View allAll Photos Tagged commitment
© All rights reserved. A low-res, flatbed scan of a 6x7 (2 1/4 x 2 3/4 inch) transparency
That certainly does not describe my vintage sign shooting accomplishments, but there are many out there, like my contacts, that get that job done right.
In any case, I do head out when I can and see what's left to be seen. This cool, old motel sign in Stockton, Ca. still lights up, too. I met the owners while snapping this and they became happy as a lark when they realized that it was their nifty sign I was photographing. Before that, I believe they thought I was the IRS or something.
Anyway, thanks for having a look!
I apologise for not contributing anything to Flickr for a few days. Sometimes life just gets too busy.
A pair of Arriva Trains Wales Class 142 'Pacer' multiple units heads towards Cardiff Queen Street station on Saturday 9th January 2016. I was waiting, along with many other people, to gain access to the building just out of view on the right. Unfortunately the security guard had failed to turn up at the appointed time to open up, so naturally I grasped the opportunity for some railway photography.
Incidentally, I didn't plan to get these passers-by in the shot; they just happened to be there at the moment the 'Pacer' rolled past.
This stunning image features the Crested Caracara, scientifically known as Caracara plancus cheriway. The photograph was taken at the Avian Reconditioning Center in Apopka, Florida, a facility dedicated to the rehabilitation and education about birds of prey. The center serves as an ideal backdrop, emphasizing the bird's natural habitat and contributing to the aura of wild majesty that the Crested Caracara embodies.
The photograph is the work of Adam Rainoff, a photographer with a deep-rooted passion for avian life and conservation. Adam’s work aims to not only capture the beauty of these magnificent creatures but also to raise awareness about the importance of preserving their natural habitats. His commitment to conservation is evident in the way he meticulously frames each shot to tell a story, a narrative that he hopes will inspire others to take an interest in the natural world.
©2020 Adam Rainoff
A family commitment at the weekend saw me heading for Wiltshire, from where I managed a few hours out with the camera, with the stone quarries of East Somerset on the agenda.
I started off first thing at Fairwood Junction, near Frome, hoping to catch a working to Merehead Quarry, but I was caught out with it running 89 early, and was sat in the car lineside as it tanked past with two locos up front. I knew I'd be able to still catch it at the quarry though, so here's the result.
Mendip Rail's 59004, "Paul A Hammond" heads 59005 at the reception sidings with the 06.32 Acton TC to Merehead Quarry VAR as the shunter chats with the driver, Saturday 4.2.17
For the Phoenix Railway Photographic Circle and alternative railway photography, follow the link:
115/365
I am getting over a cold and skipped actually taking a photo today in order to get some work done, but I figured it was as good a time as any to post one of my favorite photos from the wedding I shot a few weekends ago. The entire experience was amazing, incredibly stressful, and beyond worth it in so many ways. I am so grateful to this awesome couple for letting me into their lives for a few short, but extremely important, days of their lives, and I am excited to see where other photography like this will take me.
Maybe being together is just from habit. Perhaps the habit is just comfortable and you both grow weary together accepting all that comes your way. Perhaps we just don't have the energy to make changes. Best yet, maybe we just belong together no matter what.
Happy Fence Friday
Some of us are just more comfortable with a leap of faith. This is not me! Proboscis Monkey cruising along in the rainforests of Sabah, Malaysia on the island of Borneo
The skill and commitment of the U.S. Park Service to build public structures that fit in with the natural environment is on full display here in Zion National Park. Sadly, with the recent decimation of the organization it will most likely and tragically not be able to provide this stellar level of service going forward. I find our current administration's disregard for our country's beautiful natural resources disgusting. They'd rather build detention centers in uninhabitable places. And that's all I have to say about that.
due to real life circumstances changing, decided to close up shop in-world. thank you everyone for all the support. i'll still be around second life but without the commitment of my little shop. it was fun times. if i get the urge to release, it will be to marketplace. ♥
ink into the skin!!! ... Best way to celebrate and immortalize such important date… even better if execute by one of the MM celebrities… Happy 5th gang!
Macro Monday project – 03/19/12
"Celebrate (5th anniversary)"
Shot with my Fuji X100's, using a macro lens converter.
This is my second picture for my weekly theme 'Commit' and my 365 group.
This picture is sooc.
didn't get as much snow as we thought we would. But the schools are still closed.
got my much needed sleep. so im pretty happy
Resurrected from a pic created 12 years ago. A contemplative selfie - not Jesus. Just my Christ Consciousness hangin out.
Romanian postcard by Casa Filmului Acin, no. 586. Julie Christie in Far from the Madding Crowd (John Schlesinger, 1967). Collection: Alina Deaconu.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Weekend commitments mean adventuring no further than the back garden, so what better opportunity then to get the old Tamron 150-600mm with Kenko x2 convertor, so 1200mm @ F5.6 / 1/125sec ISO 200 on the Canon 7D2
Although endless CN GE's can get old, the commitment CN has made to this Winnipeg-Chicago freeway is amazing. Steelton Hill is now the premium place in town to watch lots of trains putting on a show.
A residential pool is a commitment to maintain for life. Water is heavy and expensive to filter daily. The only alternative is to remove the entire pool. How much do you think that would cost?
I dedicate this image to Jay Daley for his effort and commitment on arriving on location at 7am, befriending a security guard (that looked like Pauly from Rockie) and then managed to get a special area roped off exclusively for us!
Great night out with the focus group with plenty of laughs and not a lot of drinking which makes for a great news years day.
The crisis stabilization unit is in effect an emergency room for psychiatry, frequently dealing with suicidal, violent, or otherwise critical individuals. Laws in many jurisdictions providing for long term involuntary commitment require a commitment order issued by a judge within a short time (after 72 hours, the evaluation period) of the patient's entry to the unit, if the patient does not or is unable to consent
Abandoned 3 mile sanatorium