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60026 Helvellyn is at the head of 6N84 04.50 Tyne Coal Terminal - Lynemouth Power Station loaded biomass, pictured approaching Bedlington on the line from Morpeth. 66712 Peterborough Power Signalbox is on the rear, and will lead the train after its reversal south of Bedlington. [Pole, 3/6 sections (~4m)]
This was my main reason for spending a few days in the north-east. Lynemouth biomass trains were being diverted via Morpeth while work to prepare their normal route south of Bedlington for the reintroduction of passenger services was being completed. The line between Bedlington and Morpeth normally sees very little traffic, essentially only the alumina trains between North Blyth and Fort William, which run two or three times each week, and at times which make them very difficult to photograph on the line. I'd seen a heavily backlit shot of the empties along this stretch, taken a few years ago late one summer evening, and realised that the light angle would be perfect early in the morning... The diverted biomass trains looked like they would provide the perfect opportunity to do the shot, especially after driving along here when I visited in April. The line runs almost east-west at this point.
But the first biomass train was booked to arrive at Bedlington at around 6am - and back in April, that was just before sunrise. The empties going back (with a loco on the rear, of course) and the next loaded train (if it ran) would be over four hours later, by which time the sun would be almost exactly in line with the track. My only hope was that there would be some good weather during May half term week (when it would be light enough at 6am), and that this train ran.
But the weather during half term was poor, and I stayed at home. However, a few weeks later (closer to the summer solstice - so a slightly earlier sunrise) there was a sunny week forecast, so I took a week off work. Unfortunately, I wasn't free to drive up until Monday and, typically, the forecast changed so that Monday was wall-to-wall sun but Tuesday and Wednesday mornings were to be thick cloud (Wednesday was also misty), and Thursday and Friday were "sun and cloud". Early Saturday morning was initially looking very good (that subsequently changed to full cloud), but there were no trains running - I assume there was an engineering possession. In the end I drove up on Wednesday (having spent much of Monday ill in bed!) - although that meant I was around at home when GBRf's Colas-liveried 60096 was hired to DCR and worked to and from Brandon (getting three shots of it on Tuesday's empties).
Then the news came through of a serious warehouse fire at the Port of Tyne, which had started on Wednesday afternoon, and it looked like there would be no trains to Lynemouth on Thursday - and there weren't (although the train which had spent the night there did eventually make it back to Tyne Dock - see this photo). But it was looking good for Friday's trains - one set of wagons only, so just two return trips rather than the four for which schedules existed - with 6N84 having been "called" (activated) and with locos showing before I went to bed the previous evening. The alarm was set for 4.15am.
Bedlington is about half an hour's drive from my mother's house (as long as there are no traffic queues at the Tyne Tunnel), so I was here in plenty of time, although the train had set off before I did. But as I drove along Barrington Road, I began to wonder if it had all been in vain: I'd not accounted for the low sun still being behind some tall trees on the north side of the road - and where I'd planned to shoot the train, a stretch completely clear of lineside vegetation and with the railway only a few feet higher than the road, was still in shadow. There was also a lot of cloud around, and it was difficult to see whether the sun would rise enough in the short time to at least light the train, but it looked very unlikely. Luckily I found a spot further along that was shadow-free, but the difference in levels between the road and railway was greater and, more significantly, a few low bushes partly blocked the view of the train; the shot wouldn't be anything like as good.
So I set up here to make the best of the situation. The original plan to use a slight telephoto lens went out of the window because the gap between the bushes was so short, and I needed to stand closer to make the most of the gap. There was also the added complication that the lower road meant I needed to use the pole, but it was a very windy morning... I just about managed to hold it steady at this height, but I've had to combine two frames in order to restore the top of the lamppost to the shot where the loco was in the best position. The sun had been out when I arrived, but had soon dropped back behind some thin cloud, although there was another gap on the way - but probably not soon enough, so I was resigned to getting a dull shot. However, miraculously, as the train came into view - six minutes early (so just before 6am), there was a brighter burst, with some weak shadows; I clung onto the pole to try my best to keep it steady, pressed the shutter, and hoped for the best!
I was amazed how well it has come out, especially given the aperture is larger than I usually like to use. When the images were viewed on the back of the camera, the train leapt out (probably helped by the dark sky), and I drove off happy. In processing, I've increased the brightness slightly and used the haze reduction function a little, albeit less than I sometimes do on sunny pictures.
Bedlington railway station was built slightly to the east of Bedlington, and, as has happened in many places, a new settlement grew up around the station - so this area is officially known as Bedlington Station, although both Bedlington and Bedlington Station have expanded to become a single built-up area. Barrington Industrial Estate (as on the road sign) was built on the site of Barrington Colliery, established in 1821 on land leased from Lord Barrington, and closed in 1948. All the "Barrington" references in the area are about the one-time local landowner - but it made me smile as I'd started this week photographing the spoil empties from the landfill site that was once Barrington Cement Works close to the Cambridgeshire village of Barrington!
I ended my day of photography, over fourteen and a half hours later, stood further down this road and looking the other way...
Visit Brian Carter's Non-Transport Pics to see my photos of landscapes, buildings, bridges, sunsets, rainbows and more.
Dreamers by Cica Ghost
In a surreal world canopied by a magical sky, sixteen figures look upward to dream. This is one of their dreams brought back to the kitchen table.
maps.secondlife.com/secondlife/LEA24/91/45/28
Music stream: 94.23.51.96:8000
Putting the two together just to reinforce the skin tone difference. Sonja is suntan, Raksa is pale.
And clearly, they don't quite trust each other.
*Title in honor of Gavin from Brickcon '11.*
Any ways as requested here are all my beloved prototypes and the awaited answer to the most popular question; yes I will trade.
Wants:
-RPD.
-M60.
-Prototype BARs.
-Flame thrower (Any color really.)
-Rust.
-Short shots.
-D9 rifles.
-Exotic color brickarms/ neat colored items such as strange swirls or overmolds.
-The new tri-barreled lever action thing..
(If you have one of the listed items in a production color chances are I will not be interested.)
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Not sure why the photo's background it yellow here, it was a fine white on my camera.
Gents -- What is the difference between a three-month Hotel Hibernation and a three-month Hotel Shut Down?
That remains to be seen.
Once you pass through the Wynn's COVID-19 Temperature Checkpoint, one gets a sense that The Wynn and The Encore never really completely shut down -- other than the demise of the successful Le Reve' production stage show! One has to work hard to find a major dining or lounge destination that hasn't re-opened to normal hours.
So leisurely explore these two massive sister resorts and plan to come back here later tonight with your most fashionable face mask and your well-pressed Stafford 'Travel-Ready' Blue Blazer and your Stafford business dress shirt, necktie, and Dockers business casual dress slacks. See if you can first bag a scenic patio cocktail table at Parasol-Down overlooking the romantic Lake Of Dreams. Have exotic cocktails lake-side before your arrival for dinner at the SW Steakhouse. Ask the lovely hostess at the SW Steakhouse to seat you out on the dining patio overlooking the lake. Have the dry-aged 18oz bone-in NY Strip(m). Ask your attentive waiter for a Basil Hayden or Knob Creek Bourbon on the Rocks -- and don't be bashful of asking for a recommendation. Don't be afraid to sample two or three excellent bourbons. This is how you learn. Do so and think about how you are going to describe your dining experience to your very lovely lady when she calls you later this week for a progress report. Before COVID-19, you and your very lovely lady have found it daunting to get in at a good hour and to get a great patio table at the SW Steakhouse -- so enjoy your experience -- and then come back another evening and try your luck at Sinatra's at The Encore!
And don't forget dessert!
Oh yes George... you've made quite the difference.
Can you see all the happy faces around you... can you imagine all the happy faces you are responsible for in the happy homes across America?
Trials and tribulations... terrorists and threats... they're much easier to handle when you're the guy surrounded by wealth and security. Everyone else has to put up with more regulations, more fear mongering ... and much less freedom.
So just keep on sending America's finest... it's hopes for the future... off to battle more of your holier than thou crusades... and just like in all the many wars before you... and the many to surely follow... this holy war needs more cannon fodder.
What's so different about that?
One of Webb’s most complex instrument modes is with the MIRI Medium Resolution Spectrometer (MRS). The MRS is an integral-field spectrograph, which provides spectral and spatial information simultaneously for the entire field of view. The spectrograph provides three-dimensional ‘data cubes’ in which every pixel in an image contains a unique spectrum. Such spectrographs are extremely powerful tools to study the composition and kinematics of astronomical objects, as they combine the benefits of both traditional imaging and spectroscopy.
“The MRS is designed to have a spectral resolving power (observed wavelength divided by the smallest detectable wavelength difference) of about 3,000. That is high enough to resolve key atomic and molecular features in a variety of environments. At the highest redshifts, the MRS will be able to study hydrogen emission from the first galaxies. At lower redshifts, it will probe molecular hydrocarbon features in dusty nearby galaxies and detect the bright spectral fingerprints of elements such as oxygen, argon, and neon that can tell us about the properties of ionized gas in the interstellar medium. Closer to home, the MRS will produce maps of spectral features due to water ice and simple organic molecules in giant planets in our own solar system and in planet-forming disks around other stars.
“In order to cover the wide 5 to 28 micron wavelength range as efficiently as possible, the MRS integral field units are broken up into twelve individual wavelength bands, each of which must be calibrated individually. Over the past few weeks, the MIRI team (a large international group of astronomers from the USA and Europe) has been focusing primarily on calibrating the imaging components of the MRS. They want to ensure that all twelve bands are spatially well aligned with each other and with the MIRI Imager, so that it can be used to place targets accurately into the smaller MRS field of view. We show some early test results from this alignment process, illustrating the image quality achieved in each of the twelve bands using observations of the bright K giant star HD 37122 (located in the southern sky near the Large Magellanic Cloud).
“Once the spatial alignment and image quality of the several bands are well characterized, the MIRI team will prioritize calibrating the spectroscopic response of the instrument. This step will include determining the wavelength solution and spectral resolution throughout each of the twelve fields of view using observations of compact emission-line objects and diffuse planetary nebulae ejected by dying stars. We show the exceptional spectral resolving power of the MRS with a small segment of a spectrum obtained from recent engineering observations of the active galactic nucleus at the core of Seyfert galaxy NGC 6552. Once these basic instrument characteristics are established, it will be possible to calibrate MRS so that it is ready to support the wealth of Cycle 1 science programs due to start in a few short weeks.”
Read more: blogs.nasa.gov/webb/2022/06/16/webbs-mid-infrared-spectro...
This image: This portion of the MIRI MRS wavelength range shows engineering calibration data obtained of the Seyfert galaxy NGC 6552 (red line) in the constellation Draco. The strong emission feature is due to molecular hydrogen, with an additional weaker feature nearby. The blue line shows a lower spectral resolution Spitzer IRS spectrum of a similar galaxy for comparison. The Webb test observations were obtained to establish the wavelength calibration of the spectrograph. Credit: NASA, ESA, and the MIRI Consortium.
"Money is the Mc Mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries. I cannot respect someone who doesn’t see the difference."
The famous line Beau Willimon has Frank Underwood say in in House of Cards' first season
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Konica Autoreflex TC & Hexanon 40mm f/1.8, Agfa Vista Plus 200 developed with the Rollei C41 kit at 100°F (4'00" development time) and digitalized with kit zoom on macro extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
a difference and hour makes. Complete darkness and wind make it very very difficult to get shot tonight
We're Here! : Spot the Difference
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Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with Softlighter II camera left. Triggered by Cybersync.
A few more orders turned up and made quite a difference to the looks of this.
I have the week off work, so making good progress with all builds needed to be finished for an unmentionable at the moment project ;)
I decided to play around with putting the removable door pannels on this, as the owner has them. I think it "adds something" to the model, so staying with the choice.
I've bridged the problem of the black rim within the wheel outer trim and the wheel hub, as seen on the front wheel in these pics. The rear wheel has an extended silver sticker on the inner rim, running outwards over the tyre by around 2mm, this succesfully hides that black band that was bugging me.
The main exhaust silencer on both this and my own model, will have the patterend cover over them.
I took this photo to show the difference between Murphy's forehead, with all the bumps of an adult male masai giraffe, and Tatu's, with its youthful smoothness.
Many of you have been asking for some images of my older models. I have been updating some of my older projects and replacing the older images. Therefore, many of the original images have been lost. Beginning with my MiG-31 Foxhound, I included a comparison image between the old and new so you can see the differences and evolution of the design. I hope to post a few more comparisons of other updated projects soon. Thanks for the support and interest in my work!
Male Common Lizard (Zootoca vivipara). The common lizard is generally dark brown in colour with a complex pattern of stripes and lines running the length of the body, although this is variable. They grow to a maximum of 20cm (8 in) in length with a long tapering tail which makes up from half to a maximum of two thirds of the overall length. Common lizards occur in a variety of habitats, especially open woodland, abandoned and derelict land, larger gardens and down land, however their preferred habitat is damp heathland. The common lizard occurs throughout Europe including all of the United Kingdom. Although widely distributed, it is not common and can be described as local. The common lizard is found throughout the UK and is the only lizard native to Ireland. It can be found in larger gardens with good vegetative cover, especially if backing onto suitable habitat. Most lizards seen in Surrey will be common lizards. Adults usually have an overall dark brown colour, with complex patterns of lighter or darker brown lines running the length of the body. Juveniles are a uniform dark bronze-brown, the very young are nearly black. The scales of common lizards give them a slightly 'beaded' texture and appearance. The legs are relatively short and stocky, with five tapering toes on each foot, and a long tapering tail that makes up about two-thirds of the total length. Common lizards are quite variable in size and colouration. Adults usually grow to 13-15cm in total length however males can grow up to 20cm. The upper body colour is variable and can be grey, reddish or dark green as well as the usual dark brown colour. Common lizards can show great variety in colour and markings. Some of the extremes are shown here. Melanistic (black) adults are uncommon (although all new-born Common lizards are almost black). Even more unusual are specimens that demonstrate almost no markings. Common lizards can also appear to be very green (especially in certain light conditions). This often leads to an incorrect identification as a Sand lizard. Female common lizards tend to be a little shorter than males and have slightly smaller heads. There are usually differences between the sexes in patterning. Males tend to have a pattern of rows of regular lighter brown spots or dots running the length of the body in broken lines, and to have yellowish or even orange mottled undersides which are particularly prominent in the breeding season. Females tend to have unbroken stripes of lighter or darker brown, particularly along their dorsal line and their flanks, they tend to have no spots, and are plain white underneath. Text courtesy of Surrey ARG. Photo by Nick Dobbs 02-03-21 Dorset
"A great marriage is not when the 'perfect couple' comes together. It is when an imperfect couple learns to enjoy their differences."
Dave Meurer
The Official Announcer of the “Mannequins Making A Difference” event, during the Blue Water Festival, reminding people to check the mannequins out close, but DO NOT TOUCH them
Port Huron Michigan
'The Smiths' formed six years after the start of the British punk rock scene, and perhaps projected into their way-of-being three elements from this cultural dynamic: a sense of make-do or DIY, a sense of commentating from outside of society (unemployment culture included), and a sense of opinion generated from polemical example.
Punk rock is today perhaps famous for its blanket nihilisms: “Anarchy in the UK”, “White riot”, “No future” - all with varied forms of the Vivian Westwood dress-sense. Aside this ultra-vivid self-created stigma, the late 70s musical/cultural movement of UK Punk had created lyrical and musical vignettes that stayed on record players and transferred to C60 chrome mix-tapes: “Easy germ free adolescence” ('X-Ray Spex' 78) plotted a closed 'existential' in the life of an individual; 'Lost in a supermarket' ('The Clash' 79) was another vignette, but this time describing a poetic angle into a modern life that many could relate to, and, as a third example - “Love comes in spurts” ('The Voidoids' 76) - featuring a lyric that uses 'childish' shock word-play and active double-meanings to register and parody existing lyrical convention, whilst describing certain truisms. It can be said that depictions of highly specific sentiments; unusual but collective views on the modern world and the shock use of words and their dynamic meanings became the terrain of the 'post punk', 'DIY' Manchester band - 'The Smiths'.
With the lyrical whit of their singer Morrissey, 'The Smiths' kept a punkist sense of polemical charge (“The Queen is Dead”; “Hang the DJ” and “Meat is Murder”) whilst systematically developing individual and social themes. If musical skills were often missing (or denied) during UK Punk, then the Post Punk years saw an overt return of musical virtuosity (hand in hand with groups higher on idea and form than musical technicity). One nest of guitar skills hovered around the New York City band 'The Voidoids' with Tom Verlain, Robert Quine and Richard Lloyd all important Post Punk guitar stylists (even if US 'Post Punk' arrived before UK Punk - for example 'Pere Ubu' 1975). Around 1980 in Manchester England, a man who could match 'Nick Drake' for reserve produced a low-key, but much listened to record titled “The return of the Durutti Column” (a Spanish civil war reference in the name and title) www.youtube.com/watch?v=pddox1SYHko. 'The Durutti Column's Vini Reilly's meticulous detailing of guitar melody was perhaps matched across the city of Manchester by the extraordinary guitar style of Johnny Marr – the principle co-songwriter to 'The Smiths', whose style became clearly visible as early as 'The Smith's' second single. Marr's sense of shimmering detailing is also clearly apparent in the example of this moving lens test.
Fireworks are of so many colours and effects, and the post punk DIY musical alternatives were varied. Despite their differences, there are a few bands that help to put 'The Smiths' into an early context. 'Vic Godard's Subway Sect' had perhaps started out as a British version of 'The Voidoids' ('Double negative' 1978 www.youtube.com/watch?v=8fsYYG_Qf0Q) and had evolved by 1981 into melodic anti pop www.youtube.com/watch?v=3cgzwQBtFaA an approach perhaps akin to the relationship between 'New Wave cinema' and traditional cinema. Again from 1981, the group 'Orange Juice' were inhabiting melody and lyric without the desire to provide 'expected' popularist results: www.youtube.com/watch?v=RmpNSpzx2wI. 'The Smiths' projected aside many groups, Dandyisms, deconstructions and observations and, with some of the lyrical landscapes of Morrissey, were one of the groups that held on longest to the polemical side of punk rock. With the guitar of Johnny Marr, they were also one of the groups that pushed furthest from initial DIY ethics into artistic, holistic and highly developed forms. By the release of 'The Queen is Dead' in 1986 they had refined their idiosyncrasies to such an extent that they had produced a record that could be compared against the very “classic” albums they were initially reflecting against.
Prolific songwriters, 'The Smiths' took subject to swathes of British youth, and were another input of inspiration for a new generation of musicians. Postcard, Pop Aural and Rough Trade layered under Creation, Domino and Sarah, and new bands evolved without a close proximity to Punk rock. Contemporary journalists (including ones associated with Manchester's Guardian), muse, relay and decree that it is now time to stop listening to the work of Morressey. The Smiths split in 1987, and in the decades since, Morrissey has remained loyal to his polemical approach to social subjects. I certainly never wanted to hang a DJ, but played the song. One of the tracks that we should apparently be boycotting is a recently released duet with Thelma Houston: www.youtube.com/watch?v=2cB93OUF_sA
The track “Some girls are bigger than others' comes from the 1986 record and is a construction with the most minimal idea of verse, and thus arrives almost straight into the chorus, with a slightly detached and minimal refrain. The lyric takes a line that can be associated with both male machismo and the observational naivety of a small child: playing the idea straight as the thought of a young male adult faced by the enormity of mankind's diversity. By referring to the ice age, the lyric also points out that these differences come from the depths of the human race and are not a modern celebrity surface.
"From the ice-age to the dole-age, there is but one concern. I have just discovered; some girls are bigger than others... "
For the images in the lens test I replaced the 'girls' of the song with the animate 'bodies' of 'mother earth', as reflected by her waterfalls. The shots involve a variety of lenses and locations either side of the Pyrénées.
AJM 13.03.20
Press play and then 'L' and even f11. Escape and f11 a second time to return.