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Fingers Scintilla and ariel Brearly have organized a Charity Art Sale, the proceeds to benefit the Live & Learn in Kenya Program. Here is my contribution to this incredible effort.
Live and Learn in Kenya NGO is based in Selb, Germany. Live and Learn in Kenya International NGO is its "daughter" organization in Kenya and is a registered non-profit, charity organization.
Desolation, hunger and thirst, poverty beyond comprehension, illiteracy, AIDS, child prostitution, child brides - this is what rules the lives of the people - especially the children - living within the Rhonda Slums of Nakuru, Kenya. Live and Learn in Kenya is changing this - day for day - child for child.
Live and Learn in Kenya finds sponsors to finance the education of needy children, which includes everything that the child needs in order to go to school — fees, uniform, shoes, textbooks, school supplies.
We have a German-based medical/dental partner organization "Arzt- und Zahnarzthilfe Kenya" , that provides for medical and dental care — including quarterly check-ups and vaccinations.
Our feeding program is also a huge success. With our "Shared Joy" project we are able to assure nutritious warm lunches for nearly 500 children every day. All funds are donations.
100% of the donations are transferred directly to Kenya to care for the children, provide education, medicine, food, shelter and foster care. Nobody is earning a cent at Live and Learn in Kenya NGO. Our professional staff in Kenya are paid through donations in order to insure a smooth running of the project - so that the children receive all that the should.
The Event begins at 11am SLT - Sat 25th Feb. and goes throughout the day with music, including some of Second Life's best-loved performers.
The Lavender Field - Feed a Smile
Just another late night contribution to 365 project in lack of creativity on a busy day.
Here a wide open shot my moving-coil pickup. Audiophile/nerd info: it's a Hana EL cartridge mounted on my upgraded Pro-Ject Debut turntable.
[ website | instagram | istock | getty images ]
location: Casa di Tollestrupe, Denmark
This was my contribution to the Guilds of Historica collaboration at Brickworld this year. I built the entire landscape and started on the buildings, before getting Isaac’s help to finish the model in time. The base split into three portions, and all the buildings were easily removable to allow for convenient transport of the build. It had been a while since I’d done a proper Middle Eastern scene, so it was a really fun build and I think turned out as one of my best Castle models yet.
Be sure to check out multiple pictures, as the build is viewable from all sides. More angles and close ups available on Brickbuilt.
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This full size Hawker Hurricane replica, standing near the River Thames in Windsor, is a memorial to Sir Sydney Camm and his contribution to British aircraft design.
Sir Sydney Camm, CBE, FRAeS (5 August 1893 – 12 March 1966) was an English aeronautical engineer who contributed to many Hawker aircraft designs, from the biplanes of the 1920s to jet fighters. One particularly notable aircraft he designed was the Hawker Hurricane fighter.
Sydney Camm was born at 10 Alma Road in Windsor, Berkshire, the eldest child of the twelve children of Frederick Camm, a carpenter/joiner and Mary Smith. The Camm family lived near Windsor & Eton Central railway station. His brother Frederick James Camm became a technical author and created the Practical Wireless magazine.
In 1901 he began attending the Royal Free School on Bachelors Acre in Windsor (The Royal Free school became the Royal Free Middle School with the secondary school becoming the Princess Margaret Royal Free School on Bourne Avenue). In 1906 he was granted a Foundation Scholarship. In 1908 Camm left school to become an apprentice carpenter.
Camm developed an interest in aeronautics and together with his brothers began building model aircraft, which they supplied to Herbert's Eton High Street shop. After finding that they could obtain a higher price they began making direct sales to boys at Eton College, which were delivered in secret to avoid attracting the attention of Herbert and the school authorities.
These activities led him to being one of the founders of the Windsor Model Aeroplane Club in early 1912. His accomplishments as a model aeroplane builder culminated in a man-carrying glider which he and others at the club built in 1912.
Shortly before the start of the World War I, Camm obtained a position as a shop-floor carpenter at the Martinsyde aircraft company ,which was located at the Brooklands racing circuit in Weybridge, Surrey. His ability soon led to his being promoted to the drawing office, where he spent the war period. After the company went into liquidation in 1921, Camm was employed by George Handasyde, who had created his own aircraft manufacturing company, which was responsible for the creation of the Handasyde Monoplane.
In November 1923 Camm joined the Hawker Aircraft Company (later Hawker Siddeley) based at Canbury Park Road in Kingston upon Thames as a senior draughtsman. His first design was the Cygnet, the success of which led to his being appointed chief designer in 1925.
In 1925, in association with Fred Sigrist, Hawker's managing director, Camm developed a form of metal construction, using cheaper and simpler jointed tubes, rather than the alternative welded structure.
During his employment at Hawker he was responsible for the creation of 52 different types of aircraft, of which a total of 26,000 were manufactured. Among his early designs were the Tomtit, Hornbill, Nimrod, Hart and Fury. At one time in the 1930s 84 per cent of the aircraft in the RAF were of Camm’s design.
He then moved on to designing aeroplanes that would become mainstays of the RAF in the Second World War including the Hawker Hurricane, Hawker Typhoon and Hawker Tempest.
"Camm had a one-tracked mind – his aircraft were right and everybody had to work on them to get them right. If they did not, then there was hell to pay. He was a very difficult man to work for, but you could not have a better aeronautical engineer to work under. With regard to his own staff, he did not suffer fools gladly and at times many of them appeared to be fools. One rarely got into trouble for doing something either in the ideas line, or in the manufacturing line, but woe betide those who did nothing, or who put forward an indeterminate solution."
Among the engineers who worked with Camm at Hawker were Sir Frederick Page (later to design the English Electric Lightning), Leslie Appleton (later to design the advanced Fairey Delta 2 and Britain's first air-to-air missile, the Fairey Fireflash), Stuart Davies (joined Avro in 1936 and later to be chief designer of the Avro Vulcan), Roy Chaplin (became chief designer at Hawker in 1957) and Sir Robert Lickley (chief project engineer during the war, and later to be chief engineer at Fairey).
The Hawker Hurricane was designed by Sir Sydney Camm.
With the Hurricane, Sydney Camm moved from the technology of the biplane to contemporary monoplane fighter aircraft. The result was that fighters flew faster, and with the improved engine technology of the time, higher and could be made more deadly.
The Hawker engineer Frank Murdoch was responsible for getting the Hurricane into production in sufficient numbers before the outbreak of the war, after an eye-opening visit to the MAN diesel plant in Augsburg in 1936.
When the Hawker Typhoon’s design first emerged and entered squadron service, pilots became aware that there was elevator flutter and buffeting at high speeds, due to the positioning of the heavy Napier Sabre engine intake very close to the wing root.
The engineering of the aircraft to travel at higher speeds and handle compressibility effects was one of the challenges of the day, but with his small design team of one hundred members at Hawker, Camm managed to solve these problems and make the Typhoon an effective combat weapon even at these speeds. As operational requirements changed, the Typhoon was used more as a fighter-bomber, in which role its low level performance, weapon-carrying capabilities and ability to absorb damage made it very effective. It was much used in the Battle of the Falaise Pocket, in which ground-attack aircraft proved very destructive. German losses were so severe that most of France was retaken less than two weeks after the conclusion of this operation.
The lessons learned from the Hawker Typhoon were incorporated into its successor, the Hawker Tempest. As soon as the Typhoon entered service, the Air Ministry requested a new design. C amm recommended that they keep the existing design of the Typhoon for the most part, with modifications to the aerofoil. He also considered the new and powerful Napier Sabre and Bristol Centaurus engines as the powerplant. Camm decided that both engines would be used: the Tempest Mk 5 was fitted with the Napier Sabre, while the Tempest Mk 2 had the Bristol Centaurus. The design modifications to be made to the aircraft to switch from one engine type to another were minimal, so that little assistance was needed in ferrying these aircraft all the way to India and Pakistan, in the final days of the conflict.
The Sea Fury was a higher performance development of the Tempest with a reduced wing area, a Centaurus engine, and a considerably improved view for the pilot. Named the Fury, only the carrier-based Hawker Sea Fury went into service, serving with the Royal Navy from 1947 to 1955.
After the Second World War, Camm created many jet-powered designs which would become important aircraft in the Cold War era.
Notable among these are his contributions to the Hawker Siddeley P.1127 / Kestrel FGA.1, the progenitor of the Hawker Siddeley Harrier. The Harrier is a well-known vertical takeoff and landing (VTOL) aircraft designed at Hawker Siddeley, which would later merge into British Aerospace, now known as BAE Systems. The Harrier was one of the radical concept aircraft which took shape in postwar Britain, which required the coming together of many important technologies, such as vectored thrust engines like the Bristol Siddeley (later Rolls-Royce) Pegasus and technologies like the Reaction Control System. Camm played a major role in determining these and other vital Harrier systems. In 1953, Camm was knighted for these and other achievements and his contribution to British Aviation. The P.1127 first flew on 21 October 1960. Working with Camm on this aircraft and the Hunter was Prof John Fozard, who became head of the Hawker design office in 1961 and would write a biography of Camm in 1991.
Camm worked on many aircraft built by Hawker before the Harrier, including what is probably his most significant aircraft after the Second World War, the Hawker Hunter. The Hawker Hunter, designed by Camm, made its first flight in 1951.
Camm was President of the Royal Aeronautical Society(RAeS) from 1954 to 1955. Since 1971 the RAeS has held the biennial Sir Sydney Camm Lecture in June, given by the current commander-in-chief of RAF Air Command.
Camm retired as chief designer at Hawker in 1965 and was succeeded by John Fozard. He, however, remained on the board of its successor, Hawker Siddeley until his death.
Before he died, Camm was planning the design of an aircraft to travel at Mach 4, having begun his life in aircraft design with the building of a man-carrying glider in 1912, just nine years after the first powered flight.
In 1966, Camm was awarded the Guggenheim Gold Medal, which had to be presented posthumously, as on 12 March 1966 he died aged 73, whilst playing golf at the Richmond Golf Club. He was buried in Long Ditton Cemetery, Long Ditton, in the County of Surrey.
This was one of my contributions to the Isles of Aura InnovaLUG layout at Brickworld this year. While trying to come up with ideas for how to make an island that was a little different than just your average floating rock, a flash of inspiration hit. Why not make a shipwreck island? I mean, with all these rocks and boats just floating around in the sky, it seems like the odds are pretty high that it would happen eventually. So now I had a good idea! But having an idea and building it are two different matters. I wanted the ship to have split the island, so that each side was at an angle. To achieve this, I made an extremely solid technic frame, and then built out from there. I’ll be doing a build log for this in the near future, so I won’t spoil all the details, but let’s just say it was quite a challenge at times. The buildings here were extremely fun to build however! I pretty much just tried to see how many balconies I could fit on one building with the taller one. Got to put some our MDF tiles to use too. Anyways, thanks for looking, and I hope you enjoy the build – as always, C&C is very welcome!
Lots more pictures on Brickbuilt!
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Dvates contribution to a magnificent seven-panel work in Fitzroy featuring Cam Scale, Adnate, Dvate, Rone, Jason Parker, Heesco and Sofles.
At the foot of the garden, I created a strip, only 18" wide but around 60' long running alongside a gravel footpath. I wanted this strip to be our contribution to rewilding.
I have left it uncut and unfed. Just allowing it to do whatever it wanted to. Today it is full of daisies, poppies and other wild flowers in amongst the grasses. Not to mention the increased visiting wildlife of bees, hoverflies, frogs, newts, beetles and birds darting in for bugs and besties. I will cut this strip back roughly in around twelve weeks and let it do it all again next year.
6" diameter each - dinnerware & stained glass.
These are my contributions to a Women's International Mosaic Project organized by Pam Goode
Contribution to Smile on Saturday, theme "a touch of frost".
From the archives, not much chance these days to capture this.
This is part of my contribution to this year's Brick to the Past model, The Jacobite Risings: The Fight for Britain's Throne. To be fair this is a team effort with James Pegrum providing the landscape and me providing and setting up the armies. Simon Pickard also provided a load of troops.
We thought it important that we should in some way show the Scottish, and more specifically, the Highland element of the government army and the obvious choice for this was to build a small company of the 43rd Highlanders (later the 42nd Royal Highlanders), better known as The Black Watch.
The Black Watch’s history goes back to the aftermath of the 1715 rising when the British Government found itself without the resources or manpower to keep a standing army in the Highlands. Instead they kept order by recruiting men from local clans that had remained loyal to the government. This arrangement proved unsatisfactory and in 1725 General George Wade raised six Independent Highland Companies as militia to keep "watch" for crime. These companies were commonly known in Gaelic as Am Freiceadan Dubh, or the Black Watch, probably due to the dark government issue plaids they wore. Four more companies were added in 1739 and in the same year all ten were formed into the 43rd Highland Regiment of Foot.
When the ‘Forty-five’ broke out, the Black Watch saw action at the Battle of Prestonpans in 1745 but then returned to England, partly to counter a feared French invasion and partly because they weren't really trusted not to join the Jacobites. However one of the regiment’s companies fought at the Battle of Culloden, where they suffered no casualties.
The key to creating a convincing LEGO Black Watch was to get the plaids right and fortunately there is a third-party company that makes kilts for minigiures in the Black Watch tartan. These, along with black bonnets rather than tri-corn hats, were placed on minifigures with the standard redcoat torso and the result is a reasonably accurate representation of the regiment’s dress during the ‘Forty-five’. Interestingly, accounts from the time appear to suggest that officers of the Black Watch could choose their own plaids and so our officer is dressed in a red tartan.
The Jacobite Risings: The Fight for Britain’s Throne is a LEGO model of a series of uprisings, rebellions and wars that occurred predominantly in Scotland, but also spread into Ireland and England, between 1689 and 1746. Following the deposition of James II of England and VII of Scotland in the Glorious Revolution, the aims of the risings were to return the Stuart monarch, and later his descendants, to the thrones of England and Scotland (and after 1707, the Kingdom of Great Britain). They take their name from Jacobus, the Latin form of James.
While conflict broke out in 1689, 1715, and 1719, the most famous rising is probably the last, that of 1745. During the “Forty-five" Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie, led an army from the Scottish Highlands as far south as Derby before retreating north to be decisively defeated at the Battle of Culloden in 1746. Culloden was the last pitched battle to be fought on British soil and marked the end of any serious attempt to restore the house of Stuart to the throne.
The Jacobite Risings: The Fight for Britain’s Throne is a Brick to the Past creation built by Dan Harris, James Pegrum, Simon Pickard, Tim Goddard and Steve Snasdell. It was unveiled for the first time at the Bricktastic in July 2017 and went on display again at The Great Western Brick Show in October. It is now on display at Stirling Castle until February 2nd 2018.
My contribution to the weekly photoshop competition. Check out the original photo on www.flickr.com/groups/pscomp/discuss/72157600738486345/
A contribution to Thorsten Bonsch's (Xenomurphy) Batman - Arkham Asylum build.
The design of this vehicle was inspired by the graphic novel Batman: Nine Lives published by DC Comics in 2002, written by Dean Motter, with art by Michael Lark.
See more of the amazing Batman - Arkham Asylum creation here: www.flickr.com/photos/xenomurphy/10581191764/
Last night at the Galway Camera Club I was announced as the photographer of the year.
What an honour. I came home with a beautiful bunch of flowers and the stunning, over 30 years old trophy.
This evening my little models who have made a big contribution to my win had to inspect the authenticity of the trophy.
Magnifying glasses and a polishing cloth were used and after a good half an hour of inspection they were happy with the quality of it.
Thank you Galway camera club for having me there. I’m enjoying every minute.
My contribution to the Neo Classic Space 30th Anniversary Extravaganzapalooza.
Big, huge thanks to my online buddy nnenn for whipping this up in photoshop, then dealing with my complaints about it! It looks beautiful.
Also a big huge thanks to James and the crew over at NCS for inviting me to participate. It was fun, and I sure do miss all my Classic Space stuff.
As you can tell, I also owe a debt to Peter Reid for the cockpit idea. I wouldn't have gotten anywhere without it. I think it helps tie this creation in with his, and helps keep the MOCs sort of more or less uniform. Sort of. The main idea for the body I lifted right off of several MOCs by nnenn
More here already moderated.
This is part of my contribution to this year's Brick to the Past model, The Jacobite Risings: The Fight for Britain's Throne. To be fair this is a team effort with James Pegrum providing the landscape and me providing and setting up the armies. Simon Pickard also provided a load of troops.
Attached to each infantry regiment were grenadiers; soldiers that represented the elite of the British army. Grenadiers did not wear the usual tri-corn hat of regular infantry, instead wearing a finely decorated mitre-style headpiece. While we cannot recreate the decoration, a mitre may be recreated using a headpiece found originally in Prince of Persia sets. To complete our grenadiers we have also equipped them with a satchel, which is supposed to represent the grenades they carried.
The Jacobite Risings: The Fight for Britain’s Throne is a LEGO model of a series of uprisings, rebellions and wars that occurred predominantly in Scotland, but also spread into Ireland and England, between 1689 and 1746. Following the deposition of James II of England and VII of Scotland in the Glorious Revolution, the aims of the risings were to return the Stuart monarch, and later his descendants, to the thrones of England and Scotland (and after 1707, the Kingdom of Great Britain). They take their name from Jacobus, the Latin form of James.
While conflict broke out in 1689, 1715, and 1719, the most famous rising is probably the last, that of 1745. During the “Forty-five" Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie, led an army from the Scottish Highlands as far south as Derby before retreating north to be decisively defeated at the Battle of Culloden in 1746. Culloden was the last pitched battle to be fought on British soil and marked the end of any serious attempt to restore the house of Stuart to the throne.
The Jacobite Risings: The Fight for Britain’s Throne is a Brick to the Past creation built by Dan Harris, James Pegrum, Simon Pickard, Tim Goddard and Steve Snasdell. It was unveiled for the first time at the Bricktastic in July 2017 and went on display again at The Great Western Brick Show in October. It is now on display at Stirling Castle until February 2nd 2018.
A contribution to the Getty Museum Challenge.
Table and Cat in a hat each folded from a square of paper (no cut, no glue).
Just received my copy. Crabs with beach trash homes featured June 2018 In National Geographic.The editors did an outstanding job on Planet or Plastic.#planetorplastic #okinawa #hermitcrabs #scientific #plasticpollution
- - Documenting my published work, check out more in my publication and contribution folder
www.youtube.com/watch?v=qs9NuiLEZM8
The project by Shawn Miller -
abcnews.go.com/US/national-geographic-launches-effort-red...
okinawanaturephotography.com/crabs-with-beach-trash-homes...
www.nationalgeographic.com/magazine/2018/06/plastic-plane...
www.bbc.com/news/science-environment-44215881
www.boredpanda.com/plastic-crisis-impact-on-wildlife-nati...
www.eurthisnthat.com/2018/05/20/national-geographic-issue...
www.washingtonpost.com/national/health-science/the-amount...
abcnews.go.com/US/national-geographic-launches-effort-red...
www.natureknows.org/2018/05/national-geographics-newest-i...
www.natgeotraveller.in/for-animals-plastic-is-turning-the...
www.artfido.com/national-geographic-releases-planet-or-pl...
pulptastic.com/national-geographic-plastic-pollution-guilt/
www.newsliveupdates.com/this-national-geographic-cover-be...
My contribution to "There is no place like home" themed Flickr Friday. I do not live in Brno, but after 7 years of studying here, Brno is like home to me.
Brno, Czech republic.
EDIT: This photo took 9th place in "BRNO: Internetová encyklopedie dějin Brna" competition.
My contribution to 52 weeks, this week being colour. Had so much fun photographing and making this!
For those who want to know. I used a CD and used kitchen down lights to highlight the colours. I then set a long exposure and zoomed in and out and wobbled the camera as well. In photoshop I used a extraction filter after darkening the darks then overlaid and even cut out some of the shapes to give that zoom out feeling. I noticed the backgrounds overlapped and at first I tried to clean them up but then I saw the patterns they were making so I left them and enhanced the redishness of them.
My contribution for Day 3's prompt...scrap a photo without journaling. I loved this pic of my middle daughter, but didn't know what to do for it, so this prompt was perfect. I never scrap without journaling so I thought this would be difficult, but the picture just spoke to me.
My contribution for the DigiLUG Christmas Market collaboration, where all the models were designed in 90 minutes during a Christmas party. I added the second swappable backdrop and minifigures later.
Individual 3D View: mecabricks.com/en/models/1w2rzkNd28W
Collaboration: mecabricks.com/en/models/9P2kzKYYaon
poss contribution (#2) to MM challenge for 27/4/20, theme: Windowsill
something red after last week's yellow - I know there is no logical progression there either but...
This is an old carafe that is usually used as a vase but just for today it's been washed and filled with.... ok, yes, fruit squash! And no, I didn't drink it afterwards.
The later pictures from the session are at 1:1 and show less than a quarter of the detail here but I felt the whole design was needed, even with bubbles - it's still only about an inch across
Back at Lelant in the afternoon after a run on Olympian 34177. That's already been posted on this site so my contribution is 32104 (LT02 ZCO), one of many buses drafted in during the last year to replace Volvo Olympians. This one still retains remnants of Norwich Red Line branding.
I had the honour to take photos from a high ground rescue with the heroes from the Frölunda fire department. This was an exercise from an 80-meter high crane.
Please take a look at the other photos from the exercise in the album "high ground rescue".
www.flickr.com/photos/henrikprohaszka/sets/72157651634902...
This picture is black and white and the reason to that is that I wanted to give it the feeling from the wonderful pictures of the construction of New York skyscrapers.
This is my contribution to this week's theme “#soft” for the Swedish flickr group Photo Sunday.
Have a nice week!
This week's Monochrome Monday offering is a steam bonus from this fun day of two foot gauge railroading up in the Pine Tree State. The Maine Narrow Gauge Railroad Co. and Museum held a Maine Steam Weekend celebration in conjunction with their friends at the Wiscasset, Waterville and Farmington Railway Museum as their contribution to the annual National Train Day which is officially May 10 to coincide with the date in 1869 when the Golden Spike was driven at Promontory Summit to mark the completion of the first Transcontinental Railroad.
Two foot gauge Bridgton & Saco River Railroad number 7 operated seven round trips along the one and a half mile route along the shore of Casco Bay winding around the Eastern Promenade to the edge of the former Back Cove trestle where they are seen paused in this photo. The line is built on the right of way of the former Grand Trunk Railway mainline, and numerous surviving standard gauge ties as seen here belie the line's historic past dating from 1848 when the Atlantic and St. Lawrence Railroad opened to Yarmouth, ironically originally built to a broad gauge of 5 ft 6 in. Leased by the GTR in 1853 it was standard gauged in 1874 and saw its last train in 1984 after the trestle burned and was not repaired as parent CN had lost interest in their Grand Trunk subsidiary in Maine. Take note of the open swing span of the trestle still clearly visible to right of number 7. Less than a decade later in 1992 the MNG was formed to repatriate much of the historic Maine 2 ft gauge equipment from its longtime home at Edaville Railroad in Carver, Massachusetts back to its home state of Maine.
The Bridgton and Saco River Railroad traces its history to 1883 when it opened a 16 mile route from its namesake town to a junction with the standard gauge Portland and Ogdensburg Railroad in Hiram, ME. Fifteen years later the line was extended north five miles to Harrison and 21 miles was the greatest extent it ever achieved. In 1912 the Maine Central Railroad (which by then owned the former P&O Route) purchased the little road and ran it for fifteen years until local interests acquired it from the MEC and renamed it the Bridgton and Harrison. Ironically in Oct. 1930 the Harrison extension was abandoned and then just under 11 years later then remainder of the dimutive pike gave up the ghost, the second to last of the five two ft gauge lines to fall.
Per the folks at the Bridgton and Saco River Railroad museum's site here: bridgtonrailroad.org/
B&SR 2-4-4T #7 was the second Baldwin built locomotive for the railroad amd is quite large by 2 ft gauge standards, at just over 34 ft long, weighing 33 tons and exerting 10,000 lbf of tractive effort. Built in 1913 to replace the aging #3 the locomotive included many innovations for the B&SR. The largest innovations were the outside frame Walschaert valve gear and increased tractive effort. The locomotive would serve faithfully until the very end of the B&SR and B&H. Towards the end of the B&H, #7 played an increasingly reserve role as damage to her firebox could not be adequately repaired with the funds available to the railroad, leaving #8 as the primary motive power. #7's last duty would be hauling the work train that tore up the original rail line. #7 would avoid scrapping when Ellis D. Atwood of South Carver Massachusetts purchased all the remaining motive power and rolling stock of the B&H to form a railroad at his cranberry bogs.
After the end of the Second World War #7 would be moved to her new home alongside all of the rest of the surviving B&H equipment. After being repaired #7 would go on to operate at the Edaville Railroad until it's closure in 1992. In 1993 #7, joined by most of the remaining 2-foot equipment, including B&SR #8 and Monson #3 and #4 returned to Maine to operate at the Maine Narrow Gauge Railroad Museum in Portland, Maine. Following a 1472 day rebuild, #7 re-entered MNG service in 2018.
If you'd like to visit or support the efforts of the Maine Narrow Gauge Museum check out their site here: mainenarrowgauge.org/
Portland, Maine
Saturday May 9, 2026
I'm sorry that this has been my sole contribution to the December challenge, but there's been a lot going on in my life. My mum has been moved to a small rehab unit (not that sort of rehab!) at a hospital closer to my parents' home in Kent, and is now able to get in and out of bed, sit in a chair and walk a bit further. She is hoping to be back home with my dad before Christmas. Let's hope it's a Happy Christmas for everyone!
This is part of my contribution to this year's Brick to the Past model, The Jacobite Risings: The Fight for Britain's Throne. To be fair this is a team effort with James Pegrum providing the landscape and me providing and setting up the armies. Simon Pickard also provided a load of troops.
The Jacobite Risings: The Fight for Britain’s Throne is a LEGO model of a series of uprisings, rebellions and wars that occurred predominantly in Scotland, but also spread into Ireland and England, between 1689 and 1746. Following the deposition of James II of England and VII of Scotland in the Glorious Revolution, the aims of the risings were to return the Stuart monarch, and later his descendants, to the thrones of England and Scotland (and after 1707, the Kingdom of Great Britain). They take their name from Jacobus, the Latin form of James.
While conflict broke out in 1689, 1715, and 1719, the most famous rising is probably the last, that of 1745. During the “Forty-five" Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie, led an army from the Scottish Highlands as far south as Derby before retreating north to be decisively defeated at the Battle of Culloden in 1746. Culloden was the last pitched battle to be fought on British soil and marked the end of any serious attempt to restore the house of Stuart to the throne.
The Jacobite Risings: The Fight for Britain’s Throne is a Brick to the Past creation built by Dan Harris, James Pegrum, Simon Pickard, Tim Goddard and Steve Snasdell. It was unveiled for the first time at the Bricktastic in July 2017 and went on display again at The Great Western Brick Show in October. It is now on display at Stirling Castle until February 2nd 2018.
Octobre est le mois dédié à la lutte contre le cancer du sein en Europe. Si vous ajoutez vos photos « pink (rose) » à ce groupe, vous pouvez permettre de récolter jusqu’à 30.000 euros de fonds de charités.
Pour chaque photo Pink (rose) ajoutée à l’adresse suivante : www.flickr.com/groups/pink2008, Yahoo For Good fera un don de 1 euro jusqu’à un maximum de 30.000 euros de dons. Nous partagerons la totalités des dons de manière égale entre 5 fonds de charité dans les 5 pays suivants : France, Allemagne, Royaume Uni, Espagne et Italie.
October is the month dedicated to the fight against breast cancer in Europe. If you add your phicture “pink” to this group, you can allow to collect up to 30.000 euros of funds of charities.
For each pink picture you add to www.flickr.com/groups/pink2008 Yahoo! for Good will donate 1€, up to a maximum of 30,000€. They will split the total equally between 5 charities in UK, Germany, France, Spain and Italy.
The contribution made by Indian Railways locomotive No. 17879 to urban air pollution could not be ignored. It was re-starting Train 386NR, the 10:55 Rewari Junction to Delhi Junction from Garhi Harsaru Junction station.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse
Artizen HDR
All information taken from www.wattsgallery.org.uk/ and Wikipedia
Designed and built by Mary Watts, the Chapel is a unique fusion of art nouveau, Celtic, Romanesque and Egyptian influence with Mary's own original style.
As followers of the Home Arts and Industries Association, set up by Earl Brownlow in 1885 to encourage handicrafts among the lower classes, the Chapel was the Watts's contribution to this characteristically Victorian preoccupation with social improvement through creative enlightenment. Mary passionately believed that anyone with a real interest and enthusiasm could be taught how to produce beautiful decoration, if in the process it kept them away from the 'gin palaces' of Guildford, this was surely a good thing. With this belief firmly in mind she encouraged all from the village, whatever their social status, up to their house Limnerslease for instruction in clay modelling.
The clay came from a seam that was discovered in the grounds of their house, apparently not unusual for this area. Taking this as a sign, Mary embarked upon the project with her usual determination, writing to the Parish Council in 1895 offering to build a new cemetery chapel, as the old graveyard in the village church of St Nicholas was full to capacity.
Her offer was accepted. As early as 1888 concerned parishioners had discussed the problem of space and plans were therefore already underway for land to be purchased from the Loseley Estate. Mary had produced her clay model of the new chapel by August 1895 and later that year the sale of land from William More-Molyneux was agreed.
The first clay modelling class took place at Limnerslease on Thursday 14 November 1895. All were welcome, from the local lady of the manor to her farm boys, as long as there was a genuine desire to learn, Mary was happy.
After a few weeks learning how to handle clay and modelling simple decorations, they would begin to make clay tiles from the plates Mrs Watts had prepared.
The design itself is an amalgamation of inspiration, every aspect having symbolic meaning. The Circle of Eternity with its intersecting Cross of Faith is from pre-historic times and symbolises the power of redeeming love stretching to the four quarters of the earth. The dome is traditionally seen as emblematic of heaven, the four panels on the exterior containing friezes symbolising the Spirit of Hope, the Spirit of Truth, the Spirit of Love and the Spirit of Light.
The exterior of the Chapel was finished in 1898, but the decoration of the interior took a while longer. Mary took the most talented of her craftsmen and women and together they created the stunning gesso interior, finally completing it in 1904.
The Chapel is Parish property and is open to the public daily.
George Frederic Watts, OM (23 February 1817 – 1 July 1904; sometimes spelt "George Frederick Watts") was a popular English Victorian painter and sculptor associated with the Symbolist movement.
Watts became famous in his lifetime for his allegorical works, such as Hope (see image) and Love and Life. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language.
Watts was born in Marylebone, London, the delicate son of a poor piano-maker. He showed promise very early, learning sculpture from the age of 10 with William Behnes and enroling as a student at the Royal Academy at the age of 18. He came to the public eye with a drawing entitled Caractacus, which was entered for a competition to design murals for the new Houses of Parliament at Westminster in 1843. Watts won a first prize in the competition, which was intended to promote narrative paintings on patriotic subjects, appropriate to the nation's legislature. In the end Watts made little contribution to the Westminster decorations, but from it he conceived his vision of a building covered with murals representing the spiritual and social evolution of humanity.
Visiting Italy in the mid-1840s, Watts was inspired by Michelangelo's Sistine Chapel and Giotto's Scrovegni Chapel, but back in Britain he was unable to obtain a building in which to carry out his plan. In consequence most of his major works are conventional oil paintings, some of which were intended as studies for the House of Life.
In the 1860s, Watts's work shows the influence of Rossetti, often emphasising sensuous pleasure and rich color. Among these paintings is a portrait of his young wife, the actress Ellen Terry, who was nearly 30 years his junior – just seven days short of her 17th birthday when they married on 20 February 1864. When she eloped with another man after less than a year of marriage, Watts was obliged to divorce her (though this process was not completed until 1877). In 1886 at the age of 69 he re-married, to Mary Fraser-Tytler, a Scottish designer and potter, then aged 36.
Watts's association with Rossetti and the Aesthetic movement altered during the 1870s, as his work increasingly combined Classical traditions with a deliberately agitated and troubled surface, in order to suggest the dynamic energies of life and evolution, as well as the tentative and transitory qualities of life. These works formed part of a revised version of the house of life, influenced by the ideas of Max Müller, the founder of comparative religion. Watts hoped to trace the evolving "mythologies of the races [of the world]" in a grand synthesis of spiritual ideas with modern science, especially Darwinian evolution.
In 1881, having moved to London, he set up a studio at his home at Little Holland House in Kensington, and his epic paintings were exhibited in Whitechapel by his friend and social reformer Canon Samuel Barnett. Refusing the baronetcy offered him by Queen Victoria, he later moved to a house, "Limnerslease", near Compton, south of Guildford, in Surrey.
After moving into "Limnerslease" in 1891, Watts and his wife Mary arranged the building of the Watts Gallery nearby, a museum dedicated to his work – the first (and now the only) purpose-built gallery in Britain devoted to a single artist – which opened in April 1904, shortly before his death. Watts's wife Mary designed the nearby Mortuary Chapel. Many of his paintings are also held at the Tate Gallery – he donated 18 of his symbolic paintings to the Tate in 1897, and three more in 1900. He was elected as an Academician to the Royal Academy in 1867 and accepted the Order of Merit in 1902.
In his late paintings, Watts's creative aspirations mutate into mystical images such as The Sower of the Systems, in which Watts seems to anticipate abstract art. This painting depicts God as a barely visible shape in an energised pattern of stars and nebulae. Some of Watts's other late works also seem to anticipate the paintings of Picasso's Blue Period.
Watts was also admired as a portrait painter. His portraits were of the most important men and women of the day, intended to form a "House of Fame". Many of these are now in the collection of the National Portrait Gallery – 17 were donated in 1895, with more than 30 more added subsequently. In his portraits Watts sought to create a tension between disciplined stability and the power of action. He was also notable for emphasising the signs of strain and wear on his sitter's faces. Sitters included Charles Dilke, Thomas Carlyle and William Morris.
During his last years Watts also turned to sculpture. His most famous work, the large bronze statue Physical Energy, depicts a naked man on horseback shielding his eyes from the sun as he looks ahead of him. It was originally intended to be dedicated to Muhammad, Attila, Tamerlane and Genghis Khan, thought by Watts to epitomise the raw energetic will to power. A cast was placed at Rhodes Memorial in Cape Town, South Africa honouring the grandiose imperial vision of Cecil Rhodes. Watts's essay "Our Race as Pioneers" indicates his support for imperialism, which he believed to be a progressive force. There is also a casting of this work in London's Kensington Gardens, overlooking the north-west side of the Serpentine.
Hiking in the area of Epano Sisi and Milatos, Crete, April 25, 2019
(bidrag till flickr-gruppen Fotosöndag med tema "förnyelse")
(contribution to the Flickr group Fotosöndag with this week's theme "renewal")
Our contribution for THE CHALLENGE with the theme: Castaway: The Driftwood Wicker Chair. The Chair contains 12 single sit animations. LI 9 / 3 Prims. Dimensions: 1.9 x 1.0 x 2.2 meters. The Driftwood Wicker Chair will be available on the 30th June 2015 at 22769 ~ [bauwerk] (SURL: maps.secondlife.com/secondlife/Wooden%20Bay/36/124/23). The first week of release (until 6th July) the chair will be 25% discounted.
The "Piazza del Vento" derives from Renzo Piano's inspiration, as a contribution that he offered to Salone Nautico and the city of Genova. The author of the project is the architectural firm OBR run by Paolo Brescia and Tommaso Principi, who conceived it for the 57° edition of the Genoa Boat Show.
The project, strongly wanted by Ucina Confindustria Nautica with Spim support, represents the legacy of Salone Nautico to the city: "a collective and multisensorial installation designed for a temporary event turning into a permanent public artwork, where to celebrate the rite of urbanity on the sea, thus enhancing the strong link between Salone Nautico and Genova", as Paolo Brescia explained.
OBR designed a "field" of 57 masts in red maple wood and white steel, 12 meters tali and bound together with textile stay-cables with dacron jibs inferred ono On the top of each mast a windex is placed,.sewing coloured spinnaker's fabric highlighting the direction and the intensity of the wind. Among the masts, some double seat swings are placed, where to sit as couple in the shade of the sails while looking toward the sea.
Cooperating with the musician Roberto Pugliese, Margherita Del Grosso and Matteo Orlandi have created the sound field activated by the action of the wind: a system of brass rods of different length, arranged according to a precise spatial scheme among the masts, reflects the sounds of the mare nostrum with chords trom a Mediterranean musical scale "played" by the wind.
The installation also involves the poet and street artist Ivan Tresoldi, who performs with his group Artkademy together with the visitors of Salone Nautico creating the anamorphosis: "Who throws seeds in the wind will make the sky flourish".
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La "Piazza del Vento" nasce da un'ispirazione di Renzo Piano, come contributo offerto al Salone Nautico e alla città di Genova. Autore del progetto è lo studio d'architettura OBR di Paolo Brescia e Tommaso Principi, che lo ha ideato per la 57° edizione del Salone Nautico di Genova.
L'intervento, fortemente voluto da Ucina Confindustria Nautica con il supporto di Spim, rappresenta l'eredità del Salone alla città: "un'installazione multisensoriale collettiva nata per un evento temporaneo che diventa un'opera pubblica permanente, in cui celebrare il rito dell'urbanità sul mare, sancendo' così il legame indissolubile tra il Salone Nautico e Genova", come ha spiegato Paolo Brescia.
OBR ha immaginato un "campo" di 57 alberi in legno di acero rosso e acciaio bianco alti 12 metri e strallati tra loro con sartie in tessile su cui sono inferiti dei fiocchi in dacron. Sulla sommità degli alberi sono installati dei segnavento cuciti con tessuti di spinnaker colorati che
danno evidenza della direzione e dell'intensità del vento. Tra alcuni alberi sono ricavate delle altalene doppie da utilizzare in coppia, all'ombra delle vele e con vista mare.
Collaborando con il musicista Roberto Pugliese, Margherita Del Grosso e Matteo Orlandi hanno ideato un campo sonoro attivato dall'azione del vento: un sistema di canne d'ottone di diversa lunghezza, disposte secondo un preciso schema spaziale tra gli alberi, restituisce le sonorità del mare nostrum con degli accordi secondo una scala musicale mediterranea "suonata" dal vento.
L'installazione vede anche il coinvolgimento del poeta e artista di strada Ivan Tresoldi che, con il suo gruppo Artkademy, realizza una performance con il pubblico del Salone Nautico creando l'anamorfosi: "Chi getta semi al vento farà fiorire il cielo".
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corpse
My contribution to the Exquisite Corpse show at the new Aurora Loop Gallery in Port Townsend Washington.
971 Aurora Loop, Port Townsend, WA 98368
Gallery Hours: Thursday - Sunday, 12:00-5:00 pm
Or by appointment
auroraloopgallery@gmail.com
(773) 227-6757
Lovell Singleary was the last cobbler of Overtown. He lost his shop in May and his story was published in the Miami Herald. I stopped by his shop that night to drop off some photos and asked what he was going to do without his business and recommended retiring but his response was silent. I haven't seen him since and four months later he passed away. He may not be with us but his photos and contribution to the community will live forever. He was a good friend and helper. #riplovell
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EU Commissioner for Crisis Management Janez Lenarčič was awarded a state award for his personal contribution to the support of Ukraine.
Thank you for the unprecedented volume of humanitarian aid to our country from the European Union!
...Shellharbour.
My contribution to the Next Best Thing Pinhole Project www.nextbestthingpinhole.com/
Holga 120WPC on Velvia 50 and cross processed in Tetanal C41 two bath rapid kit.
The Shellharbour Dolphins swim all year around. Even on icy days when the temperature is not far above freezing, the hardy club members will be in the pool training. Many of the Dolphins are older retired workers, who enjoy the camaraderie of getting together afterwards for a hot drink and a sausage sizzle on a Sunday morning, after braving the elements.
Detail shots of my main contribution to the "Rogue Francisco" collab at Bricking Bavaria 2025 in Friedrichshafen. I built an homage to the Shell Building, a Golden Age skyscraper from 1929 in a mixture of neo-gothic and art déco, designed by George Kelham, who shaped many a significant building in the Bay Area. It was built for the US subsidiary of Royal Dutch Shell, who used it as their headquarters up until the 60s.
It is of course ultimately a minifig interpretation of the building on a 32-baseplate, with all the compromises regarding proportions and general dimensions this comes with. Design-wise I removed a ton of floors in the middle and fused some at the top, in addition to reducing the horizontal layout to ⅔. But overall I tried to stay close to the design elements of the original. Colour-wise, I chose white for the terracotta, which in reality can look like anything between white, tan and grey, and sand blue for the steel elements, because it makes for a more interesting contrast than plain black or dark grey.
Most of the windows are blacked out, but the penultimate floor as well as the side stores on the street level are lit and furnished. The lobby is also lit and can be looked into through a hole in the back (since I was placed right at the border anyway). While the lobby is based on historical and contemporary photos, the rest of the interiors were improvised.
On one of the balconies you can also find Scorpio with his rifle, but Inspector "Dirty" Harry Callahan is already on his trail.
At 11k pieces and more than 10 kg this has certainly been my largest contribution so far (if not my largest MOC in general), but it was a lot of fun to design and build, especially in comparison to the landscaping of previous years. I'll probably keep it around for a while, too (I wouldn't know where to put all those pieces anyway).
Classified as a 10 W-W, it is a valid contribution to the daffodils in the bulbocodium division. Bred in Tasmania and officially registered in 1998, it opens with a yellow hue but becomes quite white whlie aging..
This is our contribution for LTD - The Event: The Roofed Wicker Beach Chair (LI 5/4 Prims - 10 single and 6 couple animations), the Beach Bean Bag (LI 2/1 Prim - 12 single animations), The rattan table (with and without plate with melons - LI 1/2 Prims), The Life Belt, Fishermans Floats (in different colors and sizes) and as opening gift the Beach Candle.
LTD - The Event openes 10th June 2015 at noon SLT-Time.