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I took eight photos of this cosplayer. Unfortunately, all except for the very last one was out-of-focus (dang it!). But the last image looked damned good.
I threw many of the post-processing features I had available to me into this one as I wanted controlled chaos going on all around her; matching her mind-set from the end of WandaVision. I used multiple fractal brushes with different "layer style" settings to add outer glows, gradients, color overlays, etc. The background is a seven-pointed star created with Oxidizer. It has been faded to let a bit of original background bleed through adding in some textures and the cosplayer was masked out so that she showed up at 100%.
I used the frequency separation technique to give a smoother yet realistic look to her skin and minimize fly-away hairs on her face.
Traction Off
Launch control Set
Rev
3...
2... ready
1... steady
Blaaaaaaaaast
Supercharged Infinity G35
Camera: Canon EOS 350D Digital
Exposure: 0.6 sec (3/5)
Aperture: f/2.8
Focal Length: 50 mm
ISO Speed: 400
Exposure Bias: -2/3 EV
Flash: Flash did not fire
This control panel was on the side of the stage, not visible to the audience.
"offstage at Thalia Theater"
This is all that is left of Levita's "home". I'm not sure if the fire was accidental or on purpose. As far as I know, neither her, Darwin, or Old School had ever started a drum fire under the tracks, for the very reason of NOT having the Fire Department called out.
I know there have been instances where the fire department would come out to a living quarters such as this and do a controlled burn. I guess it makes it easier for Streets and Sanitation to clean up, as opposed to beds and boxes.
My best guess is the neighborhood businesses most likely complained about the "mess" under the tracks and had the city "clean it up". I'm sorry, but from all appearances, the city didn't make it any more respectable.
The control room of the abandoned transformer house at Kelenföld Power Plant. The building was designed by Virgil Borbíró and was constructed during 1927-1929. The huge opal glass ceiling gives the room an unspeakable atmosphere. However the Power Plant is still operational this building is abandoned and not being used.
More pictures of the control room (and the power plant) will follow soon!
La policía de Sidney utilizando equipos de radar para la detección de vehículos que conducían a alta velocidad. Era preciso contar con dos personas y el sistema contaba con una pantalla de detección ubicada en la parte trasera y un medidor de velocidad de grabación en el interior del coche patrulla. (1954).
Report 1-9804-5
H.E.X. is in full progress. Everything is proceeding as planned. Time to insert another variable. Agent Laura is ready for deployment in module 4. Dr. Theo insisted on keeping D.I.V.A. unknown to her. That should make for some interesting interaction later on.
Dr. John
The words of people that controls us
لناس وكلامهم
يالها من عقدة تدور في اغلب المجالس والمجتمعات
من هم الناس الذين نخاف من كلامهم ؟
ولماذا وصل بنا الحال الي الخوف منهم الي هده الدرجة ؟
هل من المعقول ان نضطر لفعل اشياء لانرغبها .من اجل ارضاء الناس ؟
العاطل على العمل يخشى كلام من الناس
المطلقة تخشى كلام الناس
والعانس وكذللك الفقير يخشى كلام الناس
تتعدد الاسباب التي من اجلها نخشى من الناس وكلامهم؟
الم نسال انفسنا لماذا هذا الخوف؟
هل هو فعلا خوف من كلام الناس
او انه خوف من المظهر الذي سنظهر به امام هولاء الناس ؟
فالكثير منا يود الظهور بالشكل اللذي يحبه ويرغبه ؟
لكنه يخشى منا ردة فعل الناس ومن كلامهم
ماا سيقول الناس عنه ؟
وكيف سينظرون اليه مستقبلا؟
وبذلك يخسر طموحه..ورغبته في الظهور بالشكل الذي اراده
وذللك كله بسبب خوفه من نظرة الناس وكلامهم
To the people and their words
What a spin node in most councils and communities
Who are the people who are afraid of their words?
And why the case reached us to fear them to class this topic?
Is it possible that we have to do things Anrgbha. in order to satisfy people?
Unemployed to work the words of fear of people
Absolute fear what people say
And Tabby and Kzllk poor people fear the words
There are many reasons why people are afraid of their words?
Pain ask ourselves why this fear?
Is it really fear of what people say
Or that fear of the appearance that we will show it in front of these people?
Many of us would like to appear in the form, who is loved and desired?
But he feared the reaction of our people and their words
What's people will say it?
And how it will look him in the future?
And so .. lost his ambition and his desire to appear as desired by
All of this is because of his fear of people and their words look
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Battersea Power Station is a decommissioned coal-fired power station located on the south bank of the River Thames, in Battersea, an inner-city district of South West London. It comprises two individual power stations, built in two stages in the form of a single building. Battersea A Power Station was built in the 1930s, with Battersea B Power Station to its east in the 1950s. The two stations were built to an identical design, providing the well known four-chimney layout.
The station ceased generating electricity in 1983, but over the past 50 years it has become one of the best known landmarks in London and is Grade II* listed. The station's celebrity owes much to numerous cultural appearances, which include a shot in The Beatles' 1965 movie Help!, appearing in the video for the 1982 hit single "Another Thing Comin´" by heavy metal band Judas Priest and being used in the cover art of Pink Floyd's 1977 album Animals, as well as a cameo appearance in Take That's music video "The Flood."
In addition, a photograph of the plant's control room was used as cover art on Hawkwind's 1977 album Quark, Strangeness and Charm.
The station is the largest brick building in Europe and is notable for its original, lavish Art Deco interior fittings and decor. However, the building's condition has been described as "very bad" by English Heritage and is included in its Buildings at Risk Register. In 2004, while the redevelopment project was stalled, and the building remained derelict, the site was listed on the 2004 World Monuments Watch by the World Monuments Fund. The combination of an existing debt burden of some £750 million, the need to make a £200 million contribution to a proposed extension to the London Underground, requirements to fund conservation of the derelict power station shell and the presence of a waste transfer station and cement plant on the river frontage make a commercial development of the site a significant challenge. In December 2011, the latest plans to develop the site collapsed with the debt called in by the creditors. In February 2012, the site was placed on sale on the open property market
through commercial estate agent Knight Frank. It has received interest from a variety of overseas consortia, most seeking to demolish or part-demolish the structure.
Built in the early 1930s, this iconic structure, with its four distinctive chimneys, was created to meet the energy demands of the new age. Sir Giles Gilbert Scott – the man who also designed what is now Tate Modern and brought the red telephone box to London – was hired by the London Power Company to create this first of a new generation of ‘superstations’, with the building beginning to produce power for the capital in 1933.
With dimensions of 160 m x 170 m, the roof of the boiler house 50 m tall, and its four 103 m tall, tapering chimneys, it is a truly massive structure. The building in fact comprised two stations – Battersea ‘A’ and Battersea ‘B’, which were conjoined when the identical B section was completed in the 1950s, and it was the world’s most thermally efficient building when it opened.
But Battersea Power Station was – and is – so much more besides. Gilbert Scott lifted it from the prosaic into the sublime by incorporating lavish touches such as the building’s majestic bronze doors and impressive wrought-iron staircase leading to the art deco control room. Here, amongst the controls which are still in situ today, those in charge of London’s electricity supply could enjoy the marble-lined walls and polished parquet flooring. Down in the turbine hall below, meanwhile, the station’s giant walls of polished marble would later prompt observers to liken the building to a Greek temple devoted to energy.
Over the course of its life, Battersea Power Station has been instilled in the public consciousness, not least when Pink Floyd famously adopted it for its Animals album cover and launch in 1977. As a result of its popularity, a great deal of energy has been expended in protecting this landmark.
Following the decommissioning of the ‘A’ station in 1975, the whole structure was listed at Grade II in 1980 before, in 1983, the B station was also closed. Since that time, and following the listing being upgraded to a Grade II* status in 2007, Battersea Power Station has become almost as famous for plans heralding its future as for its past. Until now, that is.
The transformation of Battersea Power Station – this familiar and much-loved silhouette on the London skyline – is set to arrive, along with the regeneration and revitalisation of this forgotten corner of central London. History is about to be made once more.
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Stopped by the remote controlled airfield for short time for the first time in quite a while. A friend of mine was flying a few of the 31 planes he owns. Only got photos of 2 of them while there, the first two red ones and the last six photos here. Fun watching how skillful these pilots are doing aerial maneuvers, takeoffs and landings. I always send any photos I take for them to post on their club site. Sorry for so many photos, just saving to my album. :-)
Control tower. 1939-40, to 1939 Watch Office with Meteorological Section design by Air Ministry's Directorate of Works. Drawing no. 5845/39. Painted brickwork walls, reinforced concrete floors and roof, with asphalt finish.
PLAN: a near-square plan on three floors with wide glazed balconies facing the flying field. The ground floor has the main watch office and pilots' room, forecast and teleprinters, and WCs; at first floor is the main control room backed by the meteorological and signals offices; the rear staircase gives access also to the glazed observation room at second floor level.
EXTERIOR: the original steel casements with horizontal glazing bars have been retained almost throughout, including those to the long observation frontages. At ground floor the front has three large 4-light windows separated by brick piers, under a concrete balcony cantilevered out to semi-circular ends, and with a 'nautical' style steel balustrade in four horizontal bars and handrail to simple uprights; at this level is a continuous multi-light window returned to quadrants at each end, above a low breast wall, and with a deep parapet wall taken up as a balustrade to the top deck, which has a further range of full-width glazing to a set-back observation room. The return walls each have a series of tall casements, linked at the upper level by a 'frieze band' under the cantilevered flat slab with the nautical balustrade continued to the rear to the stair tower. The rear faÎade has a single light each side of the projecting stair tower, with a small bulls-eye above a deep stair light, and small lights on the return.
Later alterations comprise timber-framed and glazed observation room, and extension over rear doorway. The building is flanked at each side by two-bay and three-bay fire tender and flare stores.
INTERIOR: original doors and joinery; solid concrete staircase.
HISTORY: This is the best example of this type of control tower after Swanton Morley. It is the most sophisticated Air Ministry design of the inter-war period both in terms of its planning, with a meteorological section incorporated into the design behind the control room. Its distinctly Art Deco treatment strongly recalls the Bauhaus tradition from which this style was evolved. In the second half of the 1930s, increasing attention was being given to the dispersal and shelter of aircraft from attack, ensuring serviceable landing and take-off areas, and the control of movement: the result was the development of the control tower, from the simple watch office of the 1920s, and the planning from 1938 of the first airfields with runways and perimeter tracks. The development of radio communication, and the increasing need to organise the flying field into different zones for take-off, landing and taxiing, brought with it an acceptance that movement on the airfield needed to be controlled from a single centre: control towers thus evolved from the simple duty pilot's watch office to the tower design of 1934 and integration of traffic control and weather monitoring in the Art Deco horizontality of the Watch Office with Meteorological Section of 1939. The control tower became the most distinctive and instantly recognisable building associated with military airfields, particularly in the Second World War when they served as foci for base personnel as they awaited the return of aircraft from operations.
From 1930 the Maidstone School of Flying used the area as a private landing ground, which was registered as Maidstone airport in 1932. A satellite of Biggin Hill within Fighter Command's strategically critical 11 Group, West Malling was opened as a fighter station in June 1940, although a series of raids in August and September 1940 rendered the airfield unserviceable for much of the Battle of Britain. It reopened in October of that year, although the station was able to accept a full station only in April 1941. It became a nightfighter station at this time, its Bristol Beaufighter pilots including Guy Gibson and Don Parker - both becoming famous names in Bomber Command, the former for his leadership of 617 Squadron in the Dams Raid and other precision attacks. It was later used by Mosquitos and Typhoons in operations against occupied Europe, including the support of 'D' Day, and became the principal station during 'Operation Diver' in 1944, the name given to the defence of the east and south-eastern coasts against the V1 bomb. It is significant, in this context, that there are no other fighter stations associated with 'Operation Diver' that have survived in a sufficiently complete state of preservation to merit listing: the other key sites in the London area - Northolt, Biggin Hill and Kenley - were placed behind the balloon barrage erected for the operation. With the end of the war, West Malling became the main rehabilitation centre for POWs returning from Germany to Britain. The base was put into 'care and maintenance' in August 1960, and was acquired in 1970 by Kent County Council: in 1972 it became a centre for dispossessed Ugandan Asians, and eventually some of the major buildings were adapted for Local Authority use (notably the Officers' Mess and Building 60), whilst others were retained and incorporated as part of a larger commercial park.
"Mayday, mayday ! Control tower speaking. A strange strom is coming over the airport... The electronic is out... Does somebody know what is ?"
"Mayday mayday ! Ici la tour de contrôle. Une étrange tempête est au-dessus de nous, au-dessus de l'aéroport. L'électronique est dans les choux... Quelqu'un sait-il de quoi il s'agit..."
Vienna airport
Aéroport de Vienne
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It has happened before.
Just don't do it.
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