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SB800 camera right, 1/4 power, shoot-thru umbrella for diffusion. 3 shot HDR processed w/ photomatix, refined w layers and masks in photoshop.
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Ruinele fortăreței medievale Yeni-Sale (Enisala, Enișala, Eraclea sau Herkleia, îndepărtându-ne în timp) se află la 2km de localitatea Enisala, pe un deal calcaros care domină zona lacurilor Razim și Babadag. Cetatea Yeni-Sale are un plan poligonal neregulat, care urmează sinuozitățile masivului de calcar jurasic pe care este amplasată. Cercetările arheologice au fost începute în anul 1939 și au continuat, cu mici întreruperi, în perioada anilor 1970-1998. Materialele descoperite în urma cercetărilor arheologice și mai ales monedele bizantine, genoveze, tătărăști, moldovene, muntene sau turcești atestă rolul militar, politic, administrativ și economic pe care l-a îndeplinit cetatea.
Sepulturile dacice descoperite aici, din secolul al IV-lea î.e.n., precum și toporișcele de piatră șlefuită, ceramica și oasele de mamut arată o continuitate de populare încă din preistorie. Locuirii medievale îi corespund două niveluri de locuire. Primul, anterior construirii fortificației, a fost datat pe baza materialului arheologic la sfârșitul secolului al XIII-lea – începutul secolului al XIV-lea. Cel de al doilea nivel corespunde perioadei ridicării zidurilor, deoarece localitatea antică Herakleia, ruinată de Avari și de Slavi în secolul VI, în timp ce fortăreața militară, construită în scop militar, defensiv și de supraveghere a drumurilor de pe apă și de pe uscat de la Gurile Dunării, a fost reconstruită în sec. XII și XIV. Pe baza tehnicilor constructive, a materialului arheologic și a realităților istorice s-a emis ipoteza că puterile interesate de ridicarea unei cetăți situată în cadrul sistemului de fortificații din nordul Dobrogei, cu orientare spre mare, pentru controlarea traficului naval, au fost mai întâi bizantinii, apoi în a doua jumătate a secolului al XIV-lea genovezii, care dispuneau de mari sume de bani câștigate din comerț și care erau deținătorii monopolului navigației pe Marea Neagră. Cetăți asemănătoare, cu turnuri poligonale, se mai găsesc și mai la sud de-a lungul coastelor Mării negre, în actualele Bulgarie și Turcian unde bizantinii și genovezii au stăpânit porturi și orașe.
Zidurile de incintă, turnurile și bastioanele cetății, parțial conservate și restaurate, se păstrează în cea mai mare parte pe o înălțime de 5 – 10m. Atrage atenția, ca element arhitectonic deosebit, bastionul porții principale, de origine orientală, cu arcadă dublă, întâlnită frecvent în evul mediu și utilizată de constructorii bizantini la diverse edificii din Peninsula Balcanică dar și în Țările Române la Cetatea Neamțului, biserica Sf. Nicolae Domnesc de la Curtea de Argeș și la bisericile moldovenești ctitorite de Ștefan cel Mare.
Final shot taken with the canon 16-35ii. An unusual spot to watch the show from. Unless your dying for a foreground element I wouldn't recommend this location.
Water is the most important element for the development of living beings Keep It poqre is life for future generations
Entre 1959 y 1962, 329 de estos hermosos coches fueron fabricados. El diseño es de Giovanni Michelotti, el chasis del TR3 y los componentes mecánicos eran suministrados por la Triumph Motor Company desde el Reino Unido y el producto final salía de la fábrica de Alfredo Vignale en Turín, Italia. El coche fué idea del distribuidor de Standard-Triumph en Italia, Salvatore Ruffino, quién pensaba en una producción de unas mil unidades. Las dificultades económicas de Triumph, terminó siendo comprada por British Leyland, y la presentación por parte de la casa inglesa de su modelo TR4, también diseñado por Michelotti con muchos elementos de este modelo, terminaron la corta carrera de uno de los Triumph más hermosos.
Deutsch: de.wikipedia.org/wiki/Triumph_Italia
English: en.wikipedia.org/wiki/Triumph_Italia
Italiano: it.wikipedia.org/wiki/Triumph_Italia
Kihu – Toa Mythic of Gravity
Status: Deceased
Primary colors: Black, Purple, Dark Bluish Gray, Flat Silver
Brain-stalk: Trans-Orange
Element: Gravity (Ba)
Mask: Kanohi Pakari – Great Mask of Strength, grants its user increased physical strength.
Powers: Object Levitation. The ability to manipulate the forces of Gravity. With enough ferocity, Kihu could release a Gravity Nova Blast.
Primary weapon: Gravity Claws – Close range melee weapons designed to rip apart enemy armor. Using the element of Gravity, Kihu could “catch” incoming projectiles with the Gravity Claws and create miniature black holes within each palm, which could then be thrown at incoming attackers. The Gravity Claws were also used to channel Kihu’s element of Gravity.
Key traits: Calm, collected, astute, spiritual, a warrior-monk who was completely in tune with the natural world around him. When not fighting against the hordes of the Makuta, Kihu preferred to spend his time in meditation. He believed that the spirit of Mata Nui guided the paths of all beings, and upon his death, he accepted this fate without regret. The loss of Kihu resonates deeply with the remaining members of the Toa Mythic.
The deceased members of the team play a crucial role in the story of the Toa Mythic, as they frequently appear in flashbacks and in strange visions that haunt the remaining members of the team.
When I create custom Bionicle (Toa), I generally only use parts from 2-4 existing sets. The result is a simplistic design that resembles an official LEGO product.
Faves, comments, and feedback are appreciated, thank you!
I'm just about done with my first semester of college! Next Friday is the last day!! It's about time.... I'm tired of all the reading! I get a month off now. It'll be super relaxing. Also, I'll finally have time to shoot like I did in the summer. Expect a lot of shots from my stream starting in about a week!!
I'm planning on declaring psychology as my major early on next semester.
Abnormal Psych was great this semester, and I'm taking Intro to Personality and Intro to Cognitive Psych next semester. I'm super happy I skipped out of 1001 because of AP Psych in high school. 1001 is a real beast, according to several of my friends.... 40 pages a night....
How's everyone else doing??
Sula Bio
Name: Sula
Pronunciation: Sue-Lah
Group: Toa
Element: Plasma
Kanohi: Huna
Tools: Plasma Staff
Personality: Quiet, dismissive, borderline mute
Sula has control over exclusively the power of Plasma. His range of energy based abilities does not extend as broad as Voriki, but he is nonetheless still very powerful. His plasma staff reaches insanely high temperature levels hotter than magma and can cut through almost any surface. His power is incredibly unstable and it takes all of his concentration to maintain it. Sula cannot maintain permanent flight like Fetika, but he is able to use a form of controlled ionization to propel himself short distances. His ability to do this is relatively limited, but he can still ignite his plasma staff during this motion as well.
Sula’s Huna mask provides him the power of invisibility. He also has the ability to shield his mind from mental attacks, intrusion, and other beings.
Sula is neither the strongest of the Toa Shelek nor the smartest. He is however the most skilled sword fighter within his group.
Relationship with the other Toa Shelek:
Sula hardly has a relationship with the other Toa. He rarely speaks at all and when he does it is very to the point and without emotion or expression. The other Toa know little to nothing about him and are very put off by his silence. Eldahi even tries to read his mind to gain some knowledge about him, but his mental blocks prove too strong for even her psychic powers. De’ Onai vents his anger out at Sula due to him basically being a wall who offers nothing back. He lashes out at him to the point of provoking a fight to stir up some kind of reaction. However, he backs off after seeing the capabilities of Sula’s plasma staff.
While his silence makes the others uncomfortable, he still helps the other Toa in their search for answers about their past.
The rare Synchro-Rapid 800 version of the popular Kodak Tourist II line from the 1950s. The 4-element Anastar lens is of the Tessar type, and was only available with the 800 shutter for the Tourist cameras.
Ol' Muffin Top was hitching a ride on the choo-choo. Riding a Nickel Plate 765 deadhead to the Foamathon at Franklin Park, he was caught searching for an open bar in the early morning hours near B12.
Members of 3rd Battalion, The Royal Canadian Regiment (3 RCR) conduct cold load drills with the Latvian and US armies during Exercise SUMMER SHIELD XII in Adazi, Latvia on March 24, 2015.
Photo: Land Task Element, DND
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Des membres du 3e Bataillon du Royal Canadian Regiment (3 RCR) effectuent des exercices d’évacuation avec les forces armées lettones et américaines au cours de l’exercice SUMMER SHIELD XII, à Adazi, en Lettonie, le 24 mars 2015.
Photo : Élément opérationnel terrestre, MDN
TN2015-0009-C0228
Yesterday afternoon Rhys and I headed to our new fav spot in the upper Blue mountains. The sunset was spectacular and the colour stayed in the sky for about an hour.
Here Rhys gets down to business shooting some hand held shots.
Popped this one SOOC. So many more to come
Rhys's Shot
The fourth of the 1950s era “Century Series,” the F-104 Starfighter was designed around one single element: speed. Clarence “Kelly” Johnson, head of Lockheed’s famous “Skunk Works” factory, had interviewed US Air Force pilots during the Korean War, seeking their input on any new fighter. Since the pilots reported that they wanted high performance more than anything else, Johnson returned to the United States determined to deliver exactly that: a simple, point-defense interceptor marrying the lightest airframe to the most powerful engine then available, the superb General Electric J79.
When Johnson offered the L-098 design to the USAF in 1952, the service was so impressed that they created an entire competition for the aircraft to be accepted, ostensibly as a F-100 Super Sabre replacement. The Lockheed design had the clear edge, though both North American’s and Northrop’s design went on to be built themselves—the North American F-107A Ultra Sabre and the Northrop T-38 Talon. The USAF purchased the L-098 as the F-104A Starfighter. The design changed very little from initial design to prototype to operational aircraft, which was done in the astonishing time of two years.
When the first F-104As reached the USAF in 1958, pilots quickly found that it was indeed a hot fighter—too hot. The Starfighter’s design philosophy of speed above all else resulted in an aircraft with a long fuselage, T-tail for stability, and small wings, which were so thin that special guards had to be put on the leading edges to avoid injuring ground personnel. Because of its small wing, the F-104 required a lot of runway, and blown flaps (which vents airflow from the engine over the flaps to increase lift) were a necessity; unfortunately, the airflow system often failed, which meant that the F-104 pilot would be coming in at a dangerous rate of speed. Because it was feared that a pilot who ejected from a F-104 would never clear the tail, a downward-ejection seat was fitted, but after killing over 20 pilots, the seat was retrofitted with a more reliable, upward-firing type. The design also was not very maneuverable in the horizontal, though it was difficult to match in the vertical. Its shape earned it the moniker “Missile With a Man In It” and “Zipper.”
One thing pilots did not complain about was its speed—the listed top speed of the F-104 was Mach 2.2, but this was because above that the fuselage would melt. The J79 was a near flawless engine that gave the Starfighter an excellent thrust-to-weight ratio; uniquely, the intake design of the Starfighter gave the engine a bansheelike wail. So superb was the F-104 at level speed and climbing that NASA leased several as trainers for the X-15 program, and in setting a number of speed and time-to-climb records.
If the F-104 had gotten a mixed reception at best in the USAF, Lockheed felt that it had potential as an export aircraft. Beating out several excellent British and other American designs in a 1961 competition, every NATO nation except France and Great Britain bought F-104s and manufactured their own as the F-104G; Japan also license-built Starfighters as F-104Js, while still more were supplied to Pakistan and Taiwan. Just as in USAF service, accident rates were incredibly high, particularly in West German and Canadian service—Germany lost 30 percent of its initial batch, and the Canadians over half. Worries that the F-104 was too “hot” for pilots usually transitioning from the F-86 were ignored, and later it was learned why: German, Dutch, and Japanese politicians later admitted to being bribed by Lockheed into buying the Starfighter.
Its high accident rate earned such nicknames as “Widowmaker,” “Flying Coffin,” and “Ground Nail.” Pakistani pilots simply called it Badmash (“Criminal”) and the Japanese Eiko (“Glory,” inferring that it was the easiest way to reach it). German pilots joked that the quickest way to obtain a F-104 was to buy a patch of land and wait.
Nonetheless, once pilots learned how to tame the beast, the accident rates eased somewhat, and NATO pilots discovered that the Starfighter excelled as a low-level attack aircraft: fitted with bomb racks, the F-104 was remarkably stable at low altitude and high speed, and Luftwaffe pilots in particular found that they could sneak up on a target, launch a simulated attack, and be gone before ground defenses could react. The Italians in particular loved the F-104, building their own as the F-104S: these aircraft were equipped with multimode radar and armed with AIM-7 Sparrow and Aspide radar-guided missiles, making them a superb interceptor. Though most NATO nations reequipped their F-104 units with F-16s, F-18s, or Tornados beginning in 1980, the Italian F-104S fleet was continually upgraded and soldiered on until final retirement in 2004. 2578 F-104s were built, mostly F-104Gs; today over 150 survive in museums, with at least ten flyable examples, making it one of the best preserved of the Century Series.
Not much is known about the career of F-104C 56-0926, but it may have followed the same track as most USAF F-104Cs: starting with the 479th Tactical Fighter Wing at George AFB, California, and finishing with the 156th TFW (Puerto Rico ANG) at San Juan; 56-0926 definitely served with the latter. It was retired in 1975, and donated as a ground instruction trainer to North Dakota State University's aerospace program--beginning a possible odyssey around the eastern part of the state.
By 1985, NDSU had taken 56-0926 and put it on a pole, either at the main campus in Fargo or at its satellite campus at Valley City (now Valley City State University). Sometime in the early 1990s, it was taken off the pole and displayed in the 119th Fighter Wing's airpark at Fargo-Hector International Airport, but by 1997, it was in Valley City for good. 56-0926 was placed on display as part of a veterans memorial in the middle of town, along with two 105mm howitzers and an inert B61 tactical nuclear bomb.
I had a tough time finding 56-0926: all the sources I have listed it in Valley City, but where was hard to find! Eventually I tracked it down, and we made a quick stop in August 2022 to check it out. It's in decent shape, but completely devoid of unit markings and finished in anticorrosion gray. This was also among the tallest "planes on a pole" that I've seen--it was visible several blocks away, and I had to cross the street to get the picture.
Vintage postcard. Brigitte Bardot in La vérité / The Truth (Henri-Georges Clouzot, 1960).
French actress Brigitte Bardot (1934) died on 28 December 2025, at the age of 91. In the 1950s, she was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she became an animal rights activist. In the coming weeks, we will continue to post a BB postcard every day to remember her as she once was.
Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father, and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying to launch a modelling career and found herself on the cover of the French magazine Elle in May 1949. Her incredible beauty was readily apparent, and Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand / Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953, she attended the Cannes Film Festival, where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956, she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as an ingénue or siren, often with an element of undress. In 1953, she made her first US production, Un acte d'amour / Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.
Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smash success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. The immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the filming of Et Dieu créa la femme / And God Created Woman (Roger Vadim, 1956), directed by her husband, Brigitte Bardot had an affair with her co-star, Jean-Louis Trintignant, who at the time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.
Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956) helped Brigitte Bardot's international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten', and fascination with her in America consisted of magazine photographs and dubbed over French films - good, bad or indifferent, her films drew audiences - mainly men - into theatres like lemmings. BB appeared in light comedies like Doctor at Large (Ralph Thomas, 1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne / La Parisienne (Michel Boisrond, 1957), which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur / Love is My Profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "This Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defence attorney Andre (Jean Gabin). Though Andre can shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960, postcards with this photograph outsold in Paris those of the Eiffel Tower.
Brigitte Bardot divorced Vadim in 1957, and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre / Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career
Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée / Private Life (1962), directed by Louis Malle, has more than an element of autobiography in it. James Travers at French Films: "Brigitte Bardot hadn’t quite reached the high point of her career when she agreed to make this film with high-profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess, and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot, and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards, Bardot withdrew to the seclusion of Southern France.
Brigitte Bardot's other husbands were German millionaire Playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men, including Samy Frey, her co-star in La Vérité / The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Jean-Luc Godard's critically acclaimed film Le Mépris / Contempt (Jean-Luc Godard, 1963) opposite Michel Piccoli. She was also featured along with such notable actors as Alain Delon in Amours célèbres / Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires /Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses / Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.
Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973, just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewellery and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990s, she was also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal was a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularising bikini swimwear, in such early films as Manina / Woman without a Veil (Willy Rozier, 1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."
Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (French Films), French Films, Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
Somewhat under whelmed by this Gala. At 4 1/2 mile long there hamstrung by the length of the line and only one passing loop to allow trains to pass.
The steep incline from Keighley station provides excellent demonstration of steam power.
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Our Winter Steam Gala is returning for 2017, Friday 3rd March – Sunday 5th March. With the bridge difficulties well and truly behind us and a successful Autumn Steam Spectacular in October including two guest locomotives, ‘Battle of Britain’ class 34053 ‘Sir Keith Park’ and Manor Class 7822 ‘Foxcote Manor’, we are delighted that once again we will be welcoming TWO visiting locomotives to the Railway – LNER B1 Class 4-6-0 61264, courtesy of the Thompson B1 Locomotive Trust, and LMS ‘Crab’ 2-6-0 13065, courtesy of the East Lancashire Railway.
LNER B1 Class 4-6-0 61264
Designed by Edward Thompson, Chief Mechanical Engineer of the London North Eastern Railway (LNER), the B1 class was a wartime utility mixed-traffic locomotive for general passenger and freight duties. 61264 was built at the Glasgow works of the North British Locomotive Company and entered traffic at Parkeston Quay, Harwich in 1947 as 1264 in LNER Apple Green livery. During 13 years in Suffolk, hauling express passenger trains to and from London Liverpool Street station.
Withdrawn in 1965 and after use as a stationary boiler, 61264 found itself in Barry scrapyard, the only ex-LNER engine to reside there, and one of only 2 B1s to survive. Purchased by the Thompson B1 Locomotive Trust in 1976. It was to be 21 years before the engine returned to action on the Great Central Railway.
Today the 61264’s home is on the North Yorkshire Moors Railway as a mainline certified engine and regularly works onto the national network to Whitby with occasional railtours across the UK. Thanks to its mainline credentials, 61264 will arrive via our connection with Network Rail at Keighley.
(The photograph below depicts 61264 approaching Mytholmes when it appeared at the 2003 Autumn Gala masquerading as long lost classmate 61244 ‘Strang Steel’.)
61264-031011-nh61264-080404-nh
LMS Hughes ‘Crab’ 2-6-0 13065
Designed by George Hughes, Chief Mechanical Engineer these mixed traffic locomotives were the first purely LMS design to be introduced at the grouping, and built at the ex-L&YR works at Horwich and the ex-LNWR works at Crewe.
Having been built at Crewe, 13065 entered service in 1927 at Kentish Town shed in north west London resplendent in LMS crimson lake livery with its number carried on the tender. During the next 39 years it received the number 2765 by the LMS, becoming 42765 under BR and after being based at various sheds throughout the London Midland region was withdrawn from Birkenhead in December 1966.
Barry scrapyard beckoned and it was in 1978 that the locomotive was rescued and moved to Ingrow on the KWVR for restoration. This visit will therefore be somewhat of a home coming. Although some work was undertaken in the Worth Valley, 42765 moved to the East Lancashire Railway and was returned to traffic in 1994. After a second overhaul the engine was unveiled in 2014 in its original livery as 13065.
13065-161106-jc 13065-1612041-ii
Although not fully confirmed, in addition to these visiting locomotives, for 2 days, it is anticipated that we will also have two “old” LMS ‘Black 5’ stalwarts, our own 45212 and 45407 from Ian Riley’s fleet at Bury.
If the visit comes to fruition, and our organisers are working hard to make this happen, both 45407 & 45212 will operate full diagrams on Saturday and Sunday before setting off for mainline railtour duties on the ‘big’ railway.
45407-ID 45212-161008'1-GH
Added to these 4, the KWVR ‘home fleet’ will be in action
•BR Standard 4MT 4-6-0 75078
•WD 2-8-0 90733
•Midland 4F 0-6-0 43924
•USATC S160 2-8-0 “Big Jim” No.5820
•LNWR 0-6-2 ‘Coal Tank’ 1054 (Courtesy of Bahamas Loco society)
•Taff Vale Railway O2 0-6-2T 85
•Hudswell Clarke 0-6-0T 1704 ‘Nunlow (Courtesy of Bahamas Loco society)
•Grafton Steam Crane will be in steam and operating in Oakworth Yard
… as well as a range of different coaching stock and goods vehicles.
Working Timetables
As with all our Galas we publish the working timetables for the various workings. The up-to-date version (01/03/17) can be viewed by downloading the 2017 Winter Steam Gala Working Timetable PDF. It is important to note that these timetables take account that 45212 and 45407 MAY be attending and reflect that the situation remains fluid.
The public timetables can be viewed HERE >>
Prices:
Day Rover:
Adult: £24
Concession: £21
Child: £12
Small Family (Adult + 1 Child: £30
Member / Local Adult: £21
Member Concession / Local Concession: £18.50
Member Child / Local Child: £11
2 Day Rover:
Adult: £43
Concession: £37.50
Child: £21.50
Member / Local Adult: £37.50
Member Concession / Local Concession: £33
Member Child / Local Child: £19.50
3 Day Rover
Adult: £60
Concession: £52.50
Child: £30
Member / Local Adult: £52.50
Member Concession / Local Concession: £46
Member Child / Local Child: £27.50
Don’t forget that your Rover tickets allow entry into both museums at RAIL STORY, Ingrow, Museum of Rail Travel and Ingrow Loco.
Full details will be released in due course – watch this space for all future developments.
Guided tours of the Haworth Locomotive Works
Once again we will be running our unique tour behind the scenes in our engine shed and workshop at Haworth, the tours being led by our experienced and knowledgeable volunteer tour guides,. The tours are organised to raise funds to restore the Ivatt 2-6-2T 41241 and although the tours are free, we do ask our guests to consider making a Gift Aided donation, usually in the region of £5 to the KWVR Charity (no 1136853).
Tour times will connect with trains from Keighley arriving at Haworth where you will meet your guide at Haworth Station for your 45/60 minute tour.
Inside the shed you will see Standard 2 78022, Ivatt 41241 and Lancashire and Yorkshire ‘Ironclad’ 0-6-0 no. 957, The Green Dragon in the film The Railway Children, undergoing restoration and investigation – and maybe more.