View allAll Photos Tagged buildup
This grand panorama of the Southern Patagonia Icefield (center) was imaged by an Expedition 38 crew member on the International Space Station on one of the rare clear days in the southern Andes Mountains. With an area of 13,000 square kilometers, the icefield is the largest temperate ice sheet in the Southern Hemisphere.
Storms that swirl into the region from the southern Pacific Ocean (top) bring rain and snow (equivalent to a total of 2-11 meters of rainfall per year) resulting in the buildup of the ice sheet shown here (center). During the ice ages the glaciers were far larger. Geologists now know that ice tongues extended far onto the plains in the foreground, completely filling the great Patagonian lakes on repeated occasions.
Similarly, ice tongues extended into the dense network of fjords (arms of the sea) on the Pacific side of the icefield. Ice tongues today appear tiny compared to the view that an "ice age" astronaut would have seen. A study of the surface topography of sixty-three glaciers, based on Shuttle Radar Topography Mission (SRTM) data, compared data from 2000 to data from studies going back about 30 years (1968-1975). Many glacier tongues showed significant annual "retreat" of their ice fronts, a familiar signal of climate change. The study also revealed that the almost invisible loss by glacier thinning is far more significant in explaining ice loss.
The researchers concluded that volume loss by frontal collapse is 4-10 times smaller than that caused by thinning. Scaled over the entire icefield, including frontal loss (so-called calving when ice masses collapse into the lakes), it was calculated that 13.5 cubic kilometers of ice was lost each year over the study period. This number becomes more meaningful compared with the rate measured in the last five years of the study (1995-2000), when the rate increased almost threefold, averaging 38.7 cubic kilometers per year.
Extrapolating results from the low altitude glacier tongues implies that the high plateau ice on the spine of the Andes is thinning as well. In the decade since this study the often-imaged Upsala Glacier has retreated a further three kilometers, as shown recently in images taken by crew members aboard the space station. Glacier Pio X, named for Pope Pius X, is the only large glacier that is growing in length.
About Crew Earth Observations:
In Crew Earth Observations (CEO), crewmembers on the International Space Station (ISS) photograph the Earth from their unique point of view located 200 miles above the surface. Photographs record how the planet is changing over time, from human-caused changes like urban growth and reservoir construction, to natural dynamic events such as hurricanes, floods and volcanic eruptions. A major emphasis of CEO is to monitor disaster response events in support of the International Disaster Charter (IDC). CEO imagery provides researchers on Earth with key data to understand the planet from the perspective of the ISS. Crewmembers have been photographing Earth from space since the early Mercury missions beginning in 1961. The continuous images taken from the ISS ensure this record remains unbroken.
Image credit: NASA
Original image:
www.nasa.gov/content/southern-patagonia-icefield/
More about space station research:
www.nasa.gov/mission_pages/station/research/index.html
View more photos like this in the "NASA Earth Images" Flickr photoset:
www.flickr.com/photos/28634332@N05
________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
Dramatic buildup of ice from the Northumberland Strait. I still have some of these ice pictures from February 7 remaining to be posted.
Close up of some of the dramatic clouds from last night. Contrast and saturation enhanced for something of a vintage effect. Various types of clouds at play here, I believe.
Captured from a look-off in the Preservation Area. Notice the buildup of ice along the shoreline from the constant wave action and splash at the intertidal interface.
The rocky buildup at the base of the American Falls is called Talus and is the result of various rockfalls.
taken on 2009-08-21, Nikon D300 17-55mm f2.8 lens at 17mm, at the Raco Air Field, near Raco, MI
80 42s exposures of the night sky, just after the peak of the Perseid meteor shower.
there is a single meteor trail going through the image, near the north star.
42s exposed, 42s off, to prevent sensor heat buildup, and to give it an interesting dotted effect.
stacked using startrails.exe, even though it doesn't seem to like my computer much (keeps crashing)
The buildup...of ice!! This is a small branch of the crepe myrtle by my garage. I liked the way it is offset by the brick of the house (The color is a bit saturated). The ice got much worse the next storm.
All rights reserved
After a recent storm I caught the light coming off this glitter and for me, with the building in the background, it made a beautiful abstract. Near St. John's, NL.
Mostly box-stock buildup of the AMT kit. I did use the cast spoke wheels from a Diamond Reo. The door markings are for a fictitious dealer- Great Lakes WFE-Oliver-Minneapolis Moline. The cab and hood are authentic WFE Argent Silver, with a black frame. This color scheme mimics that used on White's line of farm tractors.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
Unusually hot and dry conditions in summer 2015 resulted in high salinity, anoxic bottom water and buildup of high concentrations of sulfide in sediment porewaters in seagrass beds in Rankin Lake and Johnson Key Basin. This in turn led to die-off of large areas of seagrass in these basins in the fall. The die-off appeared to be expanding to seagrass beds in Rabbit Key Basin and Whipray basin as well. When FWC researcher Penny Hall’s team got to Florida Bay, they found two of the five basins hit hardest in the 1980s were either dead or dying. A third showed signs of trouble. The extent of die-off and assessment of the potential for further losses are still under investigation.
Mortimer our Boxer Lab mix breed dog , walking on the west beach board walk at sunset waiting again for a other picture to be take “sigh” , photograph edited , Martin’s photographs , Cobourg , Ontario , Canada , May 25. 2008
Creek in wooded area
fallen trees
ymca park with a day use area
woods
creek
sport fields
Cobourg
November 2006
Grass
Weeds
Wildflowers
Ontario
Canada
Trees
Tall grasses
Sunset
Fallen trees
Fallen tree
Tall grasses
River
Cobourg west beach board walk
Cobourg west Beach
July 2006
Canon PowerShot S410
PowerShot S410
Sweet Rocket
Cobourg west beach
Cobourg Beach
Martin’s photographs
Cobourg
Ontario
Canada
Boxer Lab mixed breed dog
Favourites
Lake Ontario
Sand
Water
Mortimer boxer dog
Boxer dog
Boxer mixed breed dog
Canon PowerShot SD-600
PowerShot SD-600
Favourites
June 2004
Cobourg pier
Cobourg lighthouse
November 2003
Boxer Lab mixed breed dog
deck
Nikon
Nikon E5700
Sand
Water
May 2008
Cedar tree
River
Sunset
Tree
Heron
Egret
IPhone 6
Rocks on the beach
Sand
Rocks
May 2007
Driftwood
June 2007
March 2007
Ducks
Gulls
Ice buildup
Ice
Snow
February 2007
January 2007
Beautiful and sunny for Rememberance/Veterans Day but the buildup to the South doesn't look good for the rest of the week.
Photographs of clouds in the afternoon, during the buildup to a thunderstorm. Maleny, Queensland, Australia.
Photographs of clouds in the afternoon, during the buildup to a thunderstorm. Maleny, Queensland, Australia.
Buildup of this composite image on YouTube: www.youtube.com/watch?v=QCs-Q6xPXNY
____________________
With temperatures far warmer than normal, the ice is breaking up early. The warm breeze today, as compared to last year at this date, was like spring....and it's only February. People were walking around in shorts today everywhere I went. Yeah, Canadians think this is warm.
A stunning nighttime view, looking into the brightly illuminated open bays of the Vertical Integration Building (VIB), Cape Canaveral Air Force Station (CCAFS).
Even if only the year of the stamped date on the verso is correct, through the process of elimination, based on the outward appearance & guessed progression of Titan core stage buildup, to include the presence of Mobile Launchers and relative number & configuration of work/access platforms (to accommodate the Centaur upper stage), my identifications are as follows. From right-to-left:
- I believe this to be the core stage for Titan-Centaur/IIIE launch vehicle 1 (TC-1), which carried the Space Plasma High-Voltage Interaction Experiment (SPHINX) and Viking Dynamic Simulator (VDS) as payloads. Launched February 11, 1974, from Launch Complex 41 (LC-41), the spacecraft failed to achieve orbit due to a Centaur upper stage malfunction. The core stage is already mounted on a Mobile Launcher (ML) in the photograph.
- The two subsequent core stages appear to be nearly identical, the one on the right already mounted on a ML. That vehicle possibly being a Titan-3(23)C. The next launch from CCAFS, LC-40, was May 30, 1974, of Applications Technology Satellite 6 (ATS-6), on such a vehicle. The satellite was successfully placed into orbit.
- That leaves the core stage farthest to the left, also possibly a Titan-3(23)C, not yet mounted to a ML. No idea. Nothing seems to ‘fit’ or correspond to a reasonably expected launch date. At least not going by the date stamped on the photograph. But then again, who knows what the work flow was for these vehicles. Conceivably I suppose, it might be the launch vehicle for Defense Satellite Communications System 2 (DSCS-2) satellites 5 and 6. That being by the next Titan-3(23)C launch vehicle, on May 20, 1975 from LC-40. Who knows.
- Finally, an empty ML is seen in the bay to the farthest left.
The Solid Motor Assembly Building (SMAB) can be seen in the distance to the right. There also appear to be possible core stage/solid rocket motor related ring-like joints, fairings, or something like that, on the flatbed railcar to the far left.
Whatever everything is, it’s a spectacular photograph.
I really don’t feel too bad with my SWAG. These individuals don’t seem to know, and they’re far more knowledgeable than I:
forum.nasaspaceflight.com/index.php?topic=25799.0
Credit: NASA SpaceFlight.com website
See also. Excellent additional information, that includes the image, although with only generic information pertaining to it:
fas.org/spp/military/program/cape/cape2-5.htm
Credit: Federation of American Scientists website
www.spacelaunchreport.com/titanflew.html
Credit: Space Launch Report website
The buildup to this photo made the result you see here all the more rewarding.
When my Father and I planned to visit the Jasper area, the overlook angle at Brule Lake was the primary reason for doing so. For optimal lighting there is a narrow window of time at the end of the day where the evening sun has came around far enough to shine in from the northwest, but hasn't dropped below the ridgeline of the mountains in that direction.
We arrived and set up at the lower overlook in the late afternoon. The weather was a mixture of dark rain clouds, and clear breaks, with a strong wind from the east causing the lighting situation to change drastically minute to minute. After several badly backlit shots, the clouds closed in eclipsing the sun, and a torrential downpour ensued. Dejected, we packed up, and headed down to Swan Landing to check out the yard. While there, we heard a westbound call in at Entrance. As we rushed back up the hill the clouds broke. We found another fan occupying the higher overlook, and setup alongside him. Within minutes the westbound arrived, and we all got some acceptable shots. The sun dipped behind the ridgeline shortly after, and the tracks and foreground were plunged into shadowy darkness. After packing up our gear, we chatted with our new friend as we prepared to leave. At this time, a strange pink glow began to project across the face of the nearby mountain, and the pools on the shore of the river. A thick layer of fog/cloud from the previous rain showers was forming and rising across the valley behind us. The sun's light, despite being behind the ridge, was now reflecting down off of the bottom of these clouds on to the lake and causeway in front of us. The cloud filtered light was casting an absolutely surreal soft, omnidirectional, pink glow. At this time the scanner crackled to life, with train M311 announcing its westward approach to Entrance, nine miles to our east. Cameras and tripods were pulled from our vehicles, and a hasty photo line was set up. Incredibly, the light continued to gain intensity as the minutes wore on, peaking as the squeals of wheel flanges on curves became audible. Now it was a race against time, as the luminance began to slowly fade. CN 3215 pulled M311 across the causeway of Robertson's Curve, and into Swan Landing to the symphony of our shutters clicking and beeping. A rainbow formed as the middle of the train passed. As the tail of the train disappeared into the yard, the light dimmed, and we were plunged into the dark of late twilight.
Other than removing a bird in flight above the power, and the spots of a few specs of dust on my lens, I did not adjust, brighten, or fine tune the image above. Beyond being unnecessary, it seemed almost sacrilegious to mess with the absolute gift of light that nature bestowed upon us that evening.