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Me encanto ver y por supuesto fotografiar a estos ciervos y ver como el macho controlaba todo mientras las hembras seguían pastando tranquilamente, creo que la escena bien se merecía esta foto.
Espero que esta escena y foto también sea de vuestro agrado
Por favor no use mis imágenes en páginas web, blogs u otros medios sin mi permiso explícito. ©Todos los derechos reservados
The Series Sixty-two was a model produced by Cadillac from 1940 through 1964 when it was renamed “Calais” for the 1965 model year. It was one of Cadillac’s most popular models. For the 1949 model year, the Series Sixty-two spawned the “Coupe deVille.”
For the 1953 model year the world was introduced to the very first Series Sixty-two Eldorado. The Series Sixty-two convertible was one of America’s most luxurious convertibles. Cadillac’s magnificent new design and craftsmanship were dramatically displayed in the 1957 Cadillac Series Sixty-two convertible.
Cadillac for the 1957 model year was completely redesigned. A Cadillac convertible was the celebrity among Cadillacs. There was no more gracious manner in which to enjoy open-air touring than the 1957 Series Sixty-two convertible. Its aristocratic flair was dramatic and pronounced.
Apart from the Biarritz convertible, the Series Sixty-two convertible was the most elegant convertible built in the land. It was the synthesis of two motoring worlds; it had all the panache of a ragtop and the comfort of a luxury car. Style code #6267F Series Sixty-two convertible had a base price of $5,225. (Cadillac repairs today run up tabs along these same dollar amounts…amazing)
The 1957 Cadillacs were all-new in design from the 1956 models. The 1957 cars presented a new sleekness in every line as witnessed by the Series Sixty-two convertible. They were built almost 3” lower in overall height.
The front end ensemble was boldly aggressive. It retained the “Dagmars.” The sweep of its new fender lines extended back to the redesign of the iconic Cadillac tail fins.
The convertible’s silhouette was highlighted by chrome-framed wheel openings and extended contour lines to both front and rear fenders. The fender skirts were dropped for a cleaner more contemporary look at the time.
All Cadillac bodies were built by the Fleetwood Division of Fisher Body under relentless quality control procedures. The Series Sixty-two convertible rode upon a long 129.5” wheelbase, had the luxury length of 220.9” and an 80” wide stance.
The Cadillac 6.0 litre 365 CID 16-valve V8 engine had five main bearings, intake silencer, and hydraulic lifters. It was constructed with cast iron, block and cylinder heads. The engine was equipped with a Rochester 4-bbl downdraft Quadrajet carburetor with equalized manifold, and automatic choke. It produced 300 hp @ 4,800 rpm with 542 Nm of peak torque @ 2,800 rpm. Performance was rated as 0-60 mph in 11.2 seconds, 0-100 mph in 33.1 seconds with a top speed of 119 mph. It could do the ¼ mile @ 81 mph in 18.1 seconds.
The Cadillac Series sixty-two convertible was a triumph of motoring distinction. Its unmatched comfort and spacious dignity was the finest expression of Cadillac’s dramatically new styling. In the way it looked and the way it drove, the 1957 Cadillac Series Sixty-two convertible introduced a brand new measure of excitement to modern luxury motoring…done in the manner only the “Standard of the World” could provide. This is another classic encore presentation…in the continuing saga of “As the Standard of the World Turns.”
notoriousluxury.com/2014/06/21/1957-cadillac-series-sixty...
Located on the eastside of Springfield, Illinois, Starnes controlled the crossings of Illinois Terminal with the Illinois Central's Gilman to Springfield mainline and the Wabash (later N&W) Detroit-KC mainline. On June 7, 1981, a GP30 and two C30-7's lead tonnage east for Decatur and eventually Ft. Wayne and Detroit.
Gary Powell photo.
Chris Thompson collection.
Mr Spock is testing his mind control to see if he can change the remote to the channel he wants or influence me to do his bidding.
A pair of Semipalmated Sandpiper's squabble over who has control over the shoreline. Edwin B. Forsythe National Wildlife Refuge, Galloway Township, New Jersey.
"Who controls the past controls the future. Who controls the present controls the past.”
George Orwell 1984
Those pretty purple flowers are a non-native vinca. The deer have managed to keep the patch small, although this year the plant seems to be growing more than usual. Unfortunately they can't seem to keep English Ivy under control. They do like it, but it seems to grow too fast.
The photographers were stood well away watching the mist beginning to lift on Derwent Water in the Lake District National Park. They were operating the cameras on remote control as the sun was just beginning to have an impression on the mist.
Derwent Water is one of the principal bodies of water in the Lake District National Park, measuring approximately 3 miles (4.8 km) long by 1 mile (1.6 km) wide and is some 72 feet (22 m) deep.
A flock of trumpeter swans prepares for landing on thin ice at Bear Lake National Wildlife Refuge, Idaho
The world drifts, aware of its own daze, caught in a massive maneuver toward shipwreck. Old values fade as new ones rise, spitting shrill blasts like the trumpets of Jericho. An abandoned shell, an urban skeleton, the last breath of solitude. The death of the new through the old, and of the old through the new. Birth and collapse. A whole that amounts to nothing.
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El mundo va a la deriva y se sabe aturdido, inmerso en una masiva maniobra de naufragio. Los viejos valores se difuminan y se erigen otros nuevos que escupen estridencias como trompetas de Jericó. Cascarón abandonado, esqueleto urbano, último aliento de soledad. Es la muerte de lo nuevo a través de lo viejo y viceversa. Un nacimiento y un colapso. Un todo que es la nada.