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The full bed size top is finished. No two blocks are the same! The blocks are 9" square. Half are bordered with small stripey fabric borders and the 4" blocks have 5" dark plum borders. The back will be dark plum. A border of 4' blocks on all sides, July 2025.
Didn't go out this morning since the weather forecast didn't look amazing and I was knackered, so I've got a chance to process some of the holiday snaps from Tenerife.
This shot was an attempt to capture the feel of the sunsets, with the incredible strength of the direct sun without any cloud to filter it. Obviously, there was no combination of filters that would hold back the brightness and I decided HDR would just look un-natural, so I allowed the sky to blow out in order to give that sun-baked feel.
The most impressive thing was that the Sigma 17-70 didn't give any flare at all, despite being pointed almost directly into the setting sun.
EOS50D / Sigma 17-70mm
Old control room in Nevada. Here in 40´s scientists observe nuclear tests.
This is my entry to Eurobricks Collectable LEGO Minifigures Series 4 Building Contest. Insert Hazmat guy.
Control panel for the power generators. there appeared to be a rotary AC DC converter here too. At least that's what i think it was!
Lena D. - Pullip Nella Retro Memory FC by The Ugliest Wife
Find a quiet place to control all your power... Electricity in the air, but all is under control.
Trouver un lieu calme pour contrôler tout ton pouvoir....Électricité dans les air, mais tout est sous contrôle.
Taken at the early stage of the viral epidemic in Qingdao. Since them, that became a habit, part of my daily life now.
This is China~~
Took a trip to Slimbridge WWT the other day. Ended up taking about 400 shots so I needed to do a lot of weeding out.
I realised when I looked at this shot that the swan was wearing a radio transmitter.
Some lost their drone controller. Every time I see technology change I ask myself what would Max Smart and Hymie think. If you have not watch the "Get Smart" series you should check it out.
“No puedo controlar mi mal humor y siempre me enojo con mi esposo y mi hijo cada vez cuando lo que dicen y hacen de no está en línea con mi voluntad. Aunque a menudo me arrepiento y me encuentro llena de remordimientos, siempre oro a Dios para confesar mi pecado, pero cuando me encuentro con cosas similares no puedo controlarme de nuevo. Me siento muy triste por vivir en el pecado y ser incapaz de practicar las enseñaza del Señor, especialmente al ver lo que se dice en la Biblia: ‘[…] seréis, pues, santos porque yo soy santo’ (Levítico 11:45)”. Dios es santo, no se puede ver a Dios mientras se vive en el pecado, así que, me preocupo cada vez más, no estoy segura de que si pueda entrar en el reino de los cielos. Por eso, les pregunté a los pastores y a los hermanos y hermanas de la iglesia, sin embargo, me dijeron que esto ocurría en toda familia, y solo teníamos que entregarlo en las manos del Señor y confesar nuestros pecados a Él, nos llevará al reino celestial cuando venga”. Tras de escuchar de eso, no siento que hay cierta confirmación sobre lo que dijeron, este punto de vista no se ajusta con las palabras de Dios. ¿Cuáles son sus opiniones acerca de esta cuestión?”.
Scripture quotations taken from LBLA. Copyright by The Lockman Foundation.
Look1:
Skin: Clef De Peau:Saskia
Hair: (Paper Couture) Femme Fatale Bun (Ava Lu)
Teeth: label motion (anne Dakun)
Necklace and earings: Dark Mouse Vintage 50's Pearls Necklace
Sunglasses: DDL
Bag: DDL
Dress: Overhigh
Watch: DDL
Look 2:
Hair: Epoque-Sharp
Earings: Swallow
Dress: Overhigh
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.
This control panel was on the side of the stage, not visible to the audience.
"offstage at Thalia Theater"
JUNE 24, 2022 - Today's Supreme Court decision is illegitimate. No such decision can be legitimate when it tramples on the civil rights of human beings, in this case approximately half of our national population.
Image is from the January 18, 2020 Women's March in Washington DC, USA.
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
Hit 'L' to view on large.
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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