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I think these control the forward and aft hydroplanes, respectively. The submarine is the post-war U9, ex-Federal German Navy, now on exhibit in Technik-Museum Speyer, Germany
Conducting a controlled burn on the Froland Waterfowl Production Area. Conditions were ideal for setting back the woody vegetation that is invading the native prairie!
Photo by Alex Galt/USFWS.
gun control by quote catalog.
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The goats are there to keep the vegetation under control along the ramparts of Fort Rowner inside HMS Sultan engineering school. This gate is to prevent them getting onto the parade ground and wandering off around HMS Sultan.
Fort Rowner is one of the Palmerston Follies (after Lord Palmerston) built in the late 1850s and early 1860s as protection for Portsmouth harbour in case the French decided to invade Britain. After all the French had the first iron clad warship!
Taken with my little Panasonic camera as my Canon 7D Mk2 now returned to LCE for dispatch to Canon K for repair. The Error 20 message from yesterday has been replaced by Error 30!
Note the two fellows on the tower who then unbolted it section by section. By lunchtime our view was forever changed.
Portsmouth & Southsea station and approaches as shown on the 1947 Southern Railway Traffic Control- Southern Division Area No 3 diagram.
Main running lines are shown in heavy lines with sidings in the lighter version. Lines equipped with electrification - in this case 660V DC third rail - are marked 'ELEC'. In the Low Level platforms at Portsmouth & Southsea the only lines marked as electrified are plats 3,4 and 5. C Siding between plats 4 and 5 is also electrified I believe, The loco yard on the up side is not electrified but the lines alongside would appear to be, On the down side the down relief, back road and nos 1,2,and 3 sidings are also electrified. Somewhat amusingly the Portsmouth Electric Company’s two sidings are not electric but to be fair wouldn't have any requirement to be.
Fuel controls for the Boeing KC-135 Stratotanker, which is a military aerial refueling aircraft. Both the KC-135 and the Boeing 707 airliner were developed from the Boeing 367-80 (“Dash-80”) prototype. The KC-135 was the US Air Force's first jet-powered refueling tanker, entering service in 1957. The last KC-135 was delivered to the Air Force in 1965. KC-135s are still in service, refueling Air Force, Navy, Marine, and NATO aircraft.
Seen at the Yankee Air Museum in Belleville, Michigan.
Nemerov Howard. " Gun Control Laws Cannot Prevent Youth Violence.” Detroit. Greenhaven Press. 20’. Opposing Viewpoints Resource Center. Web. 14 June 2010 This article touches on a lot of things but particularly on gun violence what harms the youth. After reading this article my perception about gun control laws have become even stronger. About 3,006 teens were killed in 2004 because of firearms? The article talkes about the millions of people that have died because of guns and listed out the death rates in America. According to the Children’s Defense Fund, they claim increasing gun control laws will save the lives of children. This article also talkes about how an experimented was conducted and found that the suicide rate in teens have increased in the past years all used with firearms found in homes. The article brought out a very good point to use in my defense that fire arms around children can be more harmful than people may think.
punk band Control supporting Rancid at Glasgow Barrowlands 2-12-12. Lighting was so bad and so little of it.
We all want control, control over our lives, control over our destiny, control over others... But are we really in control, can we truly say we know what will happen the next second? I may not know about my own future but I know the One who controls my tomorrow. The Lord Jesus is not just my Saviour but He is the ruler of my life. =)
Taken, Mucking Level Crossing. Thurrock. Essex. (Taken from a repair vehicle that runs on the rail tracks for maintaining the overhead electric cables etc.)
Porche West’s artful expresssions exists at the nexus of photography and sculpture, the point where photography and sculpture converge. Dramatic and thought-provoking photographs are “housed” within salvaged architectural elements adorned with thought-provoking, symbolic objects. The net effect is additive - the sum is greater than the parts - photographs encorported within sculpture deepen the meaning and message of the art.
It is Porche West’s contention that flat photographs fail to achieve the richness and dimensionality of photographic sculpture. Though a framed photograph can tell a good story, a photograph “housed” in sculpture gives a more nuances and deep narrative. Salvaged architectural debris door casings, flooring, window frames, knobs and pulls give the photograph a sense of place, an authenticity that comes from being at home in the soul of the artist’s works.
Porche West’s assemblage is cultural “curatorialism” masked as art. The simple behaviors and beliefs of ordinary people are universal and easily understood. Religious faith, death and burial rituals, celebration and suffering are comprehended, if not shared, by all humanity. To see one’s own emotions in the face of a Haitian child or the hands of an elderly woman in New Orleans, is to be reminded that that which binds us together is greater than that which divides us. We are in essence, one.
'The Bank of Soul' - A four minute video rendering of the artist's studio, philosophy and vision:
Photographer Christopher Porche West was born in California but has family ties in Louisiana. He has been working with the scenes and people of New Orleans for more than 30 years. His interests began in the late 1970s when he came to New Orleans from the University of California Santa Cruz to research free people of color. He continued to be interested in the city's culture and decided to pursue topics in contemporary New Orleans, including Creoles, Mardi Gras Indians, jazz funerals, neighborhood events, and passing rites. Though he kept up his commercial studio in Newport Beach, California, he self-published 'Eloquent Visages,' a series of Mardi Gras Indian portraits. In 1995, West permanently moved in New Orleans. He set up a temporary studio for the Indians that allowed them to be in control of the means of their documentation; this was a first. In the late 1990s, he continued to explore his curiosity in the people of New Orleans, but he also began experimenting with scrap material that he found around the city. His new medium was part photography, part sculpture. His relationship with the American Haitian Development Association allowed him to make three trips to Haiti in the time span of two years, from 1998-2000. These trips were the first of a series of visits to the Caribbean. In 2003, Carnival Interests led him to visit Cuba. in 2004 and 2012. Though he has been featured in over 40 exhibitions, his most notable accomplishment was being chosen to singularly commemorate the Louisiana bicentennial in Paris. For this event, his work was featured at Festival L'espirit Jazz a Saint Germain des Pres. His work can be found at the New Orleans Museum of Art, Harvard University, Amistad Research Center, and the University of California-San Diego.
Publications:
Eyes of Eagles: New Orleans Black Mardi Gras Indians, A Studio On Desire, New Orleans LA (2009)
'New Orleans - What Can't Be Lost: 88 Stories and Traditions from the Sacred City' University of Louisiana Lafayette Press, Lafayette LA (2010)
'New Orleans: What Can't Be Lost' Louisiana Cultural Vistas, Louisiana Endowment for the Humanities 2011
Expositions:
Through the Lens: 'Photographing African American Life' Amistad Research Center, New Orleans LA 2013
Expo Personal: Christopher Porche West “La Odisea Cultural de New Orleans a Santiago de Cuba, Association Hermanos Paiz, Santiago de Cuba 2012
NOLA NOW : Landscape, Seascape, Cityscape Contemporary Art Center , New Orleans, LA 2012
Residents and Visitors: Twentieth-Century Photographs of Louisiana, New Orleans Museum of Art, 2010
New Orleans Jazz and Heritage Festival, Contemporary Arts and Crafts, New Orleans, LA 2008, 2009, 2010.
Raymond James Gasparilla Festival of the Arts, Tampa FL 2008
Bayou City Art Festival Memorial Park, Houston TX 2008
“Santiago de Cuba: ReBirth & Congas en la Calle” McKenna Museum of African-American Art, New Orleans, La 2008
Three Rivers Art Festival, Covington, LA 2007
Bogue Falaya Award
“Regards sur la Nouvelle Orleans” (Visions of New Orleans) French Ministry of Culture, Saint Honor? Paris, France 2007.
New Orleans Jazz and Heritage Festival, Contemporary Arts and Crafts, New Orleans, LA 2007
'Fresh Art' New Orleans Arts Council 2006, Award of Merit
“Unforgotten Souls- New Orleans, Haiti, Cuba, Liberia” 333 Bush Street, San Francisco, CA 2006
Sausalito Arts Festival, Sausalito, CA 2006- 1st Place Mixed Media
Coconut Grove Art Festival, Coconut Grove, FL 2006
New Orleans Jazz and Heritage Fesitval, Contemporary Arts and Crafts, New Orleans, LA 2006 Best of Show
From Louis XIV to Louis Armstrong: A Cultural Tapestry, The Historic New Orleans Collection, New Orleans 2006
The Darkroom, New Orleans Center for Photographic Arts, New Orleans, LA 2005
New Orleans Jazz and Heritage Fesitval, Contemporary Arts and Crafts, New Orleans, LA 2005
La Louisiane, del la colonie franciais a l’Etat americain, Mona Bismark Foundation, Paris 2006
Haiti Cherie: 200 Years of Independence, Alliance Francaise, New Orleans, LA 2005
New Orleans Jazz and Heritage Festival 2004, Contemporary Arts and Crafts. ?Best Display.
Haiti Cherie: 200 Years of Haitian Independence, Alliance Francaise, New Orleans, LA 2004
Galerie Laurent Herschtritt, Paris, France. 2003
“L’ame Creole: Visages de la Nouvelle-Orleans et Haiti” Alliance Francaise, Paris, France. 2003
“Remembrance,” A Memorial of the 911 Anniversary - Pan American Life Building, New Orleans, LA 2002
“A Moveable Feast: The Essence of New Orleans in Elements of Art & Architecture,” International House, New Orleans, LA 2002
'Fresh Art' New Orleans Arts Council 2001
New Orleans Jazz and Heritage Festival 2001 Louisiana Marketplace ?
Exploring Assemblage in New Orleans,' Barrister's Gallery, New Orleans, LA 2000
Group Show: 'Friends of Haiti,' Barrister's Gallery, New Orleans, LA 2000
'Haiti Cherie' Haitian Association for Human Development, New Orleans, LA 2000
“Love and Death in Louisiana'' New Orleans Jazz and Heritage Festival Grandstand, New Orleans, LA 2000
Kentuck Festival of the Arts, Northport, Alabama. 1999
New Orleans Jazz and Heritage Festival 1999 Contemporary Crafts 1999: Best Display Award,
New Orleans Jazz and Heritage Festival ??New Orleans Jazz and Heritage Festival, Louisiana Marketplace 1998
'Native Visions,' Galerie Royal, New Orleans, LA 1998
Folk Arts of Louisiana, Festival International, Lafayette, LA 1998
'A View From New Orleans,' L'Atelier Piroska, New Orleans, LA 1997
'You See What I Say,' University of Alabama, State Black Archives; Huntsville, AL 1997
'The Mardi Gras Indians,' Mardi Gras Museum, Galveston TX 1997
The Power of the Needle and Thread,' New Orleans Center, New Orleans 1995
'You See What I Say,' La Belle Gallerie; New Orleans, LA 1995
'New Orleans Views' Sheraton Hotel, Atrium Gallery, New Orleans 1995
'Jazz Fest and Heritage of Nouvelle Orleans' Indigo Nights Gallery, New Orleans, LA 1995
'Local Scenes,' City Hall, New Orleans, LA 1994
The Center for Creative Photography of San Juan Capistrano, CA 1993
'Mardi Gras Indians' Tilden Foley Gallery, New Orleans 1991
'Architecture for People: A Social Message,' Lyceum Theatre, San Diego, CA 1990
'Wine History of the Santa Cruz Mountains' The Octagon, Santa Cruz County Historical Museum, Santa Cruz, CA 1980
'Creoles of Color: A Vanishing Louisiana Legacy' Merrill College, University of Calif., Santa Cruz, 1980
Group Show, Gallery of Contemporary Photography, Laguna Beach, CA 1980
Light Works, Studio Gallery - Santa Ana, CA 1980
The historic control tower on Ford Island that survived the attack on Pearl Harbor is now getting a much needed facelift and restoration. Looking good so far, to bad I won't be here to see it when it is finished. Oahu, Hawaii 2012
©Mark Payton Photography
Canon 5D MK III
Canon EF 17-40mm f/4L USM
100 ISO - 1/200sec @ f/11