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Harlescott Crossing box viewed from the level crossing looking towards Shrewsbury.
Harlescott Crossing box is situated on the edge of Shrewsbury and in theory worked to Crewe Bank but this had effectively been switched out for the previous five years when this photo was taken thus it normally worked to Crewe Junction. In the opposite direction it worked to Wem. The box again is clearly of London North Western origin containing a 38 lever stirrup handle frame. It dates from 1882 but looks as if it has been extended at some stage in it's life.
Seen on Thursday 4th October 2012 in it's 130th year.
Over the weekend of Friday 11th October 2013 to Monday 14th October 2013 the boxes at Nantwich Station, Wrenbury, Prees, Wem, Harlescott Crossing and Crewe Bank between Crewe Gresty Lane and Shrewsbury Crewe Junction were abolished. Whitchurch box had been demolished some time previously although the signals were still extant but bagged over. Crewe Bank had not been rostered since August 2007.
The last train to be signalled under AB working was 6V71 the Carlisle – Margam limestone, the signaller at Crewe Junction knocked out at 23.13 with the possession granted at 23.58. Harlescott Crossing sent 7 5 5 at midnight for the final time and absolute block working formally came to an end at 00.20 on Saturday 12th October 2013 after something in the region of 130+ years.
The Crewe – Shrewsbury line was chosen as one of two test lines for the installation of “modular signalling” which as I understand it aims to significantly reduce the cost of re signalling. Cheap single head fibreglass post signals devoid of ladders allied to obstacle detection level crossings all controlled and monitored from a new IECC (integrated electronic control centre) or ROC (Route operating centre) seem to form the backbone of the system. The system clearly was not straight forward as the implementation of the scheme has been postponed several times and indeed when I took these photo’s in October 2012 the closure was expected two weeks later, in reality it was deferred by a further year.
The level crossing at Forsinard where the A897 crosses the Far North Line, after the upgrade of half-barriers.
'Crossing the Street' On Black
I have been practicing on my photojournalism shots. I love to capture people as they are. I love the realism of doing this.
Crossing an amazing fjord by boat (Norway).
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Nature, travel, photography: MY YOUTUBE CHANNEL
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Crossing the Victorian border into New South Wales over Lake Mulwala in an El Zorro empty grain train to Oaklands worked by S300,44209,TL152,S312 on 14-10-11
Any time is a good time to visit Scotland by Motorbike and a rider's first river crossing is a tense affair!!
watch the video here youtu.be/ojyoN5XbjCc
GB Railfreight Class 66 No. 66715 'Valour' passes the former Twydall Crossing between Rainham and Gillingham at the rear of the Sittingbourne to Swanley section of the 6S03 Tonbridge to Tonbridge snow train.
GB Railfreight Class 66 No. 66759 is on the front of the train.
Accidental crossing into the frame...glad he did.....
Poznan, Poland
A street with a name I cannot pronounce...yet.
L to R: Sera-Lys McArthur and Nathalie Standingcloud in Crossing Mnisose at The Armory.
Photo by Patrick Weishampel/blankeye.tv/Courtesy of Portland Center Stage at The Armory
Crossing Mnisose
By Mary Kathryn Nagle
Directed by Molly Smith
Scenic Designer Todd Rosenthal
Costume Designer Alison Heryer
Lighting Designer Sarah Hughey
Composer & Sound Designer Roc Lee
Text Director &
Vocal Coach Anita Maynard-Losh
Assistant Director Devon Roberts
Fight Director Kristen Mun
Dramaturg Benjamin Fainstein
Cultural Consultant,
Yankton Sioux Nation Glenn Drapeau
Cultural Consultant,
Shoshone-Bannock Tribes Lauren Cordova
Stage Manager Susan R. White
Stage Manager Mark Tynan
Production Assistants Lilo Alfaro
Alexis Ellis-Alvarez
April 13 — May 5, 2019
On the U.S. Bank Main Stage
Crossing Mnisose (“minne-show-she”) tells the story of one of America's first feminists, Sacajawea, and draws a line from a completely original view of Lewis and Clark to the present day, as descendants of the Dakota and Lakota Nations continue their fight for the Mnisose (or what Europeans named the “Missouri River”) and the lands that contain the burials of their ancestors. From celebrated playwright, activist, and attorney Mary Kathryn Nagle (Cherokee Nation), whose Manahatta captivated audiences at Oregon Shakespeare Festival.
Commissioned by Portland Center Stage at The Armory | World Premiere
Pella Crossing Waterfowl © Jane Baryames. Photo taken on the Flying Circus Birders Walk on November 5, 2022.
Three years ago I went for walk around the back of O2, or what used to be known as the Millennium Dome before it became a corporate billboard.
Here, I am just a few metres away from the Greenwich Meridian, putting me in the eastern hemisphere. Of course, the towering buildings of Canary Wharf in the background are firmly in the west.
North Greenwich, London
20th November 2019
20191120 2I8A 7022
One of the fourteen river crossings on the Cambanoora Gorge circuit that follows the Condamine River from The Head to Killarney on the southern edge of Queensland's Scenic Rim.
Athenry to Claremorris Railway Line - MP Limerick 76 1/4.
Level Crossing (XE221) on Galway Road (N17), Tuam, Galway 23rd August 2012.
Mushers arrive in and depart from Pelly Crossing, Yukon. Credit : Yukon Quest 2015 - Julien Schroder
for 7DoS: I was struggling for a idea for today, when I saw this road sign on my way home and decided a square crop might work. So off back out I went with my camera ... and happily tagbot agrees :)
June 12, 2010
Walking over the Brooklyn Bridge, I always think of Walt Whitman's "Crossing Brooklyn Ferry", perhaps the most poignant thing ever written about the city - It's amazing how it still resonates 160 years later-
1
Flood-tide below me! I watch you face to face;
Clouds of the west! sun there half an hour high! I see you also face to face.
Crowds of men and women attired in the usual costumes! how curious you
are to me!
On the ferry-boats, the hundreds and hundreds that cross, returning home,
are more curious to me than you suppose;
And you that shall cross from shore to shore years hence, are more to me,
and more in my meditations, than you might suppose.
2
The impalpable sustenance of me from all things, at all hours of the day;
The simple, compact, well-join'd scheme—myself disintegrated,
every one disintegrated, yet part of the scheme:
The similitudes of the past, and those of the future;
The glories strung like beads on my smallest sights and hearings—
on the walk in the street, and the passage over the river;
The current rushing so swiftly, and swimming with me far away;
The others that are to follow me, the ties between me and them;
The certainty of others—the life, love, sight, hearing of others.
Others will enter the gates of the ferry, and cross from shore to shore;
Others will watch the run of the flood-tide;
Others will see the shipping of Manhattan north and west, and the heights
of Brooklyn to the south and east;
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an
hour high;
A hundred years hence, or ever so many hundred years hence, others will
see them,
Will enjoy the sunset, the pouring in of the flood-tide, the falling back
to the sea of the ebb-tide.
3
It avails not, neither time or place—distance avails not;
I am with you, you men and women of a generation, or ever so
many generations hence;
I project myself—also I return—I am with you, and know how
it is.
Just as you feel when you look on the river and sky, so I felt;
Just as any of you is one of a living crowd, I was one of a crowd;
Just as you are refresh'd by the gladness of the river and the bright flow,
I was refresh'd;
Just as you stand and lean on the rail, yet hurry with the swift current,
I stood, yet was hurried;
Just as you look on the numberless masts of ships, and the thick-stem'd
pipes of steamboats, I look'd.
I too many and many a time cross'd the river, the sun half an hour high;
I watched the Twelfth-month sea-gulls—I saw them high in the air,
floating with motionless wings, oscillating their bodies,
I saw how the glistening yellow lit up parts of their bodies, and left the rest
in strong shadow,
I saw the slow-wheeling circles, and the gradual edging toward the south.
I too saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look'd at the fine centrifugal spokes of light around the shape of my head
in the sun-lit water,
Look'd on the haze on the hills southward and southwestward,
Look'd on the vapor as it flew in fleeces tinged with violet,
Look'd toward the lower bay to notice the arriving ships,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops—saw the ships at anchor,
The sailors at work in the rigging, or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine
pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sun-set,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests
and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite
store-houses by the docks,
On the river the shadowy group, the big steam-tug closely flank'd on each
side by the barges—the hay-boat, the belated lighter,
On the neighboring shore, the fires from the foundry chimneys burning high
and glaringly into the night,
Casting their flicker of black, contrasted with wild red and yellow light, over
the tops of houses, and down into the clefts of streets.
4
These, and all else, were to me the same as they are to you;
I project myself a moment to tell you—also I return.
I loved well those cities;
I loved well the stately and rapid river;
The men and women I saw were all near to me;
Others the same—others who look back on me, because I look'd
forward to them;
(The time will come, though I stop here to-day and to-night.)
5
What is it, then, between us?
What is the count of the scores or hundreds of years between us?
Whatever it is, it avails not—distance avails not, and place avails not.
6
I too lived—Brooklyn, of ample hills, was mine;
I too walk'd the streets of Manhattan Island, and bathed in the waters
around it;
I too felt the curious abrupt questionings stir within me,
In the day, among crowds of people, sometimes they came upon me,
In my walks home late at night, or as I lay in my bed, they came upon me.
I too had been struck from the float forever held in solution;
I too had receiv'd identity by my Body;
That I was, I knew was of my body—and what I should be,
I knew I should be of my body.
7
It is not upon you alone the dark patches fall,
The dark threw patches down upon me also;
The best I had done seem'd to me blank and suspicious;
My great thoughts, as I supposed them, were they not in reality meagre?
would not people laugh at me?
It is not you alone who know what it is to be evil;
I am he who knew what it was to be evil;
I too knitted the old knot of contrariety,
Blabb'd, blush'd, resented, lied, stole, grudg'd,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant;
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting.
8
But I was Manhattanese, friendly and proud!
I was call'd by my nighest name by clear loud voices of young men
as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh
against me as I sat,
Saw many I loved in the street, or ferry-boat, or public assembly, yet never
told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
Play'd the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.
9
Closer yet I approach you;
What thought you have of me, I had as much of you—I laid in my stores in advance;
I consider'd long and seriously of you before you were born.
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows but I am as good as looking at you now, for all you cannot
see me?
It is not you alone, nor I alone;
Not a few races, nor a few generations, nor a few centuries;
It is that each came, or comes, or shall come, from its due emission,
From the general centre of all, and forming a part of all:
Everything indicates—the smallest does, and the largest does;
A necessary film envelopes all, and envelopes the Soul for a proper time
Amtrak's Pere Marquette on the CSX Grand Rapids Sub (ex PM) about to get onto Norfolk Southerns Chicago mainline.
Porter IN
Jan 9, 2008
Spotsylvania Crossing (209,454 square feet)
3501 Plank Road, Fredericksburg, VA
This shopping center was built in 1985.
Crossing the open border between Liechtenstein and Switzerland (hence the sign on the right with the swiss cross) to get to the swiss highway on my way to work in the morning. A few miles down the highway I then cross back into Liechtenstein.
City of Westminster / London, England
July 1, 2015
©Dale Haussner
"The Abbey Road zebra crossing in north London - made famous after appearing on a Beatles album cover - has been given Grade II listed status. The crossing - the first of its kind to be listed - is being recognised for its "cultural and historical importance" following advice from English Heritage. The Beatles were photographed on Abbey Road in Ian Macmillan's iconic cover shot for the 1969 album Abbey Road.
Sir Paul McCartney said it was the "icing on the cake" in a great year.
'Huge cultural pull' The original zebra crossing, where the photograph was taken, was moved several metres for traffic management reasons more than 30 years ago, and no original features remain. A spokesman for Westminster City Council said: "The detail of exactly when and why the crossing was moved from its original location have been lost in the annals of time. "But by comparing photographs with the Ordnance Survey maps, we believe that the crossing might have been further north nearer 3 Abbey Road, which was the front house of the EMI Studios, because the steps of Neville Court appear to the right of the crossing in original photographs of the crossing, whereas the present crossing is near the junction of Abbey Road and Grove End Road."
But John Penrose, Minister for Tourism and Heritage, said: "This London zebra crossing is no castle or cathedral but, thanks to the Beatles and a 10-minute photo-shoot one August morning in 1969, it has just as strong a claim as any to be seen as part of our heritage." Roger Bowdler, head of designation at English Heritage, said: "This is obviously an unusual case and, although a modest structure, the crossing has international renown and continues to possess huge cultural pull - the temptation to recreate that iconic 1969 album cover remains as strong as ever."Together with the nearby Abbey Road studios, also listed at Grade II on our advice, they remain a Mecca for Beatles fans the world over."
Sir Paul said: "It's been a great year for me and a great year for the Beatles and hearing that the Abbey Road crossing is to be preserved is the icing on the cake." The crossing is outside the Abbey Road studios, where the Beatles recorded much of their output. That building was granted Grade II listed status in February.A Grade II listing, the most common protected status, means that a building or monument is recognised as nationally important and of special interest."
For more info, see:
My excitement was through the roof as I heard WMSR 1309 rumbling across the bridge from it's home base in Ridgeley WV to the station in Cumberland MD. This is officially the largest steam locomotive I've seen running to-date, and is the largest running articulated steam locomotive east of the Mississippi River.
WMSR 1309 started life as C&O 1309 in 1949 and it holds the distinction of being the last steam locomotive built by the Baldwin Locomotive Works for mainline service in the United States. It operated a lot in the mountains of West Virginia and Kentucky, pulling coal trains until it's retirement in 1956....just 7 short years of mainline service.
After it's retirement, it was stored in a C&O Roundhouse until 1972 when it and other engines were moved to the B&O Railroad Museum in Baltimore MD. There it remained until the Western Maryland Scenic Railroad purchased it in 2014. There was a LOT of money, time and even drama involved in the restoration of the then 65 year old engine, but work finally finished and the engine began pulling scenic trains in 2021.
Lets hope they can keep this engine running for LONG into the future.....and I really hope that the WMSR is able to return their original steam locomotive workhorse, Number 734, back into service one day.
People crossing the dune field at Great Sand Dunes National Park & Preserve, Colorado. I think there are six. Coincidentally, there also are six peaks taller than 13,000 feet in the Great Sand Dunes Preserve, including Mount Herard, seen in this photo.
Talk: Gender Equality & Film Business: A never-ending Story?
Hanne Lassl (director ROSI, KURT & KONI), Maite Garcia Ribot (director LETTER TO MARIA)
Foto: Christoph Thorwartl / www.subtext.at
Crossing Europe 2015 – nightline #4 // Live: Ages; DJ Anna Leiser
Foto: Christoph Thorwartl / www.subtext.at
Tivetshall to Beccles disused Railway. Also see Set:- www.flickr.com/photos/rtw501/sets/72157628163229983.
This shot and Eli 004 are taken in Braces Lane, situated between Geldeston and Ellingham. The railway would have run left behind the cottage towards Beccles via Geldeston and right to Ellingham. Behind the camera, the road, as now, leads to Kirby Cane.
The crossing is marked with a red cross directly below Kirby Row on this 1946 Ordinance Survey map: - www.npemap.org.uk/tiles/map.html#635,291,1 .