue.
A photo I took of a basement, edited it, and overlaid rectangles that I randomly generated through an algorithm I created in Processing using Java.
The herbarium building I work in is old, I call it 'living urbex'. Plans are made to renovate. In the coming months I will try to capture as much as possible of what is there....
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De mooie kelderverdieping van het imposante gebouw De Bazel in Amsterdam.
Momenteel in gebruik van het stadsarchief van de gemeente Amsterdam
I finally washed and painted the uniform dirty white walls in the basement workshop. I was going for "barn" in this section.
Here is your typical basement workshop where one toils and tinkers in projects. A trusty man's best friend keeps one company.
Water Fountain and Flowers grace this historic building with Fall Foliage in the background, Aspen, Colorado.
When the Wheeler Opera House first opened its doors to theatergoers on April 23, 1889, the building symbolized prestige, progress and culture for the citizens of Aspen. Only ten years earlier, the first pioneer prospectors had come over the continental divide from Leadville and into the Roaring Fork Valley. Soon Aspen boomed from a muddy camp with three prospectors into a town with brick and stone businesses and an opera house that was among the largest, most-substantial and best-furnished buildings.
From the start of construction in 1888 to the end of World War II, the Wheeler Opera House saw good times, dark times, and quiet times. Construction on the Wheeler Block begun in early June 1888 by Jerome Byron Wheeler. Wheeler had already made his name in Aspen history as the man who finally completed a working smelter for reduction of silver ore, finally making silver mining profitable and realizing the dream of Aspen's many mine-holding interests. Designed as an urban, multi-use building, the Wheeler Opera House was to reflect Aspen's meteoric growth during the 1880s into a full-fledged city. Its basement was to house a barber shop and storage space; the main floor a large clothing store, bank and ticket booth; the second floor six offices; and the third floor, the opera house.
As stone cutters worked at "dressing up the corners" of the building, townspeople noticed that the east wall looked strange, with an apparent concavity. During the rebuilding of that wall, as a swinging scaffold twenty-five feet above the sidewalk gave way, four workmen fell. As a result of this accident, an editorial in the Aspen Daily Times started a campaign to build Aspen's first hospital, which was completed in September 1891.
The opening of the Wheeler on April 23, 1889, was hailed as "one of the most notable events in the history of Aspen's most eventful year." Every seat in the house was sold as first-nighters in full dress took their places. Shortly after eight o'clock the curtain was raised and the big, glamorous, and elegantly costumed Conried Company presented a comic opera, The King's Fool. When the performance ended, celebrations of the theater opening continued through the night.
To reach the auditorium of the Wheeler, patrons used the main entrance on Hyman Avenue. The ticket office was located on the ground floor under the wide stairway, which was finished with a highly-polished wood balustrade. On the third floor at the top of the stairs was the ladies retiring room and cloakroom adjoining the auditorium. Modern and dazzling lighting equipment enhanced the house. The chandelier, a work of art, was suspended for the handsomely frescoed ceiling by a wire rope. This chandelier was the crowning glory of the house, hand-made of hammered brass, trimmed with silver and set with three dozen incandescent lights, each with an opalescent shade, flaring out at the end in the form of a flower. The sloped floor and padded seats permitted visual and physical comfort. The splendid surroundings of fine woodwork, elegant draperies and frescoed walls all superbly lighted by the handsome chandelier created an aesthetic atmosphere to remove patrons for the work-a-day world of the mining town.
The Wheeler stage offered what a modern city theater of the time might have had: eight dressing rooms, the finest obtainable scenery produced by professionals, the very latest lighting equipment and appliances and, finally, a technician to handle the equipment and build any new stage mechanism needed.
The famous "Olio" curtain, a representation of the Brooklyn Bridge, was designed by two New Yorkers, world famous for their scenic art, and painted by no less than Chicago's opera house scene painter Burke. It pictured not only the bridge and the East River, but ships from over the world.
With the opening of the opera house, Aspen became part of what was known as the Silver Circuit - mining towns that drew big-name entertainment. Offerings at the Wheeler from 1889 through early 1894 included traveling companies that brought Shakespeare, minstrels, vaudeville, comic opera, extravaganza, burlesque, melodrama, concerts, lecturers, and even boxers. Home talent performers presented concerts, musical programs, and some plays and operettas.
The glory days of the Wheeler Opera House were short-lived. With the demonetizing of silver in 1893, the Wheeler became a place of town meetings and benefits for a city that was struggling to survive in a world that had deemed silver worthless.
Although the Wheeler didn't close, it made little news until 1912 when two fires ripped through the three-story building in one week, gutting the opera house. The first fire occurred after a moving picture show at 10:30 p.m. on November 12, presumably caused by defective electric wiring.
The second fire, attributed to arson, occurred only nine days after the first. It was devastating. The ¾" headline of the town paper exclaimed, "Fiendish Firebugs Again Rampant in Our City, Wheeler Opera House Partially Destroyed, the Prettiest Little Structure of Its Kind Between Pueblo and Salt Lake City is Sacrificed to the Venom of a Degenerate Unfit to Remain Upon Earth."
The fire was actually started in three places; in or near the box seats; among the scenery on the stage; and in the locked ushers' room, originally the ladies' retiring room. It was discovered a few minutes past 2am and the Fire Department did not have it controlled until 4am. On stage a chimney effect developed due to the unfortunate positioning of a skylight directly above the stage. Flames were pulled upwards through all the sets and scenery and then spread out over the auditorium into the attic between the roof and ceiling. The heavy timber trusses became charred, but remained structurally sound. The auditorium ceiling's wooden lath burned next and the plaster, having lost its support, fell in chunks covering the specially fabricated opera chairs. Heat became so intense that the steel support cable for the beautiful electric chandelier melted and it too came crashing down.
The Wheeler had a special place in the hearts of Aspenites and its destruction was particularly lamented by the town newspapers:
"It makes one almost sick to go through the main entrance, the door through which all of us have passed so many times to be amused and to enjoy a few happy hours. May the Lord help the one who started the fire in this magnificent structure - the people of Aspen won't, that is sure." - November 22, 1912 Aspen Democrat Times
After the fires, the opera house sat vacant. To stop the vandalism and protect the public, the space was closed off from the rest of the building. The street-level spaces, mostly undamaged, continued to be occupied by local businesses. But the laughter and applause of an audience didn't ring through that third floor again until more than 30 years later.
Wheeler 1930'sDuring the Wheeler's dark decades, the children of Aspen used it as their playground. One of Glenn Beck's fondest memories of childhood, was playing in the Wheeler Opera House. The top-floor windows were broken out. And flocks of pigeons lived up in the theater. "We could go up the back stairway of the store and finally crawl out right under the stage. We played cops and robbers. There was a rope from the top of the ceiling. We could get on the balcony and swing clear over the stage. It was a long way across."
In June 1946, the Aspen Company leased the opera house and other unrented portions of the Wheeler building from the City with the required intention to improve and repair the building. It had "fallen into disrepair and (was) rapidly deteriorating due to the financial inability of the City of Aspen."
Lilian Gish 1984Elizabeth Paepcke, often cited as the "matriarch of modern Aspen" and, with her husband Walter, a major force behind the town's renaissance as a cultural center, decided that the opera house must be restored. But this renovation did not even attempt to recapture the grandeur of the original. "The seats were plain wooden benches," says Jim Markalunas, "and you had to watch where you sat because of pigeon droppings."
Over the years, the improvements continued on a piecemeal basis. Around 1960, seats were put in and the walls became a rich red with stenciled gold fleurs de lis. Elizabeth Paepcke bought a crystal chandelier to replace the one lost in the fires of 1912. Through the 1960s and '70s, the Wheeler was used mostly as a movie house. By the late '70s the City of Aspen, which had acquired the building for back taxes during the early part of the century, started to grapple with the question of whether to sell or renovate the theater. The council decided on renovation. A committee was appointed to explore how the job should be done, and finally an election was held and voters were asked to approve a real estate transfer tax that would fund the restoration and pay the theater's maintenance and operating costs. The tax was approved by the voters in 1979. The $4.5 million restoration was completed in 1984.
The Wheeler Opera House reopened with a Gala Public Opening on Friday, May 25, 1984 with a performance of George Bernard Shaw's Arms and the Man. The following night featured a modern dance program by Moses Pendleton, a founder of the Pilobolus Dance Company, who was hailed as one of the country's most innovative choreographers. Sometime-Aspenites James Levine, conductor and director of the Metropolitan Opera, and Lynn Harrell, internationally renowned cellist, played a special concert on Sunday, with Levine on piano and Harrell on cello. The gala concluded with a salute to the silent film, The Wind, which stared Lillian Gish. Miss Gish was on hand for the screening, with Denver ragtime and jazz pianist Hank Troy and violinist Becky Burchfield accompanying the silent film.
Some of the names that have graced the Wheeler's intimate stage since the 1984 opening include: Harry Connick Jr., Lily Tomlin (she workshopped her Broadway show "Signs Of Intelligent Life" over the course of many weeks here!), The Eagles (twice), Lyle Lovett (too many times to count), Jewel, Sugar Ray, INXS, George Carlin, Dave Chappelle, Sheryl Crow, Tony Bennett, Faith Hill, Burt Bacharach, Bernadette Peters, Linda Eder, Art Garfunkel, the PBS shows "A Prairie Home Companion" and "Wait Wait ... Don't Tell Me!", Pat Metheny & Brad Mehldau, Linda Ronstadt, James Taylor, and of course Aspen's own adopted son John Denver (and whose life is still celebrated here every October).
Twenty four years after its latest renovation the Wheeler continues to serve Aspen as a world class theater, performance venue and town meeting place and is still considered not only the crown jewel of the town, but indeed the art and soul of Aspen.
Fifth Avenue | Apple Store 01/05/2015 14h42
In 2006 Apple opened this flagship store on Fifth Avenue in the basement of the General Motors building (a 50-story, 215 m office tower located at 767 Fifth Avenue opened in 1968).
Apple Store New York Fifth Avenue
On May 19, 2006, a Glass Cube entrance Apple Store was open in New York’s Fifth Avenue. The Apple Store Fifth Avenue is Apple’s most architecturally innovative store, featuring a distinctive 32-foot glass cube that creates a stunning new destination on Fifth Avenue, one of the world’s most popular shopping areas. The Apple Store Fifth Avenue open 24 hours a day, 365 days a year, to offer an unprecedented level of service.
The Apple Store is a chain of retail stores owned and operated by Apple Inc., dealing with computers and consumer electronics. The stores sell Macintosh personal computers, software, iPod, iPad, iPhone, Apple Watch, Apple TV, and select third-party accessories. All stores offer a Genius Bar for technical support and repairs, as well as free workshops available to the public, while some high-profile stores feature a theater for presentations and workshops and a studio for training with Apple products. Under the leadership of Ron Johnson, the former senior Vice President of Retail Operations, the Apple Stores have, according to an article in The New York Times, been responsible for "the boring computer sales floor into a sleek playroom filled with gadgets".
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Ricoh GRD4
Macau
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Zuiko Digital ED - 12-60mm - f/2.8-4 - SWD
Deeply hidden in the Belgium forest lays this abandoned manor. Utterly vandalized and ruined. Resting together with it's private land including a lake with a little island in the middle of it. The manor counted 4 fireplaces and a brick kiln outside. A basement as big as the house itself including a triple garage, 2 bathrooms and at least 7 bedrooms. Upstairs many parts of the floor had gone unstable and were inaccessible because parts were missing. Once a very special place, Now but a ruin.