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A bit of a playful moment just waiting for something to happen, thought why not!
Looking over the top of my Nikon 200-500 telephoto lens. Every morning is different, you never know what you’re going to get. Sometimes nothing, so you just enjoy the peace and quiet.
Bit of a shame this was so filthy, nevertheless here's 66779 "Evening Star" at Chellaston with 6D44 11.10 Bescot Up Engineers Sdgs - Toton North Yard. Pole shot. 12/01/22.
I now have plenty of sandhill crane photos. Since the light level was pretty dark anyway, I decided to play with shutter speed and blur a bit.
A bit of pareidolia while hunting for keyhole possibilities for #MacroMondays on 12/16. There are several ‘serious’ ones in the album for the theme but I just love the frog!
…….💙🔓HMM🔓💙
I was just a lost soul but now I think I've found my calling. I am the devil's advocate. It is my duty to serve. Everyone thinks I'm crazy. But aren't we all?
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Bit of a sombre tone today, not well and really not enjoying being stuck at home for the next 7 days but at least I have company unlike this little guy.
A bit of plodging was required to capture this composition, taken last November on the edge of buttermere. A bit of plodging was required to capture this composition, taken last November on the edge of buttermere.
Bit by bit freedom is being eroded.
BBC News 25 September 2025:
Sir Keir Starmer is expected to announce plans for a compulsory UK-wide digital ID scheme in a speech on Friday.
The prime minister believes it would help crack down on illegal working and modernise the state, according to senior figures in government.
The practicalities of the scheme will be subject to a consultation, which will also look at how to make it work for those without a smartphone or passport.
On the other hand:
Arguments against national ID cards in the UK primarily centre on concerns over privacy, civil liberties, and cost. Opponents argue that a mandatory national ID scheme would fundamentally alter the relationship between the individual and the state, shifting the perception of identity from something inherent to the person to something granted and controlled by the government.
There are significant doubts about the effectiveness of ID cards in achieving their stated goals, such as tackling illegal immigration or crime. Critics contend that people working "off the books" or involved in criminal activity would simply operate outside of the system.
A centralised database of personal information would be a prime target for hackers and could lead to mass surveillance, tracking, and profiling of citizens, (as if it didn't happen already). I mean - like most people I have a passport, a driving licence, a bank account, an NHS number and a mobile phone. - what more do they need to keep watch on me?
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I have previously posted a bit similar photo but was endlessly unhappy with the position of the wooden log. This is an improved composition to the previous one, now with the leading lines converging at the Cappella. It also reveals the chopped wood that adds so much to the sphere.
Amongst the colourful southern Tuscany countryside beside the village of Vitaleta, lies a charming little Chapel of the Madonna di Vitaleta. One of the most photographed churches in Tuscany, this mystical building used to be the home of a Renaissance statue of the Madonna sculpted by the artist, Andrea della Robbia in 1590. Built in the middle of a hill, this spectacular attraction was restored in 1184 by the architect Giuseppe Partini and was recently classified as a World Heritage Site by UNESCO. Dotted across this magnificent countryside are many peaceful holiday villas and luxury accommodation to stay in and soak in the undisturbed natural beauty of the area.
Another bit of flash photography due to our recent inclement weather, I caught this Great Tit in such a position that it looks as if its hiding behind its wing...now you see me, now you don't! ;)
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Getting a bit of later start than usual, the Night Gas gets underway westbound as afternoon thunderstorms build over the mountains around Missoula. Wish I'd put on a bit heavier of a lens to bring in the mountains a bit more, but given how the first 8 days of the trip had gone anything by this point was just bonus materials.
Bit of a blow out this morning.
Turned up, got this shot quite quickly. Then the heavens opened and it became clear very quickly that I was totally unprepared for it. Wet camera, wet lenses, wet filters and wet me.
To top the morning off as I was walking back to the car I dropped my camera on concrete. Surprisingly its mostly fine. A little dent/chip of paint lost. Certainly could have been much worse.
But anyway, at least I got one shot.
A bit of monsoonal rain on the north coast of Trinidad island, Maracas Bay lookout, nothing spectacular, but this will be my only upload from that island as photo opportunities were very rare. It's also as close as my ass will ever get to Venezuela!
Greetings from Ilopango lake, El Salvador, my last night in Central America.
Popped the drone up for a bit of practice this afternoon. The light was good, so I chose the ND4/PL filter. I remain quite self-conscious when I fly, so was careful to keep the drone out over the water and practice manoeuvring from there, so as to minimise disturbance.
The Moorings at Metung, the main white building pictured here, is built on the site of an old boat-builders and also a place where flying boats moored during WW2.
This is the view of the top floor of the structure next to Wind Tree in the Winyard Quarter on Auckland's waterfront.
It is a strange structure but certainly has some nice lines. I watched the Matariki lights on the bridge from up here. I totally expected there to be lots of people, I was mistaken.
I had a bit of a scramble down a steep and unstable slope to try for this photo, and still wasn’t down at the riverside where the best view of the waterfall was to be had, so I had to compromise and take it from this side on angle, certainly not the best view of it but for safety sake and being 82 years of age and not wanting a hospital visit, I thought I had given it my best shot. I would have loved to eliminate the obtrusive branches covering the small waterfall to the left, but we do what we can under the circumstances. Saying that the Waterfall itself is in a splendid position and has a terrific drop to the river “Caaf” below.
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"Breathe. Let go. And remind yourself that this very moment is the only one you know you have for sure." - Oprah Winfrey
Still adding album fodder, it's a big album with over eighty photo's in it.. The photo's are in the order that they was taken..
Up above Hartsop, a great place to hike.
Something a bit different today. Yesterday was my neighbour, Will's birthday. Among his gifts was a huge floral arrangement that blew his mind and brought him boundless joy. He invited me in to see his flowers and I took some photos. Today's theme: Will's birthday flowers.
The star of this shot, one of two King Proteas and a Hydrangeas.
Adding a bit of pop thanks to its yellow paint scheme, a Hiimi bound local exits the westbound portal of the Minagi Tunnels as it approaches its next station stop at Minagi.
JR Hakubi Line. JR 115 Series.
Minagi, Okayama Pref., Japan
A little bit on Howard A. "Dutch" Darrin, the coachbuilder, designer and builder of the two Packard's on the left in the image above. Howard A. "Dutch" Darrin, the man behind the 1937-1942 Packard Darrin left an indelible imprint, not only on the automobile, but on the people he met in the old car movement, long after his career building and designing cars had ended. Dutch Darrin was a kind of "breakaway designer." He was crusty, hardbitten and had no reticence about expressing his opinions. He had flashing blue eyes, snowy white hair in later life, a bubbling enthusiasm for what he liked, a withering contempt for what he didn't. Interviewing and reporting on Dutch was a test of a writer's finesse: the art of balancing Darrin's fierce convictions with the opinions of others who sometimes saw matters in quite a different way.
He had an automotive curriculum vitae that put to shame most of his design contemporaries. Starting in the Teens as a Westinghouse engineer, he invented an electric gearshift for John North Willys, deciding then and there to spend his career on cars instead of electronics. When he went to France with the American Expeditionary Forces in World War I, he fell in love with Paris.
In 1920 he set himself up as a custom coachbuilder, initially using the Minerva chassis. He was shortly building custom bodies for the cream of European society, working on his own or in successful partnership with designer Tom Hibbard and, later, a banker named Fernandez.
His friends were people the rest of us have only read about: René Mathis of Ford-France, André Citröen, Louis Renault, the brothers Panhard, Ettore Bugatti, Sir John Siddeley, princes and potentates, presidents and polo players. To have associated with all these; to have had the incredible luck he always acknowledged; to have enjoyed a rich career, and to have had fun doing it, is surely what the philosopher meant when he talked about living life to the fullest.
In 1937, Darrin moved to California, transferring his activities from individual to semi-custom bodies, but maintaining a distinct style that branded them immediately as his own. Here he was aided by two experienced coachbuilders, Paul Erdos and Rudy Stoessel, the latter going on to found California's long-lived Coachcraft Inc. Typically, Darrin made do with little, buying a former bottling factory with a good location: Sunset Strip, Hollywood.
He styled himself "Darrin of Paris," and like Raymond Loewy he had an aristocratic French accent that he could turn on or off as the need arose. Dutch's clientele now included the New World's aristocracy, such as Errol Flynn, Constance Bennett, Clark Gable, Ann Sheridan, and Carole Lombard.
Innately talented, Dutch was always personally involved in the cars that bore his name: everything from his custom bodies of the 1920s and 1930s through his reskinned Rolls-Royce Silver Shadows in the 1970s. Unlike Raymond Loewy, he was not a stylist-become-marketing expert, who discovered and hired talented employees and took credit (as Loewy had a right to do) for what they produced. Dutch did it all -- even supervised the construction of semi-customs like the famous Packard Darrins. They might not have been paragons of craftsmanship, but by gosh they were unique, beautiful, and as dashing as all get-out.
Darrin's Packard connection stemmed from his decision to return to America from France in 1937. He realized that the age of full-custom bodies was waning, but thought the Hollywood film colony would buy rakish semi-customs. His concept, for which he deserves credit as a pioneer, was to customize production cars and produce semi-customs -- relatively inexpensive, yet distinct from mass-market stuff. Of Packard he said, "Its chassis was unimpeachable, and its classic grille was a great starting point." He had always fancied himself "a strong grille man," depending on the radiator to focus his designs, though his favorite American production car was the grilleless Cord 810/812, designed by a man Dutch considered a genius, the late Gordon Miller Buehrig.
The first 1937 Packard Darrin taught Dutch a great deal about his semi-custom concept. Built in a Los Angeles body and fender shop before Darrin moved into Sunset Strip, it was created for actor Dick Powell. The chassis was from a 1938 Eight (aka One Twenty) and the body looked splendid, with sweeping fenders and a low beltline displaying the characteristic "Darrin dip" at the doors. But Dutch had cut up a business coupe to build it, and chassis for closed cars weren't as rigid as those for open models. The car leaked like a sieve and had too much body flex.
Darrin built two more five-passenger Packard Darrins at another body shop before the move to Sunset Strip, selling one to Clark Gable. Like the first example, these had wooden cowls, which contributed most of the shake, rattle, and roll. Once "production" got rolling at Sunset Strip, clever Rudy Stoessel designed a cast aluminum cowl, which made a huge difference on the 16-18 Darrin Packards built in 1938-1939.
Among their buyers were Rosalind Russell, Chester Morris, and Al Jolson, who each paid a cool $4200-5200, probably equivalent to six figures in today's money. (That was peanuts compared to some of the esoteric specials the movie crowd was buying at the time, supporting Dutch's idea of relying heavily on production car components.) For some of these customers, Packard Darrins were simply too special. Dick Powell sold car number one after a few months because people were noticing, waving, and chasing him for autographs.
I can go on, but I think that's enough to give you a flavor of this great automobile designer and builder, Howard "Dutch" Darrin. Most of the above is from the auto editors of Consumer Guide