View allAll Photos Tagged cloudbased
think I may have been the first person to discover this tree and it's outstanding position for capturing sunsets across farmland in Hemel Hempstead...I know of a good few photographers that now make their way here when it looks to be a good "sundown"....
Just over 3hrs today, high point 7650' ft altitude (cloudbase). In this shot I am climbing at 900 ft/min, all from wonderful natural heat energy!!
In sailplane LS6b, VH-GST
With the cloudbase so low that only part of the control tower is visible, Brussels Airlines A320 OO-SNF kicks up the spray as it heads home to Belgium.
Aircraft: Brussels Airlines (SN/BEL) Airbus A320-200 OO-SNF in special Tomorrowland livery.
Location: Flyvergrillen, Copenhagen Airport (CPH/EKCH), Kastrup, Denmark.
Finsthwaite
(the dots on the water are actually stones that have been thrown out onto ice just under the surface.this was at the start of
the big freeze we had when it started back in December 2010)
thanks
Unexpectedly, today's walk had been deep within cloud; south of Red Screes was sunny, but cloud was clinging to the hilltops through the Kirkstone Pass. This was my first view of the day, dropping below the ~700 m cloudbase between Stony Cove Pike and Threshthwaite Mouth, the col before the ascent back to Thornthwaite Crag and High Street. After an hour or so of negligible visibility, the impact of this expansive view suddenly appearing was glorious.
The head of the classic glacial 'U'-shaped valley, below the cliff in the immediate foreground, is Threshthwaite Cove; past Raven Crag on the side of the ridge from Stony Cove Pike (763 m) to Hartsop Dodd (618 m), the lower valley of Pasture Beck is Pasture Bottom. The slope on the right rises to Grey Crag (710 m).
Brock Crags (561 m) is at the end of the valley, where Hayeswater Gill joins from the right, meeting Pasture Beck on their combined way to the main valley of Patterdale on the left.
Dutch Spitfire above the 9000ft cloudbase
Yes this was another cold photoshoot! ;-)
see me on FB Ironbird Photography
It was still raining when I started the engine. But, I figured, there could be some good bad-weather shots waiting to be had. I’d liked what I’d seen of the Massif du Cantal and wanted to see whether the mountain might reveal some wet-weather gems. Never loath to backtrack, I headed south-west out of Murat. It was the only way to get onto the D17 up to Puy Mary, but I had to go almost all the way to Aurillac to get across onto the north-leading ridge. It was worth it – the D17 is a good road through some charming villages.
This was a really crap day for photographs. One of those days your mother warned you about. Thick dark stratonimbus meant that headlights were always a good idea, and judging by the occasional slashing rain, there were some serious cumulo-nimbus above the lowering blanket. But bad as it was, the light today was not as bad as the next day, which was so poor that I never touched my camera.
The rotten weather had one advantage, though. Almost a million people travelled up and down this mountain, the largest volcano in Europe, in the 3 months of summer this year. Almost all of these intrepid folk passed, like me, through the Col du Pas de Peyrol. The people responsible for the Puy Mary nature reserve have no idea how to cope with or limit the damage caused by the huge number of visitors. On the two occasions when I went through the col, though, the dismal weather meant that instead of a traffic jam, there were just a few parked camping cars and a couple of cold- and stiff-looking motorcyclists. Swings and roundabouts, though; my life is incomplete, since, much to my disappointment, the cloud meant that I never even set eyes on the wonderfully-named Puy de Peyre-Arse.
I continued north off this impressive, dribbling mountain, bypassing Riom-es-Montagnes on my way to Condet. From there I drove into east into wasteland shrouded in fog, carefully feeling my way towards Parrot where the fog eased. I got out a couple of times to take pictures. It was as cold, windy and bleak as Scotland, and the fog was just as picturesque. From Parrot the road drops down into an ugly industrial valley besmirching the Allier, which must once have been a rather lovely river. I crossed the Allier at Arrest (I’m not making these names up, you know) and climbed back up onto a fog-bound plateau covered in pine forest. Occasionally the fog would open and you’d see swirling tendrils plunging from cloudbase down through the trees to the road. I would have loved to capture one of them, but the light was just terrible, and the photo would have looked like digital noise.
I reached La Chaise-Dieu a couple of months after I’d first visited the place. Only this time the place had the sombre air of Christmas afternoon, all gloom and lighted shop windows, with tourists scuttling past in their heavy winter clothes. This is what you get with global warming if you live in western Europe. I couldn’t even get any decent photos inside the abbey – a concert had just finished and dozens of penguins and their gaudy mates were waddling about going “haw” and talking about oboes.
Back into the dismal afternoon, and time to find a place to lay my weary head. I pressed on east. Everything was drenched, sodden, utterly uninviting, and as I reached St. Bonnet le Chateau I decided, for the second night running, that summer camping didn’t mean you couldn’t look for a bed and breakfast place.
Date: 2007 08 29
Geotag: N 45 20 23.7 E 002 56 31.5
Title: Razorlight Fall To Pieces
Taken on Sunday morning.I went there with the intention of doing the mist but there was none , luckily the cloudbase helped to make it beautiful.
A little more subtle for tonights upload.
After setting up the tent at Llyn yr Arddu and waiting around for hours, the first of the light starts to break through the low cloudbase on the horizon.
++++++++++ FROM WIKIPEDiA +++++++++
The Folies Bergère (French pronunciation: [fɔ.li bɛʁ.ʒɛʁ]) is a cabaret music hall, located in Paris, France. Located at 32 rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby rue Bergère. The house was at the height of its fame and popularity from the 1890s' Belle Époque through the 1920s.
Revues featured extravagant costumes, sets and effects, and often nude women. In 1926, Josephine Baker, an African-American expatriate singer, dancer and entertainer, caused a sensation at the Folies Bergère by dancing in a costume consisting of a skirt made of a string of artificial bananas and little else.
The institution is still in business, and is still a strong symbol of French and Parisian life.
History
Located at 32 rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. The métro stations are Cadet and Grands Boulevards.
It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, opéra comique (comic opera), popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after a nearby street, rue Bergère ("bergère" means "shepherdess").[1]
Manet's A Bar at the Folies-Bergère
In 1882, Édouard Manet painted his well-known painting A Bar at the Folies-Bergère which depicts a bar-girl, one of the demimondaines, standing before a mirror.
In 1886, Édouard Marchand conceived a new genre of entertainment for the Folies Bergère: the music-hall revue. Women would be the heart of Marchand's concept for the Folies. In the early 1890s, the American dancer Loie Fuller starred at the Folies Bergère. In 1902, illness forced Marchand to leave after 16 years.[2]
In 1918, Paul Derval (1880–1966) made his mark on the revue. His revues featured extravagant costumes, sets and effects, and "small nude women". Derval's small nude women would become the hallmark of the Folies. During his 48 years at the Folies, he launched the careers of many French stars including Maurice Chevalier, Mistinguett, Josephine Baker, Fernandel and many others. In 1926, Josephine Baker, an African-American expatriate singer, dancer and entertainer, caused a sensation at the Folies Bergère in a new revue, La Folie du Jour, in which she danced a number Fatou wearing a costume consisting of a skirt made of a string of artificial bananas and little else. Her erotic dancing and near-nude performances were renowned. The Folies Bergère catered to popular taste. Shows featured elaborate costumes; the women's were frequently revealing, practically leaving them naked, and shows often contained a good deal of nudity. Shows also played up the "exoticness" of persons and objects from other cultures, obliging the Parisian fascination with the négritude of the 1920s.
In 1926 the facade of the theatre was given a complete make-over by the artist Maurice Pico. The facade was redone in Art Deco style, one of the many Parisian theatres of this period using the style.[3]
In 1936, Derval brought Josephine Baker from New York City to lead the revue En Super Folies. Michel Gyarmathy, a young Hungarian arrived from Balassagyarmat, his hometown, designed the poster for En Super Folies, a show starring Josephine Baker in 1936. This began a long love story between Michel Gyarmathy, Paris, the Folies Bergère and the public of the whole world which lasted 56 years. The funeral of Paul Derval was held on 20 May 1966. He was 86 and had reigned supreme over the most celebrated music hall in the world. His wife Antonia, supported by Michel Gyarmathy, succeeded him. In August 1974, the Folies Antonia Derval passed on the direction of the business to Hélène Martini, the empress of the night (25 years earlier she had been a showgirl in the revues). This new mistress of the house reverted to the original concept to maintain the continued existence of the last music hall which remained faithful to the tradition.
Since 2006, the Folies Bergère has presented some musical productions with Stage Entertainment like Cabaret (2006–2008) or Zorro the Musical (2009–2010).
Filmography
1935: Folies Bergère de Paris directed by Roy Del Ruth, with Maurice Chevalier, Merle Oberon, and Ann Sothern
1935: Folies Bergère de Paris directed by Marcel Achard with Maurice Chevalier, Natalie Paley, Fernand Ledoux. A French-language version of the 1935 Hollywood film.
1956: Folies-Bergère directed by Henri Decoin with Eddie Constantine, Zizi Jeanmaire, Yves Robert, Pierre Mondy
1956: Énigme aux Folies Bergère directed by Jean Mitry with Dora Doll, Claude Godard
1991: La Totale! directed by Claude Zidi with Thierry Lhermitte
Similar venues
The Folies Bergère inspired the Ziegfeld Follies in the United States and other similar shows, including a longstanding revue, the Las Vegas Folies Bergere, at the Tropicana Resort & Casino in Las Vegas and the Teatro Follies in Mexico.
In the 1930s and '40s the impresario Clifford C. Fischer staged several Folies Bergere productions in the United States. These included the Folies Bergère of 1939 at the Broadway Theater in New York[4] and the Folies Bergère of 1944 at the Winterland Ballroom in San Francisco.
The Las Vegas Folies Bergere, which opened in 1959, closed at the end of March 2009 after nearly 50 years in operation.[8]
A recent example is Faceboyz Folliez, a monthly burlesque and variety show at the Bowery Poetry Club in New York City.
In popular culture
It is the setting for the 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois to music by Chabrier.
In the musical Nine, the character of Liliane La Fleur sings a song titled "Folies Bergère" in an homage to the Folies Bergère and similar musical acts.
In the musical Sunday in the Park with George, George promises to take Dot to the Follies.[13]
In the 1960s British science fiction TV series Captain Scarlet and the Mysterons episode "Model Spy", Colonel White remarks that Cloudbase is an operational base and not the Folies Bergère.
In the 1960s British science fiction TV series Thunderbirds episode "The Perils of Penelope" Alan Tracy expresses disappointment at not being able to accompany his brothers to "The Folies". Lady Penelope tells him he is too young.
In Richard Connell's short story "The Most Dangerous Game", General Zaroff "hummed a snatch of song from the 'Folies Bergere'" when referring to the pack of dogs he released to patrol the grounds every night.
Le théâtre des Folies Bergère est une célèbre salle de spectacles parisienne inaugurée le 2 mai 1869 et toujours en activité.
De nos jours, elle présente des comédies musicales, des spectacles de théâtre musical et des concerts de musiques actuelles2.
La salle est située 32 rue Richer dans le 9e arrondissement. Elle est desservie par les stations de métro Cadet et Grands Boulevards.
Le bâtiment est inscrit au titre des monuments historiques depuis le 7 novembre 19901.
Sommaire
1Architecture
2Historique
3Artistes célèbres qui s'y sont produits
4Galerie
5Filmographie
6Notes et références
7Liens externes
La façade, rénovée et dorée en 2012.
Le bâtiment a été totalement rénové en 1926. La salle fut agrandie et agrémentée d'une magnifique façade Art Déco, due à Maurice Pico. La composition centrale de cette façade représente la danseuse russe Lila Nikolska (1904-1955), vêtue ici en tout et pour tout d'un chapeau-cloche, accessoire féminin indispensable de l'entre-deux-guerres. Le bas-relief, recouvert à l'origine de feuille de cuivre, a été doré lors de sa rénovation en 20123.
Historique[modifier | modifier le code]
La future salle des « Folies-Bergère » annoncée dans Le Pavé, le 23 décembre 18684.
Le Gaulois, 17 décembre 18685.
Le Gaulois, 3 août 18696.
Le bâtiment ouvre le 2 mai 1869 sous le nom de « Folies Bergère7 ». Le nom choisi fait référence aux folies, maisons de divertissement au xviiie siècle puis salles de spectacle et au nom de la rue Bergère située non loin de la rue Richer. Cela explique l'absence de "s" à Bergère et permet d'avoir un nom comportant 13 lettres par superstition8.
En 1872 Léon Sari donne aux Folies Bergère un genre libertin.
En 1886, Édouard Marchand conçoit un nouveau genre de spectacle : la revue de music-hall. Édouard Marchand comprend que la femme est au cœur de ce nouveau concept et va l'imposer aux Folies Bergère. En 1902, après 16 ans de succès, la maladie contraint Édouard Marchand à céder la place9. En 1912 a lieu la première apparition sur scène d'une femme totalement dénudée10.
En 1918, Paul Derval impulse une nouvelle ère pour les Folies Bergère et va marquer de son empreinte l'histoire de la revue. Durant 48 ans il règne sans partage sur le célèbre music-hall.
Désormais, une débauche de costumes, de décors, d'effets de mise en scène va mettre en valeur sa troupe composée de girls anglaises à la discipline de fer et de « petites femmes nues11 » qui pour Derval doivent être la marque de fabrique des Folies:
Ah, ces femmes nues, si je m'avisais de les supprimer, je n'aurais plus qu'à fermer la boutique...
De même, il note l'importance des plumes dans leurs costumes :
Les plumes, c'est une responsabilité de poids qu'il ne faut pas prendre à la légère10.
Profondément superstitieux, il décide que tous les titres des revues présentées aux Folies devront comporter 13 lettres, ainsi que le mot « folie » au singulier ou au pluriel. Dans le contexte des années 1920 et du début des Années Folles, la mise en application de tous ces éléments ouvre à Paul Derval la voie du triomphe.
En 1936, pour mener la revue En Super Folies Derval fait revenir Joséphine Baker de New York, et demande à Michel Gyarmathy, un jeune hongrois tout fraîchement débarqué de son Balassagyarmat natal, d'en dessiner l'affiche. Ainsi débute la longue histoire d'amour entre Michel Gyarmathy, Paris, les Folies Bergère et le public du monde entier, qui durera 56 ans.
Paul Derval meurt en mai 1966, à 86 ans, son épouse Antonia, s'appuyant sur Michel Gyarmathy, lui succède.
En août 1974, Antonia Derval transmet ses pouvoirs à Hélène Martini, « l'impératrice de la nuit » , qui, vingt-cinq ans auparavant, avait été "mannequin nu" aux Folies Bergère, après avoir été déportée en camp de concentration pendant la guerre10. Cette nouvelle maîtresse des lieux réunit les qualités propres à maintenir encore en activité le tout dernier music-hall de l'histoire demeuré fidèle à la tradition.
Dès 1978 Hélène Martini s'adjoint Georges Terrey au poste de Directeur délégué. Pendant près de vingt ans, ils maintiennent le style et la tradition, créent Folie je t'adore, Folies de Paris et Folies en folie. Mais en 1993, consciente que l'esthétique clinquante n'est plus de mise et que les Folies Bergère doivent évoluer et suivre les aspirations des spectateurs et l'imagination des créateurs, Hélène Martini décide de rompre avec le passé et présente une nouvelle revue mise en scène par l'argentin Alfredo Arias. Ainsi le style des spectacles change, la directrice joue sur la modernité et remet ses revues au goût du jour. Avec de nouveaux auteurs, chorégraphes, metteurs en scène et décorateurs, les spectacles se succèdent avec succès, et la qualité des représentations confirme la renommée des Folies Bergère.
En 2000, Hélène Martini décide de faire changer de siècle les Folies, avec Valérie Lemercier suivie par Marianne James qui fait aux Folies ses adieux irrévocables de l'Ultima récital.
Lors de la saison 2006-2007, les Folies reprennent Cabaret dans la nouvelle version de Sam Mendes, créée à Broadway, ce spectacle évènement aura 350 000 spectateurs, plus de 450 représentations et six nominations aux Molières12. Fort de ce succès, le spectacle est prolongé jusqu'au 27 janvier 2008.
Du 5 novembre 2009 au 27 juin 2010 le music-hall reçoit la production française du spectacle musical Zorro devant plus de 150 000 spectateurs13.
Beaucoup de musiciens, de John Butler à Herbie Hancock ou Jamie Cullum, Bénabar ou Fiona Apple et Tindersticks, Omara Portuondo, Stéphane Eicher, Vanessa Paradis, Thomas Fersen ou Juliette se sontproduit sur la scène mythique de la rue Richer.
Le chapitre du xxie siècle est ouvert, et les Folies Bergère sont en route pour leur 150e anniversaire.
En 2010, 50 théâtres privés de Paris réunis au sein de l’Association pour le Soutien du Théâtre Privé (ASTP) et du Syndicat National des Directeurs et Tourneurs du Théâtre Privé (SNDTP), dont fait partie le théâtre des Folies Bergère, décident de se renforcer sous une nouvelle enseigne, symbole du modèle historique du théâtre privé : les “Théâtres Parisiens Associés”14
En septembre 2011, le théâtre des Folies Bergère est racheté par Lagardère SCA pour 9 millions d’euros, en association avec Jean-Marc Dumontet15 qui possède plusieurs salles parisiennes : Bobino, Le Point-Virgule et, avec Laurent Ruquier, le théâtre Antoine, et qui assure la gestion de l’ancien music-hall.
En 2012, Hélène Martini met en vente 6000 costumes créés au music-hall entre 1974 et 200210.
En 2013, Lagardère SCA devient l'unique détenteur des Folies Bergère en reprenant les parts de Jean-Marc Dumontet16. Frédéric Jerôme devient alors le directeur de la salle.
Le 6 janvier 2018 y est organisée une soirée en hommage à l'« esprit Charlie », en hommage aux dessinateurs tués lors de l'attentat contre Charlie Hebdo de 201517.
Artistes célèbres qui s'y sont produits[modifier | modifier le code]
Loïe Fuller, danseuse, y débute en 1892
La Belle Otero en 1894
Liane de Pougy en 1896, en 1902
Maurice Chevalier, chanteur, y débute en 190910
Raimu s'y produit de 1910 à 1914 comme humoriste « comique troupier » de music-hall
Mistinguett, y débute en 1911 et y rencontra Maurice Chevalier10
Jean Gabin alors chanteur y débute en 1922 à 18 ans avec Charles-Joseph Pasquier
Joséphine Baker, danse et chante, en 1926, avec la Revue nègre10
Little Tich
Yvonne Printemps
Ginger Rogers
Grock, clown suisse
Charlie Chaplin
W. C. Fields, acteur américain
Frank Sinatra
Charles Trenet
Yves Montand
Édith Piaf
Fernandel
Zizi Jeanmaire, danseuse et meneuse de revue
Dalida
Ella Fitzgerald
Marcel Marceau
Margaret Kelly Leibovici, fondatrice des Bluebell Girls
Claudine Longet, danseuse et chanteuse
Pierre Boulez
Rita Cadillac, danseuse
Cantinflas
Louisa Baïleche, danseuse, chanteuse
Liliane Montevecchi, actrice, danseuse et chanteuse. Meneuse de revue aux Folies-Bergère, Las Vegas (en 1970), puis aux Folies-Bergère, Paris (de 1974 à 1981).
Lisette Malidor, chanteuse et meneuse de revue
Norma Duval, actrice et vedette espagnole
Benny Hill
Elton John
Valérie Lemercier, actrice, scénariste, réalisatrice et chanteuse française
Régine en 2004 et 2016
Sylvie Vartan
Jeanne Mas en 2014
Ebi en 2017
At pretty much the northern edge of the Lake District, Blencathra offers wonderfully expansive views, but it's surprisingly difficult to catch them – there's very little in the very immediate vicinity, so one needs a clear day to see much more of distant hills than silhouettes. In summer, cool, wet days are better than hot, hazy ones, but that in turn means the views are better from the lower slopes than the cloud-covered summits.
Today the cloudbase seemed to be at about 650 m asl on the left, over Borrowdale, rising to ~750 m over the Newlands Valley; this viewpoint on Blease Fell is also at about 750 m asl.
The nearest hill on the right is Latrigg. Its left side and the valley of the River Greta are covered by Brundholme Wood, terminating at the A66 main road from Penrith.
In the sunlit fields to the left is the Castlerigg stone circle.
As usual, the only discernable landmark in Keswick is St John's Church, though I can also see Crow Park behind and to the right of the church, on the shore of Derwentwater.
Four islands are visible in the lake: Derwent Island looks like a wooded headland, but Lord's Island, Rampsholme Island and St Herbert's Island are more distinct.
The first high ground on the left is Walla Crag (376 m), then, at the south end of Derwentwater, the 'Jaws of Borrowdale' (King's How (Grange Fell) (392 m) and Castle Crag (290 m)) guard the entrance to, yes, Borrowdale.
Almost lost in haze at the far left is Thorneythwaite Fell (574 m); Seathwaite Fell (601 m), to the right, is even less clear.
On the far side of the lake, the wooded hill on the right is Swinside (244 m), then there's a gap where the glacial Newlands Valley meets the main one, then a very popular ridge begins.
The first climb is to Skelgill Bank (338 m), but the first 'proper' summit is Catbells (451 m) – best avoided in peak tourist season! From there the path curves around to Maiden Moor (576 m) before vanishing into cloud at High Spy (653 m).
To the left, the next slope, behind Castle Crag, is High Scawdel, reaching 521 m above the crags then climbing more gradually to Dale Head, in cloud.
Left again, behind King's How, is Seatoller Fell; behind that, Base Brown (646 m) reaches the cloudbase.
Behind Catbells is the upper valley of Newlands Beck, the far side defined by High Crags (529 m) rising to Hindscarth (727 m). To the right, High Snab Bank rises to Robinson (737 m) then the ridge continues to 333 m at Newlands Hause before dropping, out of sight, to Buttermere.
In front of Newlands Hause, Rowling End (433 m) marks the mouth of Newlands. The ridge from there, Sleet Hause, extends right, to Causey Pike (637 m) and Scar Crags (672 m), then into cloud again.
To the left of Causey Pike, Rigg Screes (555 m) rises to Ard Crags (581 m), with Knott Rigg (556 m) at the end of the ridge
That just leaves the slope at the far right of the image: Barrow!
On my return flight to Anchorage, I had nothing to look at out the window except clouds, lots & lots of clouds. About sunset the cloudbase dropped and I was able to get some cool pics of the sunset.
This very green view is from the 305 m summit of Firbank Fell (or at least the highest point offering an unobstructed view of the valley), rather than the more famous crag of Fox's Pulpit.
The road in the foreground is the tiny B6257 linking individual farms into the nominal hamlet of Firbank.
The trees to the right of Goodies farm lead down to the River Lune and a footbridge – that's useful to know.... A meander of the Lune itself is visible 'above' the farm. The isolated Tarnhouse Barn is 'up' and to the right again.
More substantially, the farms on the immediate far side of the Lune, on a glacial terrace, are Thwaite and Hole House.
Beyond Thwaite, the tree-lined side valley is that of Chapel Beck, which passes through Howgill on its way from the open moor of the Howgill Fells; specifically, the upper course of Chapel Beck is Long Rigg Beck, joined on the right by Bram Rigg Beck.
The remaining farms to mention on the cultivated valley side are Gate Side (straddling the Roman road of Howgill Lane), Top Withens and Castley. One can just see Four Lane Ends, at the end of the access road to the latter two.
The first summit on the ridge behind Castley is, oddly enough, Castley Knotts, then Brown Moor, at 412 m just beneath the cloudbase. Behind and further to the left, the 623 m Fell Head is well within the cloud, as are the summits to the right, beyond Long Rigg Beck: White Fell Head and Bush Howe would normally be visible from here in better weather, I think.
Not the best morning to photograph the southern end of the reservoir from High Loup: when one can't see Castle Crag hillfort at the top of that cliff in the background, the cloudbase must be at ~370 m asl, which is ~100 m below my preferred viewpoints. I followed Old Corpse Road for a while anyway, but it seemed like thick, autumnal cloud, so I soon turned back.
I later met a couple who had camped at ~650 m on Selside – just above the inversion. Waa!
Unexpectedly, today's walk from the head of the Kirkstone Pass had been deep within cloud; south of Red Screes had been sunny, but cloud was clinging to the hilltops through the Pass. This was my first view of the day, dropping below the ~700 m cloudbase to Threshthwaite Mouth, the col between Stony Cove Pike and Thornthwaite Crag (and hence High Street). After an hour or so of negligible visibility, the impact of this expansive southward view suddenly appearing was glorious, and impossible to fully capture in a photograph, though I do rather like the watery light in this one.
The left side of the valley is Park Fell, carrying the high-level Roman road of High Street, which follows the ridge down to, and just left of, The Tongue, the 364 m hill in the middle of the valley floor, ~4 km from here. Trout Beck passes to the right of The Tongue, joined from the left by Hagg Gill. The slope rising to the left of that is the side of Yoke (706 m), west of Kentmere. The last distinct hill on that side of the valley is Sour Howes (483 m); beyond in the haze are low hills north-east of Windermere.
To the immediate right of the foreground is Threshthwaite Crag (which I'd just descended), with the floor of Trout Beck's wide glacial valley behind. The shadowed slope on the right is Doup Crag then an apparently unnamed ridge which descends from Hart Crag.
The main A592 Patterdale-Ambleside road passes between there and the silhouetted hill behind, on which the left 'pointy' peak is Dod Hill (451 m), with Baystones (487 m) taller on the right.
A little known fact is that Colonel White the Commander of Spectrum has his own SPV - appropriately in white and the only SPV to carry a name.
Seen in the Spectrum HQ Underground base on the ground directly below Cloudbase.
Diecast model converted from the Dinky Model.
Diorama inspired buy the Gerry Anderson TV series ' Captain Scarlet'.
A first glider flight for a student.
Mountain lee wave was present, as forecast by Skysight, in the morning of 6 April. The cloudbase was much lower than usual and it was contactable as low as 2000 ft AGL; this wave bar had remarkable structure underneath.
Camera Model Name:Canon EOS 5D Mark III
Artist:SARAH H. ALSAYEGH
Copyright:SARAH H. ALSAYEGH
Exposure Time:1/4
F Number:14
Exposure Program:Manual
ISO:100
Max Aperture Value:2.8
Metering Mode:Multi-segment
Flash:Off, Did not fire
Focal Length:16.0 mm
Lens Model:EF16-35mm f/2.8L II USM
Unexpectedly, today's walk had been deep within cloud; south of Red Screes was sunny, but cloud was clinging to the hilltops through the Kirkstone Pass. This was my first view of the day, dropping below the ~700 m cloudbase between Stony Cove Pike and Threshthwaite Mouth, the col before the ascent back to Thornthwaite Crag and High Street. After an hour or so of negligible visibility, the impact of this expansive view suddenly appearing was glorious.
The head of the classic glacial 'U'-shaped valley, below the cliff in the immediate foreground, is Threshthwaite Cove; past Raven Crag on the side of the ridge from Stony Cove Pike (763 m) to Hartsop Dodd (618 m), the lower valley of Pasture Beck is Pasture Bottom. The slope on the right rises to Grey Crag (710 m).
Brock Crags (561 m) is at the end of the valley, where Hayeswater Gill joins from the right, meeting Pasture Beck on their combined way to the main valley of Patterdale on the left.
Taken in Narita, Japan.
Here is the second in my series of shots taken at Narita Temple, est 940. After entering the complex
via the main gate, you then proceed up to an elevated internal gate that houses a giant vermillion lantern. On the far side of this is a stone bridge, which traverses an ornamental pond, that subsequently leads to steps ascending to this the courtyard of the Great Main Hall.
At the time of shooting the cloudbase was low, the glow seen here is from additional illumination located on the other side of the complex.
Please press 'L' to view in the lightbox.
Canon EOS 60D | RAW | ISO 100 | f/9 | 30s | 10-22mm at 10mm | AWB | Evaluative | Getty Images
In front of Schiphol's Control Towers on a misty night. The highest part of the main ATC Tower is barely visible because of the low cloudbase.
Since 1896, the Snowdon Mountain Railway (SMR) has been carrying tourists 7½ km from 108 m asl in Llanberis to 1,065 m asl at the summit station, a short walk from Yr Wyddfa, the highest peak in England and Wales at 1,085 m. That's an average gradient of 1 in 7.86, though it reaches 1 in 5.5 in places, so is, unsurprisingly, a rack-and-pinion railway, operating on a narrow gauge of 800 mm. The route is scenic (weather permitting...) but extremely exposed, meaning that the service only runs March-November, and that's only to Clogwyn (¾ of the way to the top) until May. Even then, there are many days like this, when the cloudbase is at ~850 m.
Each service comprises a locomotive (0-4-2T steam or 0-4-0 diesel) pushing a single carriage of 56 (74 if diesel) passengers up the mountain or regulating its descent. The two aren't coupled, apart from an electricity cable, to prevent a derailed locomotive dragging the carriage with it. Following a fatal derailment on the railway's opening day (oops), there's limited risk of that anyway, as a gripper rail now holds the locomotive's (and the carriage's) toothed wheel (pinion) to the track's toothed middle rail (rack).
This is either SMR locomotive No.2, "Enid" (SLM 0-4-2T 924) or No.3 "Wyddfa" (SLM 0-4-2T 925), both built in 1895 by Schweizerische Lokomotiv- und Maschinenfabrik (SLM) of Winterthur, Switzerland.
The Second Severn Crossing from New Passage, Gloucestershire. August 2012.
The orange glow in the sky isn't a lingering sunset, rather the lights of Newport reflected in the cloudbase.
Milford Mariner (IMO 8975653) is a cruise ship working on Milford Sound in New Zealand's Fiordland. We spent a night on her on a cruise that could have delivered breathtaking scenery. Unfortunately, the cloudbase was at sea level.
She can carry a full set of sail in appropriate conditions, which must be an impressive sight, but with no wind we had to depend on diesel power.
You can see the shadowy lines beaming across the red clouds caused by 'virga rain' blocking the early sun rays. Virga rain is formed when water droplets falling from the cloudbase evaporate before reaching the ground. There are several wispy streaks of virga rain in the centre of this shot, taken at 6:44am from Milk Hill on the North Wessex Downs.
Despite the weather, Peter Teichmann gets airborne from Dunsfold in his lovely old Curtiss P-40 Kittyhawk 'Lulu Belle'.
Operated by the Hangar 11 collection, G-KITT is painted to represent a P-40N-1 Warhawk and as can be seen, the cloudbase was almost down on the deck but he still gave us a nice little spirited display, even executing a low-level role!
For more on this machine's history:
66 (s)miles.. Out on Navi today..
Ladybower Reservoir here..
Overcast at first and then heavy rain and mist going over Woodhead Pass and back over Snake Pass..
The rain eased off for my cappuccino break at Bamford petrol station and then on the way back home via Froggatt saw an amazing glimpse of the sun as it went down through a crack in the cloudbase!
(BEST SEEN LARGE IF YOU HAVE CLASS #THREE ALPHA SECURITY CLEARANCE OR HIGHER)
First appearance of the S.H.I.E.L.D Helicarrier “Thunder Child” (“The Mighty Avengers #1 May, 2007. Design/Dialogue by Brian Michael Bendis & Frank Cho)
MS. MARVEL: “Wow, Tony.”
TONY STARK: “I know.”
MS. MARVEL: “What was wrong with the old helicarrier exactly?”
TONY STARK: “It stunk. It actually smelled.”
MS. MARVEL: “Like cigars.”
TONY STARK: “And other things.”
MS. MARVEL: “You know, they invented carpet cleaners.”
TONY STARK: “I’m the new Director of S.H.I.E.L.D., so I get a new helicarrier.”
MS MARVEL: “Can I have the old one?”
TONY STARK: “I was thinking of tossing it up on Ebay.”
No fictional covert organisation worth its suicide capsules would be without a futuristic airborne headquarters and since 1965 Marvel Comics’ S.H.I.E.L.D (Strategic Hazard Intervention, Espionage and Logistics Directorate) has operated a succession of fantastic and fiscally outrageous ‘helicarriers’.
Former S.H.I.E.L.D Director Nick Fury was pretty hard on helicarriers and has written off a number of the expensive flying fortresses over the years. Since billionaire industrialist/inventor Tony Stark recently became the Director he has worked tirelessly to put his own distinctive stamp on the organisation. Previous helicarriers have been joint efforts, but this one is definitely all Stark’s own work, cheekily featuring a good helping of the streamlined styling and signature red and gold colour scheme made famous by his Iron Man armour.
I couldn’t wait for this beaut new beasty to show up as a collectible so thought I’d have a crack at tooling up my own.
My helicarrier is 16 centimetres long and is made from Super Sculpey, an oven fireable polymer clay. The ‘guns’ are made from 1.5 mm aluminium tube and can be swivelled on their mounts. They can rotate 360 degrees in the vertical plane, which means they can service targets in a range of envelopes from air-to-ground/air and even space. With barrels that size I’m assuming they must be something particularly chunky, maybe some kind of hypervelocity, variable load electromagnetic rail gun, but when Tony Stark is involved who knows? Maybe they’re part of some really humungous sound system that can blast out Black Sabbath on cue, or p’rhaps he’s going to build a couple of giant hands on the ends of the tubes! What they’re probably not is..a bluff! Though Stark’s rep would probably allow him to get away with that too. (Now, that WOULD be irony, man!)
I’ve interpreted the drawing as best I can with only the one admittedly cool drawing to work from.
Helicarriers traditionally loft their own squadrons of aircraft, often from flight decks that look very much like a standard sea borne carrier’s ‘flat top’. S.H.I.E.L.D has had Vertical and Short takeoff and Landing capable aircraft for some time so I reasoned that the flight decks are probably quite abbreviated and accessible by elevators. I’ve detailed the helicarrier with both paint and letraset rub on transfer as well as some very old stick on ‘line’ tape that I’ve had sitting around for decades and which remains handy for jobs like this.
Unless the typical helicarrier outrigger engine pods are meant to be added later the engines must be integral to the hull so I’ve placed six exhaust outlets along the keel to represent them. I mean, this is a Tony Stark invention and I doubt he’d just whack ginormous rotor blades on the thing. Probably some seriously humungous repulsors, I reckon.
For the picture I didn't mess with the model too much. Just dropped it onto a blue screen (okay, a scrap of blue fabric) on the outdoor table, photographed the hell out of it, pulled the ship element out in Photoshop, and dropped it into an Aussie sky plate I shot seperately. Fiddled with the lighting a little, painted some foreground cloud in, and did some general digital housekeeping to clean things up.
I’ve taken the liberty of christening her “Thunder Child” because...well, because I can!
H.G Wells fans will know why, though I dare say that the Thunder God Thor’s mighty brow might be a little puzzled by the name.
Other favourite ‘skyships’ include: Manta Station (Sky Captain and the World of Tomorrow), Spectrum’s Cloudbase (Captain Scarlet and the Mysterons), and U.N.I.T’s Valiant (seen in the Doctor Who episode, The Sound of Drums).
Oh, and the rings painted on the business ends of the guns do NOT denote kills.
Probably.
They're, um, clearance markers so that the helmsman can get a visual check on his proximity to the dock when landing.....
Fair dinkum!
Ahhhhh, Red Hulk, you ruddy maggot. Only went and crashed the bloody thing! On the other hand, what a tax write off Stark's going to get! Wonder who will get the contract to build the new one....$$$$$!!
Reiter Berry Farms, in Watsonville, CA, on Thursday, August 27, 2015, are working with the U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) to improve on the 30% water savings they already achieve with precision micro subsurface irrigation. The use of a Wireless Irrigation Monitoring Network (WIN) to collects data from wireless solar powered soil tensiometers, and weather field stations positioned throughout farms in three counties enable them to track soil, temperature, and humidity conditions with a cloud-based irrigation management system, to better manage watering and soil conservation efforts in more than 700 acres. They actively share their data, methods, and experiences with other producers. Better management by producers using a currently dwindling supply and quality of ground water (wells) in this county will help recharge the aquifer and prevent the migration of nearby Pacific Ocean salt water into the ground water they use. This is one of the ways growers are extending the water supply. Reiter Affiliated Companies (RAC) has been involved with family farming since 1868; is a leading fresh, multi-berry producer in the world; and a leading supplier of fresh strawberries, raspberries, blueberries and blackberries in North America. USDA Photo by Lance Cheung.
Reiter Berry Farms, in Watsonville, CA, on Thursday, August 27, 2015, are working with the U.S. Department of Agriculture (USDA) Natural Resources Conservation Service (NRCS) to improve on the 30% water savings they already achieve with precision micro subsurface irrigation. The use of a Wireless Irrigation Monitoring Network (WIN) to collects data from wireless solar powered soil tensiometers, and weather field stations positioned throughout farms in three counties enable them to track soil, temperature, and humidity conditions with a cloud-based irrigation management system, to better manage watering and soil conservation efforts in more than 700 acres. They actively share their data, methods, and experiences with other producers. Better management by producers using a currently dwindling supply and quality of ground water (wells) in this county will help recharge the aquifer and prevent the migration of nearby Pacific Ocean salt water into the ground water they use. This is one of the ways growers are extending the water supply. Reiter Affiliated Companies (RAC) has been involved with family farming since 1868; is a leading fresh, multi-berry producer in the world; and a leading supplier of fresh strawberries, raspberries, blueberries and blackberries in North America. USDA Photo by Lance Cheung.
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The Sun Voyager (Icelandic: Sólfar) is a sculpture in Reykjavík, Iceland by Jón Gunnar Árnason. The Sun Voyager is located on the waterfront north of Reykjavík's city centre, and points towards the sun when it is setting in the north, as suggested by the name. The sculpture is constructed of steel and resembles a Viking ship, and is the most photographed art piece in Reykjavík.
The Imagine Peace Tower (Icelandic: Friðarsúlan, meaning "the peace column") is a memorial to John Lennon from his widow, Yoko Ono, located on Viðey Island in Kollafjörður Bay near Reykjavík, Iceland. It consists of a tall "tower of light", projected from a white stone monument that has the words "Imagine Peace" carved into it in 24 languages. These words, and the name of the tower, are a reference to Lennon's peace anthem, Imagine.
The Tower consists of 15 searchlights with prisms that act as mirrors, reflecting the column of light vertically into the sky from a 10-metre wide wishing well. It often reaches cloudbase and indeed can be seen penetrating the cloud cover. On a clear night it appears to reach an altitude of at least 4000m. The power for the lights is provided by Iceland's unique geo-thermal energy grid. It uses approximately 75 kW of power.
Buried underneath the light tower are upward of 500,000 written wishes that Ono gathered over the years in another project, called "Wish Trees". Ono plans to have the tower lit every year from 9 October, Lennon's birthday, through 8 December, the date he was shot. Iceland was selected for the project because of its beauty and its eco-friendly use of geothermal energy.
Construction of the tower started on 9 October, 2006 when Ono dedicated the location, and it was officially unveiled on the same date in 2007. The ceremony was broadcast internationally to numerous television networks. In attendance with Ono were son Sean Lennon, bandmate Ringo Starr, and Olivia Harrison, widow of George Harrison, and Olivia's son Dhani Harrison. Paul McCartney was invited, but could not attend due to a court case. Yoko Ono said on the day of the inauguration that the tower was the best thing that she and John had ever done.
66 (s)miles.. Out on Navi today..
Love these Milestones dotted around this part of Sheffield..
Overcast at first and then heavy rain and mist going over Woodhead Pass and back over Snake Pass..
The rain eased off for my cappuccino break at Bamford petrol station and then on the way back home via Froggatt saw an amazing glimpse of the sun as it went down through a crack in the cloudbase!