View allAll Photos Tagged breakage
2015-09-24 18.21.02
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Hammer Vs Wine Glass
2015-09-27 16.15.43
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The Zeedijk is a beautiful 17th-century dyke that walks like a ribbon through the Dordrecht polder landscape. In the last century, the dike was planted with trees, mostly poplars, but also ash trees. That happened after the Second War. The poplars on the Zeedijk are now more than 60 years old. It is a beautiful sight, as the trees line the dike. But there is a downside. The trees are increasingly causing problems due to branch breakage. The municipality of Dordrecht has now decided to saw off the beautiful trees on this dike and to change the appearance of this beautiful dike. Work has now begun on cutting it down. I think it is a shame and many with me. Most of us will only remember the old dyke from a photo.
#macromondays #Damage
All physical damage begins on the atomic level, with the shifting or breaking of atomic bonds, and the rate at which damage to any physical thing occurs is therefore largely dependent on the elasticity of such bonds in the material being subjected to stress. Damage can occur where atomic bonds are not completely broken, but are shifted to create unstable pockets of concentration and diffusion of the material, which are more susceptible to later breakage. The effect of outside forces on a material depends on the relative elasticity or plasticity of the material; if a material tends towards elasticity, then changes to its consistency are reversible, and it can bounce back from potential damage. However, if the material tends towards plasticity, then such changes are permanent, and each such change increases the possibility of a crack or fault appearing in the material.
What we got here in little world is trully a crime. Someone damaged the old stilled lightbulb and left away with all the trash. This brings up another case for the CSI-Crime Team. Hope they catch the responsible person as sooon as possible :)
Thank you for visits, comments and favs!
Vielen Dank für Eure Besuche, Kommentare und Sternchen!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Binoculars - Digifox on the observation deck in the city of Nizhny Novgorod. A warning is written on it, "Do not look at the sun, so as not to damage your eyes."
Tourist binoculars of Taiwanese manufacturer Digilens.
For 10 rubles there is an opportunity to consider the city. For this price, tourist binoculars can use exactly 100 seconds. This is the main observation deck of Nizhny Novgorod, as it is located in the heart of the city - on Minin Square.
Such binoculars are very popular all over the world. They are installed in parks, on observation decks, beaches, canyons, harbors, on city attractions and cruise ships, and even at airports. A similar service has existed in the world for a long time, and SeeCoast Manufacturing Company (Alabama, USA) is considered one of the oldest companies in this coin-op direction. In Russia, this type of service is not very common. The business seems to be simple, but involves certain investments. Good binoculars from leading manufacturers cost $ 5,000 - $ 6,000. Due to its characteristics, such binoculars are not susceptible to breakage, corrosion or technical damage and will last a very long time. For example, 97% of public telescopes and binoculars manufactured by SeeCoast Manufacturing Company since 1960 are still in working condition and are profitable for their owners.
For MacroMondays#Handle
Unfortunately, I don't drink tea from these cups because they are very gentle and fragile, so now they serve as a decoration. The first two attempts to use them ended in breakage. The remaining parts of the set are in the display case and I can only enjoy watching them.
HMM!
Macro Monday: #Wire
Width of the frame: 1,5 cm / 0,59 inches
A type of wire I had never seen (or heard of) before until I stumbled upon it at an arts and crafts store a few days ago. Not at all what I had in mind for the "Wire" theme (that was some Nessie-style wire monster), but since I was at that store anyway, I thought I'd check out the types of wires they sell for DIY jewellery and other crafts, and I found this: bouillon wire. It looked interesting enough, and when, back at home, I took a look through the viewfinder, I noticed that, when you stretch the bouillon wire a little (which, as I learned later, you aren't even supposed to do), it looks like a double helix; and when you stretch it some more, it looks like a concertina - and that also reminded me of an amplitude or a sound wave. But actually it isn't meant to be stretched at all, but it's used to cover the end pieces of the bead cord used in a DIY necklace or bracelet. The bouillon wire fortifies and protects the cord from friction and breakage caused by the fastener / clasp.
Captured with the make-up mirror as background; why the make-up mirror? I thought it might create some nicely distorted reflections, but it didn't - not within that small frame. I used two clamps to fixate / place the slightly stretched bouillon wire in front of the mirror - btw. not even same-sized clamps (we are talking about a 10,5 cm vs. 4,5 cm long clamp), so I balanced the shorter clamp on the box I keep my extension tubes in (you know, the "any box will do" tripod). Processed entirely in Luminar 3 with two different Luminar 3 layers in Photoshop: the first layer for general processing, and for the second Luminar layer I had used a Luminar preset: "Big Screen" > "Bad Neighborhood", blended in with the first layer at 52 percent opacity.
A Happy Macro Monday, Everyone!
Eigentlich wollte ich für das "Wire"-Thema eine Art Nessie-Draht- oder -Kabelmonster basteln. Im Bastelgeschäft stolperte ich dann aber über diesen hübschen "Bouillon"-Draht, von dem ich noch nie zuvor gehört hatte. Ein Päckchen mit vier längeren Stücken dieses gedrechselten, flachen Silberdrahts war gar nicht teuer, also nahm ich es mit, obwohl ich immer noch eine wenig auf Nessie fixiert war. Ein Blick durch den Sucher meiner Kamera am heimischen Wohnzimmertisch (andere Bezeichnung für UPF: Ungemein Professionelles Fotostudio) offenbarte dann die Besonderheit dieses Drahtes: Zieht man ihn leicht auseinander, sieht er wie eine Doppelhelix aus; zieht man etwas mehr, hat man eine Art Ziehharmonika-Effekt. Für beides ist er nicht gemacht, denn eigentlich verstärkt man mit dem Bouillon-Draht die Endstücken einer Perlenschnur, um sie vor Beschädigungen oder
Abrieb durch den Verschluss zu schützen. Aber für's Foto... warum nicht ;-)
Ich wünsche Euch eine goldene Oktoberwoche, liebe Flickr-Freunde!
... not really interested in our moral or aesthetic judgements. Sometimes, there is sheer, blind violence. Like in this scene. I have several times tried to capture the force at work here, but I think this image comes closest to what I feel. Leica M8, Elmar 50/2.8.
Isaiah 30:26 “And the light of the full moon will be like the light of the sun, and the light of the sun will be sevenfold, like the light of seven days, on the day when Yahweh binds up the breakage of His people, and He heals the wound of His blow.”
The Ottoman sultans' affinity for Chinese porcelain marks a fascinating chapter in the cultural exchange between the East and the West. Beginning in the 13th-14th centuries, the Ottomans actively imported Chinese porcelain, specifically pieces from the Sung, Yuan, Ming, and Qing dynasties. Rather than adhering to the tradition of burying such items with deceased relatives, the Ottomans chose to integrate these exquisite porcelain pieces into the grandeur of the Topkapi Palace.
The collection at the Topkapi Palace is a testament to the Ottoman rulers' appreciation for the craftsmanship and aesthetic appeal of Chinese porcelain. Remarkably, even after more than 400 years, over 10,000 pieces have endured and are still part of the palace's collection. The preservation of these items is a testament to the care and value placed on them by the Ottomans.
Considering the daily use and proximity to the palace's kitchens and dining rooms, one might expect wear, breakage, and pilferage to have taken a toll on the collection. However, the pieces on display today defy these expectations by being in remarkably good condition. This highlights not only the resilience of Chinese porcelain but also the meticulous care and appreciation the Ottoman sultans had for these treasures.
The Topkapi Palace collection of Chinese porcelain stands as one of the most significant in Europe, showcasing the enduring legacy of cross-cultural interactions between the Ottoman Empire and China. The collection provides a unique glimpse into the historical and artistic connections that transcended geographical boundaries, enriching the cultural tapestry of both civilizations.
The Ottoman sultans' affinity for Chinese porcelain marks a fascinating chapter in the cultural exchange between the East and the West. Beginning in the 13th-14th centuries, the Ottomans actively imported Chinese porcelain, specifically pieces from the Sung, Yuan, Ming, and Qing dynasties. Rather than adhering to the tradition of burying such items with deceased relatives, the Ottomans chose to integrate these exquisite porcelain pieces into the grandeur of the Topkapi Palace.
The collection at the Topkapi Palace is a testament to the Ottoman rulers' appreciation for the craftsmanship and aesthetic appeal of Chinese porcelain. Remarkably, even after more than 400 years, over 10,000 pieces have endured and are still part of the palace's collection. The preservation of these items is a testament to the care and value placed on them by the Ottomans.
Considering the daily use and proximity to the palace's kitchens and dining rooms, one might expect wear, breakage, and pilferage to have taken a toll on the collection. However, the pieces on display today defy these expectations by being in remarkably good condition. This highlights not only the resilience of Chinese porcelain but also the meticulous care and appreciation the Ottoman sultans had for these treasures.
The Topkapi Palace collection of Chinese porcelain stands as one of the most significant in Europe, showcasing the enduring legacy of cross-cultural interactions between the Ottoman Empire and China. The collection provides a unique glimpse into the historical and artistic connections that transcended geographical boundaries, enriching the cultural tapestry of both civilizations.
When Pearl comes to sit next to my laptop, it is usually her way of hinting of hunger. I have learned to be cautious with my treasured Lomonosov tea cups at such times as once upon a time we had an unfortunate accident that led to some breakage.
Not ideal of the breakage under this truck ..... right in the center of Paris, fortunately quite calm in August.
This place was amazing!! The rock formations are so red and so delicate that we felt guilty walking around. You had to be extremely careful to minimize any breakage to these fragile rock formations. Good thing it is so remote and not too many people visit. It was gorgeous to see but very challenging to shoot as a lot of the pics just looked too busy. I have no idea why it's called Little Finland. It's also known as the Hobgoblins Playground.....probably a better name.
1952 Jaguar C Type
The Jaguar C-Type (officially called the Jaguar XK120-C) is a racing sports car built by Jaguar and sold from 1951 to 1953. The "C" stands for "competition".
The car combined the running gear of the contemporary, road-proven XK120, with a lightweight tubular frame designed by Jaguar Chief Engineer William Heynes, and an aerodynamic aluminium body, jointly developed by William Heynes, R J (Bob) Knight and later Malcolm Sayer. A total of 53 C-Types were built, 43 of which were sold to private owners, mainly in the US.
The road-going XK120’s 3.4-litre twin-cam, straight-6 engine produced between 160 and 180 bhp (134 kW). The C-Type version was originally tuned to around 205 bhp (153 kW). The early C-Types were fitted with SU carburettors and drum brakes. Later C-Types, produced from mid 1953, were more powerful, using triple twin-choke Weber carburettors and high-lift camshafts. They were also lighter, and braking performance was improved by using disc brakes on all four wheels. The lightweight, multi-tubular, triangulated frame was designed by Heynes. Heynes, Knight and Sayer together developed the aerodynamic body. Made of aluminium in the barchetta style, it was devoid of road-going items such as carpets, weather equipment and exterior door handles. According to the Jaguar Heritage Registry, the cars were produced between May 1952, starting with XKC001, and ending in August 1953 with XK054. The original alloy body was marked with the prefix K (e.g. K1037).
The C-Type was successful in racing, most notably at the Le Mans 24 hours race, which it won twice.
In 1951, the car won at its first attempt. The factory entered three, whose driver pairings were Stirling Moss and Jack Fairman, Leslie Johnson and triple Mille Miglia winner Clemente Biondetti, and the eventual winners, Peter Walker and Peter Whitehead. The Walker-Whitehead car was the only factory entry to finish, the other two retiring with lack of oil pressure. A privately entered XK120, owned by Robert Lawrie, co-driven by Ivan Waller, also completed the race, finishing 11th.
In 1952, Jaguar, worried by a report about the speed of the Mercedes-Benz 300SLs that would run at Le Mans, modified the C-Type’s aerodynamics to increase the top speed. However, the consequent rearrangement of the cooling system made the cars vulnerable to overheating, and all three retired from the race. The Peter Whitehead-Ian Stewart and Tony Rolt/Duncan Hamilton cars blew head gaskets, and the Stirling Moss-Peter Walker car, the only one not overheating having had a full-sized radiator hurriedly fitted, lost oil pressure after a mechanical breakage.[3] Testing by Norman Dewis at MIRA after the race proved that the overheating was caused more by the revisions to the cooling system than by the altered aerodynamics: the water pump pulley was undersized, so it was spinning too fast and causing cavitation; also the header tank was in front of the passenger-side bulkhead, far from the radiator, and the tubing diameter was too small at 7/8 inch. With the pump pulley enlarged, and the tubing increased to 1 1/4 inch, the problem was eliminated. The main drawback of the new body shape was that it reduced downforce on the tail to the extent that it caused lift and directional instability at speeds over 120 mph (193 km/h) on the Mulsanne Straight. These cars had chassis numbers XKC 001, 002 and 011. The first two were dismantled at the factory, and the third survives in normal C-type form.
In 1953, C-Types won again, and also placed second and fourth.[4] This time the body was in thinner, lighter aluminium and the original twin H8 sand cast SU carburettors were replaced by three DCO3 40mm Webers, which helped boost power to 220 bhp (164 kW). Philip Porter mentions additional changes:
Further weight was saved by using a rubber bag fuel tank ... lighter electrical equipment and thinner gauge steel for some of the chassis tubes ... [T]he most significant change to the cars were the triple Weber carburetors and [switch to] disc brakes.
Duncan Hamilton and Tony Rolt won the race at 105.85 mph (170.35 km/h) – the first time Le Mans had been won at an average of over 100 miles per hour (161 km/h).
Disc brakes were novel in 1953, and Jaguar's win, partly due to their superiority, set off a scramble to include discs in production cars.
1954, the C-Type's final year at Le Mans, saw a fourth place by the Ecurie Francorchamps entry driven by Roger Laurent and Jacques Swaters.
Happy Monday! It’s clear that Corgis make me very happy. Hydrangeas also bring a smile … that purple lushness in the garden is hard to beat! So, in terms of joy bringing, in this photo, one of these things is not like the other. Or isn’t it?
I thought I’d give this chartreuse hair dye a whirl. And you know, I dig it. I mean, hugely because this is all temporary, and you can bet I’ll be brunette again tomorrow. And we all know the biggest perk of all with changing up our hair color to match our flower gardens in SL is that there is no damage from the whole process. No sitting anxiously in a chair at the salon, praying we aren’t going to regret our decision to go green. In the good ol’ online realms, this can all be achieved and then immediately reversed with no bleach, no dyes, no breakage.
You can even swim in a pixel chlorinated pool without your highlights taking on a horrid murky green hue. Yes, we all know this happens when we add a few streaks of blond to our dark manes in RL!
I hope everyone’s week is off to a fantastic start, and that you all have extra good hair days. And yep … I’ll be staying brunette in the real world, oh … forever!
Sending love 💕❤️
Sorry for the long delay from Flickr, friends. I hope my Photo Friends are doing well.
I've had a lot of things going on - other endeavors I've been pursuing, camera breakage, etc.
I have around a terabyte of unprocessed (usable) RAW files from years past. So, I reckon it's time start processing and sharing some.
Ruffed Grouse (Adult)
Bonasa umbellus
Family: Phasianidae
Dirty Bird Ranch (Home Property)
Chemung County, NY
2020/09/07
I found this one in the archives today. I broke one (or possibly two) of my toes last night and I was looking for a photo of my previous breakage, when I was in Vietnam. I wanted to compare bruises. LOL. Same foot different toes.
Powerplant Z
Stitched panorama
Thank you for the visit and comments are welcome
All photos they may not be used or reproduced without my permission. If you would like to use one of my images for commercial purposes or other reason, please contact me.
Glasbruch von einer Glashütte aus dem Bayerischen Wald;
Glas leitet sich vom germanischen Wort 'glasa', das Glänzende, Schimmernde ab.
Die Grünfärbung kommt durch Eisenoxide.
(Minolta MD Rokkor 50mm 1:1.4 und Kenko 2x MX Macro Teleplus MC7, f/5.6)
- Glass breakage from a glass blowing workshop in the Bavarian Forest -
̺͕̦͇̖̹̰̺̹̪̰͉̩̜̹̔͐̈́̽͌ͦ͛
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Feat.
► [high v.] coffin cruiser skateboard @ Equal10
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► = DAE = EMO Breakage Hoodie @ wasteland event
Beautiful canalside buildings... must make it interesting replacing window glass, in the event of breakages.
Driftwood on the beach at Fairhaven on the Puget Sound. Love how it weathers to a pale silver, and then some new breakage puts the more colorful heartwood on display until it too faces.
She thought I didn't see her as my kayak rocked by waves sailed past her at a respectful distance, and I was happy to let her think so because I'm just as anxious as this female Common Loon to see her hatch out healthy babies. Even though I'm always hopeful, she may not be able to. Where she built her nest (unbeknownst to her) it is not on permanent shoreline and a nasty wind or speed boat will cause it to leave like a floating island and she will abandon the nest. This unusual breakage for this small lake is from high powered speed boats causing huge wakes against the shoreline.
From Wikipedia: Kintsugi (金継ぎ, "golden joinery"), also known as kintsukuroi (金繕い, "golden repair"), is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise.
The art of kintsugi is often used as a symbol and metaphor for resilience - a concept that indicates the ability to deal positively with traumatic events, to positively reorganize and rebuild life when facing difficulties while remaining sensitive to the positive opportunities that life offers.
Kintsugi - Spirited Beyond is exactly this: the union of two creative minds - Valarie Muffin Meow (zalindah) and Bambi (norahbrent) - coming together to create something magical and unique as a way to cope with Bambi's RL loss, a place of extreme spirituality and beauty.
Continue reading on my blog: mutisslworld.blogspot.com/2021/01/d008-kintsugi-spirited-...
Location: Kintsugi - Spirited Beyond
URL: maps.secondlife.com/secondlife/Runaway/54/99/23 (Closing SOON)
Here is a female that is trying to balance on the Millet Cob in the light wind while grabbing mouthfuls to eat. Further, the weight of the bird would bend the stalk quite a bit to the point of breakage. The birds - some of them get their wings up and ready to fly. Others are more confident of their choice, like this one.
Many thanks in advance for your views/ feedback. Much appreciated.
The trick to constructing a gingerbread house is to have a nice tasting recipe and a really good construction icing recipe. Keep the pieces in an airtight container with some kitchen paper until you are ready to build. I prefer not to do any trimming to size hence the rough edges. If you do need to trim you have about 2mins to do it straight out of the oven or do it with a kitchen serrated knife when it’s cooled but place the piece on a tea towel to lessen breakage.
warning: if you "bump" your photos I am going to place my curse on you!!!
BEWARE BUMPERS. Gratuitous bumping may result in camera breakage or loss
and if you spam me with flickrcomment or send me invites for comment 1, hand job 3 or anything sparkly, then forget the curse. I am breaking your stuff personally.
:)
Finding a bottle was difficult.... plenty of jars! Eventually remembered the bottle of tonic water!
anitabower wondered about the difference between bottles and jars - prompted me to look it up... Here is the answer provided by Mary McMahon.
Mary McMahon
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Jars and bottles are distinguished by their openings. A jar has a wide mouth, typically of the same width of the jar or very close to it. A bottle, on the other hand, has a neck which is much narrower than the body of the bottle, with a lipped mouth to facilitate pouring without spilling.
Both jars and bottles have a wide range of uses, and they have been around for centuries in their basic Jars are classically cylindrical, although they may also be made in the form of squares and other shapes. Like bottles, jars can be sealed in a wide variety of ways, and their design allows people to either pour out the contents, or scoop them out, depending on personal taste and the contents of the jar. Jars are also easier to stack than bottles, as they classically have flat tops, taking up less space than bottles, which must be stacked in large racks.
The primary disadvantage of a bottle is its narrow neck, which makes it unsuitable for thick or chunky solids. A jar, on the other hand, is not ideally suited to liquids, because the wide neck makes it easy for the liquid to slop out. For drinking, many people prefer to use bottles, because jars can slop their contents onto the consumer when he or she tries to take a sip.
Historically, bottles and jars were made from porcelain and glass. Many cultures have a rich tradition of ornamental containers, some of which can be seen on display in museums. Today, materials like plastic may be used as well, with plastic bottles and jars being less prone to breakage. Metal, wood, and natural materials like gourds can also be fashioned into bottles and jars.
My camera obsession has put me on the naughty step. I had the D3100 but I liked the resolution of my Ricoh but not the fragility. Too many reports of breakages in the fb group. So I found a steal of a D3200 (24mp) local. Purchased it. Ricoh is going and MBP is taking the D3100. That’s the story so far. Like the images the story never ends. Went for a Ricoh style edit in tribute.
It is a long time ago that we had so much snow in Upper Bavaria (what is geographically the southern part of Bavaria) and especially in the Alps. I was not sure where and even if it was possible to do my first snow shoe hike in the mountains. Many roads where closed and there was quite a danger of avalanches and snow breakage. I was able to drive a good distance up into the Sudelfeld area with my 4whealer - all the way to the Tatzelwurm region with its wonderful waterfalls... put on my snowshoes, shouldered my photo backpack and off we went ...
The snow was so high that I could only make a small round - but it was worth it - it was really a breathtaking winter dream - just right for my children's and photographer's heart :-)
Here you can see the snowy Auerbach creek below the waterfalls ...I have stitched 2 high-res landscape format 200mm photographs for this panorama image - and ended up in this square format that underlines the calm atmosphere.
Winterparadies - Tatzelwurm, Bayern
Es ist lange her, dass wir in Oberbayern und vor allem in den Alpen so viel Schnee hatten. Ich war mir nicht sicher, wo und ob es überhaupt möglich war, meine erste Schneeschuhwanderung in den Bergen zu unternehmen. Viele Straßen waren gesperrt und es bestand Gefahr für Lawinen und Schneebrüche.
Ich konnte mit meinem Allradfahrzeug ein gutes Stück weit hoch ins Sudelfeld fahren - bis hin zur Tatzelwurmregion mit ihren schönen Wasserfällen...zog meine Schneeschuhe an, schulterte meinen Fotorucksack und los ging es...
Der Schnee lag so hoch, dass ich nur eine kleine Runde drehen konnte - aber es hat sich gelohnt - es war echt ein atemberaubender Wintertraum - genau das Richtige für mein Kinder- und Fotografenherz. Hier könnt ihr den total verschneiten Auerbach unterhalb der Wasserfälle sehen...
Für dieses Panoramabild habe ich 2 hochauflösende 200-mm-Querformatfotos zusammengefügt - und bin so bei einem quadratischen Format gelandet, das die ruhige Atmosphäre unterstreicht.
Winter
Bavaria
Generally I give icicles a wide berth. Fascinating as they are to observe, they are actually quite dangerous to interact with. They appear almost medieval, like icy daggers poised to impale the unwary. Thick at the top, they taper down to delicate pointed tips, extremely fragile and prone to breakage. We used to knock them down as kids, pelting them with snowballs or whacking them with sticks. This always brought up mention of some poor kid who put out his eye after getting pierced with a falling ice shard. Don't know if that actually happened or was just a story told by parents as a caution to children. But like any good myth, it seemed plausible. Even if the ice didn't break the skin, you were very likely to suffer blunt force trauma if struck by the meaty part of the icicle. I still see people out flailing away at icicles. Mostly now it's homeowners attempting to alleviate the extreme weight of the ice as it distorts their rain gutters. Amazing thing about icicles is that they start with a single drop of water. The accretion builds over time like stalactites from a cave ceiling. Most of us unknowingly manufacture our own icicles with our furnaces supplying a steady flow of warm air up through uninsulated attics. Somewhat ironic in the sense that icicles actually cost money to produce.
I came upon these icicles one sunny morning back in January. I snapped a few uninspired photos; yet another scene that looked way cooler to my eye than in the photo. About to walk off, I suddenly realized the way to shoot this scene was with backlight. I stepped gingerly beneath the icicles as my mind flashed back to the one-eyed kid. I reached the comparative safety of the building wall, and pressed my back against it to increase my buffer zone. The icicles dangled right in front of my face, absolutely dazzling in the brilliant sun. My parents would have been furious, but I got the shot.
We did not hear any vocalizations of Horned Screamer, which is in a small family whose members are known for their loud calls (like the species in the Trumpeters family such as Pale-winged Trumpeter www.flickr.com/photos/luminouscompositions/52627123599/in... ). However, we did see Horned Screamers on the ground, perched at the top of trees (as in this image), and in flight. The latter made especially apparent the large size of this species. The ‘horned’ part of the common name comes from the growth projecting from the crown: a unique structure among birds that is not plumage and which grows continuously, though subject to breakage. Another distinctive feature of this species, visible on the wings of the bird at left in this photo, are the pointed spurs at the bends in the wings. These quite long and sharp growths are wielded during altercations over territory. Horned Screamer occurs widely in lowlands of northern South America. These individuals were part of a group of least seven seen at Cocha Machuwasi, a small lake accessible by trail near the world-famous Manu Road in Peru.
Several enormous trees had fallen across one another and the topmost tree must have splintered on impact. The breakage was magnificent, but there was almost no way to photograph the dramatic scene as the trees were so big and the woods so thick! For scale you can see a small gray bench to the right of the largest standing trunk. Humboldt Redwoods State Park, CA, US
The Zeedijk is a beautiful 17th-century dyke that walks like a ribbon through the Dordrecht polder landscape. In the last century, the dike was planted with trees, mostly poplars, but also ash trees. That happened after the Second War. The poplars on the Zeedijk are now more than 60 years old. It is a beautiful sight, as the trees line the dike. But there is a downside. The trees are increasingly causing problems due to branch breakage. The municipality of Dordrecht has now decided to saw off the beautiful trees on this dike and to change the appearance of this beautiful dike. Work has now begun on cutting it down. I think it is a shame and many with me. Most of us will only remember the old dyke from a photo.Most of the more than five hundred poplars have already been felled in the past two winters, so that a large part of the Zeedijk has changed from a green tunnel into a bare moonscape.
1952 Jaguar C Type
The Jaguar C-Type (officially called the Jaguar XK120-C) is a racing sports car built by Jaguar and sold from 1951 to 1953. The "C" stands for "competition".
The car combined the running gear of the contemporary, road-proven XK120, with a lightweight tubular frame designed by Jaguar Chief Engineer William Heynes, and an aerodynamic aluminium body, jointly developed by William Heynes, R J (Bob) Knight and later Malcolm Sayer. A total of 53 C-Types were built, 43 of which were sold to private owners, mainly in the US.
The road-going XK120’s 3.4-litre twin-cam, straight-6 engine produced between 160 and 180 bhp (134 kW). The C-Type version was originally tuned to around 205 bhp (153 kW). The early C-Types were fitted with SU carburettors and drum brakes. Later C-Types, produced from mid 1953, were more powerful, using triple twin-choke Weber carburettors and high-lift camshafts. They were also lighter, and braking performance was improved by using disc brakes on all four wheels. The lightweight, multi-tubular, triangulated frame was designed by Heynes. Heynes, Knight and Sayer together developed the aerodynamic body. Made of aluminium in the barchetta style, it was devoid of road-going items such as carpets, weather equipment and exterior door handles. According to the Jaguar Heritage Registry, the cars were produced between May 1952, starting with XKC001, and ending in August 1953 with XK054. The original alloy body was marked with the prefix K (e.g. K1037).
The C-Type was successful in racing, most notably at the Le Mans 24 hours race, which it won twice.
In 1951, the car won at its first attempt. The factory entered three, whose driver pairings were Stirling Moss and Jack Fairman, Leslie Johnson and triple Mille Miglia winner Clemente Biondetti, and the eventual winners, Peter Walker and Peter Whitehead. The Walker-Whitehead car was the only factory entry to finish, the other two retiring with lack of oil pressure. A privately entered XK120, owned by Robert Lawrie, co-driven by Ivan Waller, also completed the race, finishing 11th.
In 1952, Jaguar, worried by a report about the speed of the Mercedes-Benz 300SLs that would run at Le Mans, modified the C-Type’s aerodynamics to increase the top speed. However, the consequent rearrangement of the cooling system made the cars vulnerable to overheating, and all three retired from the race. The Peter Whitehead-Ian Stewart and Tony Rolt/Duncan Hamilton cars blew head gaskets, and the Stirling Moss-Peter Walker car, the only one not overheating having had a full-sized radiator hurriedly fitted, lost oil pressure after a mechanical breakage.[3] Testing by Norman Dewis at MIRA after the race proved that the overheating was caused more by the revisions to the cooling system than by the altered aerodynamics: the water pump pulley was undersized, so it was spinning too fast and causing cavitation; also the header tank was in front of the passenger-side bulkhead, far from the radiator, and the tubing diameter was too small at 7/8 inch. With the pump pulley enlarged, and the tubing increased to 1 1/4 inch, the problem was eliminated. The main drawback of the new body shape was that it reduced downforce on the tail to the extent that it caused lift and directional instability at speeds over 120 mph (193 km/h) on the Mulsanne Straight. These cars had chassis numbers XKC 001, 002 and 011. The first two were dismantled at the factory, and the third survives in normal C-type form.
In 1953, C-Types won again, and also placed second and fourth.[4] This time the body was in thinner, lighter aluminium and the original twin H8 sand cast SU carburettors were replaced by three DCO3 40mm Webers, which helped boost power to 220 bhp (164 kW). Philip Porter mentions additional changes:
Further weight was saved by using a rubber bag fuel tank ... lighter electrical equipment and thinner gauge steel for some of the chassis tubes ... [T]he most significant change to the cars were the triple Weber carburetors and [switch to] disc brakes.
Duncan Hamilton and Tony Rolt won the race at 105.85 mph (170.35 km/h) – the first time Le Mans had been won at an average of over 100 miles per hour (161 km/h).
Disc brakes were novel in 1953, and Jaguar's win, partly due to their superiority, set off a scramble to include discs in production cars.
1954, the C-Type's final year at Le Mans, saw a fourth place by the Ecurie Francorchamps entry driven by Roger Laurent and Jacques Swaters.
It was a beautiful sight like nature's art growing in our old tree stump.
Bracket fungi cause decay and rot in the heartwood of trees and produce bracket-shaped fruiting bodies on the trunk or main branches. These fungi usually lead to the weakening and eventual breakage or fall of affected trees. Source: www.rhs.org.uk/advice/profile?PID=98