“SATURN V TAIL - - The size of the 350-feet-tall Saturn V moon rocket is illustrated by this “soft” mockup of the thrust structure, or “business end,” of the S-IC stage nearing completion at the NASA-Marshall Space Flight Center at Huntsville, Ala. The booster, 33 feet in diameter and 138 feet long, will be powered by five F-1 engines developing 7.5 million pounds thrust to start the monstrous vehicle on its journey into space. Two mock engines are shown mounted beneath the thrust structure. The first booster is scheduled for ground test firing at the Marshall Center late in 1964. MSFC will build several ground test models plus the first flight model and the Boeing Company will produce future flight vehicles at MSFC’s Michoud Operations plant at New Orleans.”

A miracle, blind squirrel/found nut, play the lottery, transient phenomena, aberration:

“This photograph depicts Marshall Space Flight Center employees, James Reagin, machinist (top); Floyd McGinnis, machinist; and Ernest Davis, experimental test mechanic (foreground), working on a mock up of the S-IC thrust structure. The S-IC stage is the first stage, or booster, of the 364-foot long Saturn V rocket that ultimately took astronauts to the Moon. The S-IC stage, burned over 15 tons of propellant per second during its 2.5 minutes of operation to take the vehicle to a height of about 36 miles and to a speed of about 6,000 miles per hour. The stage was 138 feet long and 33 feet in diameter. Operating at maximum power, all five of the engines produced 7,500,000 pounds of thrust.”

Image and the above at:

images.nasa.gov/details-0102336

I am really digging the flair(ing) of the black paint job on the engine fairing. Although not necessary when producing 7.5 million pounds thrust - which btw is insane TO THIS DAY - it does provide a more stylishly dynamic look.

Also at:

history.nasa.gov/MHR-5/part-4.htm

Specifically, the image in color, at a surprisingly nice resolution:

history.nasa.gov/MHR-5/Images/fig149.jpg

With good discussion regarding this and other similar/the same(?) structures:

forum.nasaspaceflight.com/index.php?topic=15446.0

Credit: NASA SpaceFlight.com website

www.gettyimages.com/detail/news-photo/park-visitors-walk-...

Credit: none merited

Finally…excellent, but sad. Unfortunately, not surprising:

www.worldsfairphotos.com/nywf64/space-park.htm

Credit: “The 1964-1965 New York World's Fair” website. A wonderful & comprehensive source for all things ‘NYWF64’!

“This picture of a crescent-shaped Earth and Moon -- the first of its kind ever taken by a spacecraft -- was recorded Sept. 18, 1977, by NASA's Voyager 1 when it was 7.25 million miles (11.66 million kilometers) from Earth. The Moon is at the top of the picture and beyond the Earth as viewed by Voyager. In the picture are eastern Asia, the western Pacific Ocean and part of the Arctic. Voyager 1 was directly above Mt. Everest (on the night side of the planet at 25 degrees north latitude) when the picture was taken. The photo was made from three images taken through color filters, then processed by the Jet Propulsion Laboratory's Image Processing Lab. Because the Earth is many times brighter than the Moon, the Moon was artificially brightened by a factor of three relative to the Earth by computer enhancement so that both bodies would show clearly in the print. Voyager 2 was launched Aug. 20, 1977, followed by Voyager 1 on Sept. 5, 1977, en route to encounters at Jupiter in 1979 and Saturn in 1980 and 1981. JPL manages the Voyager mission for NASA.”

Above & image, at:

photojournal.jpl.nasa.gov/catalog/PIA00013

And:

photojournal.jpl.nasa.gov/catalog/PIA01967

Both credit: JPL Photojournal website

Also:

www.nasa.gov/50th/favpic/earthMoon.html

Specifically:

www.nasa.gov/images/content/261087main_08_FirstPictureEar...

And. “Voyager 1 Takes the First Image of the Earth-Moon System in a Single Frame”:

www.nasa.gov/image-feature/voyager-1-takes-the-first-imag...

Finally, with the usual excellent read:

www.drewexmachina.com/2020/12/08/the-first-planetary-prob...

Credit: Andrew LePage/Drew ExMachina website

Note the rather impeccable provenance. A historic - at least from a space exploration perspective - photograph. Despite probably 'higher than normal' handling wear, as it may have served as the image used in one/some? of Mr. Burgess's many publications, a stunning image.

Graphic design forged from a macro photo of an American Waltham pocket watch

Surely another unicorn. An original ca. 1966/67 Lunar Orbiter I panoramic photograph measuring 3’ 5.5” x 9’ 9.75”.

Nearly 10 feet long, can you believe it? The earth itself is ~15” in diameter!

I was informed by the gentleman I obtained it from, who lives/lived in Seattle, Washington, that it came from the estate of a Boeing employee there, who stated that it was originally tacked to a wall, possibly of a hallway, at the Boeing Missile Production Center, also in Seattle, where the Lunar Orbiter spacecraft were assembled.

I have no doubts regarding the validity of the above assertion. There are in fact ‘vintage’ tack holes in the corners. Although the verso bears no watermark, it is definitely some sort of photographic paper, with a very slight, appealing actually, sepia tone. The jagged appearance of the top edge is an artifact of the imprecise panning of my infernal iPhone. The edge is clean, smooth & straight. The photograph is actually in remarkable condition. Lighting was oblique natural under somewhat overcast conditions.

This is the only other reference to a large/larger version of this amazing photograph that I’ve seen:

www.spaceref.com/news/viewnews.html?id=1496

Credit: SPACEREF website

The above query was from 2011, so I’m pretty sure Mr. Cowing has found one by now. 😉

I'm surprised this didn't require a login, credit card number, subscription, blood, first-born, commitment, obligation, or other revenue generating scheme. Not that it's any sort of treasure trove of anything. Although it is where I found out where the Lunar Orbiters were manufactured. If correct that is:

www.boeing.com/history/products/lunar-orbiter-spacecraft....

Credit: Boeing website

“Artist’s concept shows the Lunar Orbiter spacecraft positioned to make detailed photographs of wide areas of the Moon’s surface. Camera lenses are not visible in this view. The National Aeronautics and Space Administration’s Langley Research Center, Hampton, Virginia, manages the Lunar Orbiter Project. The craft will provide extensive photographic exploration of the lunar surface to aid in selection of [possible landing areas for the Project Apollo manned landing mission. The Lunar Orbiter Project is necessary and valuable contributor to man’s knowledge of the Moon and its environment. An Atlas/Agena launch vehicle will place the Orbiter in translunar trajectory, where an internal rocket-engine propulsion system will provide midcourse trajectory correction and, later, inject the spacecraft into lunar orbit. The Boeing Company, Seattle, Washington, is developing the Lunar Orbiter for NASA.”

An amazing mobile camera/photo lab, operating while orbiting the moon, OVER 50 years ago!

Consider the following: FIVE attempts, FIVE successes, 1966-67, from launch vehicle to spacecraft. Remarkable.

In my opinion, one of Boeing’s most impressive accomplishments to this day.

YES, another one in the “W” column! A beautiful, rarely seen depiction by Boeing illustrator/artist James W. Potter.

"James Potter was born May 12, 1920 in Denver. He lived his early years there and graduated from East Denver High School, Class of 1939. After graduation, he joined the 120th Observation Squadron of the Colorado National Guard, serving with Major General Joe C. Moffitt, resigning to join the Army Air Corps. He then served on active duty and in the reserves until 1958 when he was honorably discharged as a first lieutenant. After the war, Jim returned to Denver and attended the University of Colorado Architectural School and the University of Denver Art School.

Jim worked as aviation artist/illustrator for the Boeing Airplane Company in Seattle for thirty-three years and produced cut-away and concept-type illustrations of future airplane designs that are currently in service or that may be developed. He considered that participation in the design of future aircraft through his art was his greatest contribution to aviation. A large mural he painted, depicting the early history of the Boeing Company, is displayed at the Museum of Flight in Seattle, Washington. His work has appeared in Aviation Week, Air Force Magazine as well as other trade journals and aviation books.

After his retirement from Boeing in 1986, Jim did seventeen paintings for the Colorado Air National Guard for their commemorative history book, Colorado Pride: From Jennies to Jets. The original paintings depicting the aircraft flown by the Colorado Air National Guard throughout its history are on display at the Guard headquarters in Denver. Prints of the series are available at the Wings Over the Rockies Museum Gift Shop.

Jim was an active member of the Colorado Aviation Historical Society and with Ruby, his wife of many years, attended many of the meetings. Their smiling faces invited conversation, participation and the sharing of aviation history lore. After retirement Jim was also active in the American Society of Aviation Artists. A book, Airplanes that Never Flew, written and illustrated by Jim Potter, will soon be published.

Jim's last work for the Air Guard, a painting of their current fighter aircraft, the Lockheed-Martin F-16 remains unfinished, interrupted by his passing.

The Colorado Aviation Historical Society and the Museum will be benefactors of the generosity of Jim and Ruby.

Jim returned to Colorado from Washington in 1990 and lived in Evergreen until his death on March 19, 1996. He will be missed, but his works will be a continual reminder of James W. Potter, an aviation artist and gentleman."

Above at:

www.coloradoaviationhistoricalsociety.org/bio_popup.asp?i...

Credit: Colorado Aviation Historical Society website

And thanks to the tireless efforts of Garrett O'Donoghue/Numbers Station and the Internet Archive website:

archive.org/details/NIX-EL-2002-00438

e05.code.blog/2021/09/20/64-l-02494/

Thank you for your service Brother.

Rest In Peace.

“STS-61 EVA View--Anchored on the end of Endeavor’s Remote Manipulator System (RMS) arm, Astronaut Hoffman, Jeffrey (foreground) prepares to install the new Wide Field/Planetary Camera into the empty cavity of the Hubble Space Telescope. Astronaut Musgrave, Story works with a portable foot restraint.”

In keeping an enduring & time-honored NASA “caption writer’s” tradition alive, the official caption misspells the orbiter's name. But hey, at least the military-like last name/first name order is hooah...NOT. Ugh.

“This Voyager 2 high resolution color image, taken 2 hours before closest approach, provides obvious evidence of vertical relief in Neptune's bright cloud streaks. These clouds were observed at a latitude of 29 degrees north near Neptune's east terminator. The linear cloud forms are stretched approximately along lines of constant latitude and the sun is toward the lower left. The bright sides of the clouds which face the sun are brighter than the surrounding cloud deck because they are more directly exposed to the sun. Shadows can be seen on the side opposite the sun. These shadows are less distinct at short wavelengths (violet filter) and more distinct at long wavelengths (orange filter). This can be understood if the underlying cloud deck on which the shadow is cast is at a relatively great depth, in which case scattering by molecules in the overlying atmosphere will diffuse light into the shadow. Because molecules scatter blue light much more efficiently than red light, the shadows will be darkest at the longest (reddest) wavelengths, and will appear blue under white light illumination. The resolution of this image is 11 kilometers (6.8 miles per pixel) and the range is only 157,000 kilometers (98,000 miles). The width of the cloud streaks range from 50 to 200 kilometers (31 to 124 miles), and their shadow widths range from 30 to 50 kilometers (18 to 31 miles). Cloud heights appear to be of the order of 50 kilometers (31 miles). This corresponds to 2 scale heights. The Voyager Mission is conducted by JPL for NASA's Office of Space Science and Applications.”

Above & image at:

photojournal.jpl.nasa.gov/catalog/PIA00058

Credit: JPL Photojournal website

And/or, with the photograph’s impeccable provenance, the description possibly used in Mr. Burgess’s book “Far Encounter: The Neptune System”:

“Figure 4-6: Taken two hours before the spacecraft’s closest approach to Neptune, this image shows vertical relief in the cloud streaks. The linear cloud forms are stretched approximately along lines of constant latitude, and the Sun is toward the lower left. The bright sides of the clouds which face the Sun are brighter than the surrounding cloud deck because they are more directly exposed to the sun. Shadows can be seen on the side opposite the Sun. These shadows are less distinct at short ultraviolet wavelengths because they are cast on a lower cloud deck and scattering of light by the atmosphere above them diffuses light into the shadow. The shadows are darkest when observed in red light because molecules scatter the longer waves of red light less than blue or ultraviolet light. The widths of the cloud streaks range from 30 to 125 miles (50 to 200 km) and their heights appear to be about 30 miles (50 km) above the main cloud deck.”

The image was also the cover of the 1990 issue of “NASA Spinoff” magazine, by James Haggerty.

"CKMTA, Corps of Engineers

NASA- 155 LC-39 Pad B Aerial View"

Built to last.

Good LC-39B reading:

www.nasaspaceflight.com/2017/05/pad-39b-foundations-hosti...

Credit: NASA SPACEFLIGHT.com website

Kaleidoscopic design patterned based off of one of my pocket watch photos

A rare & excellent view of Chamber A during construction of the Space Environment Simulation Laboratory (SESL)/Building 32, at the Manned Spacecraft Center (MSC), sometime during 1964. The massive door had yet to be installed at the time of this photograph, allowing a relatively unobstructed view into the chamber. The catwalk that rings the interior chamber wall can be seen near the top of the opening.

Additionally - and hopefully - at least some of it being correct:

“The SESL was designed to support spacecraft testing and astronaut training for the Gemini and Apollo programs using human-rated thermal vacuum chambers with solar simulation capabilities. By reproducing the thermal and vacuum conditions of space, NASA engineers could better understand the effects of those environments on spacecraft and the crews they protected. Construction of MSC’s Building 32 that housed the SESL began in late 1963 and was mainly complete by late 1964, with the facility’s two vacuum chambers installed and ready for acceptance testing.

The larger of the two chambers, called Chamber A, measured 90 feet in height and 55 feet in diameter, more than adequate to accommodate the full Apollo spacecraft it was designed to test. Inside the cavernous chamber, a 45-foot “lunar plane” platform could handle a 150,000-pound test vehicle and was capable of rotating 180 degrees to simulate a spacecraft flying to the Moon. The chamber’s vacuum pumps could simulate an altitude of 130 miles. To simulate the temperature extremes of space, the chamber’s interior walls cooled to -230 degrees Fahrenheit while two banks of carbon arc modules simulated the unfiltered heat and light of the Sun. Test articles could be placed in the chamber either through a removable top head or a 40-foot-wide side mounted access door. The smaller Chamber B, 26 feet high and 25 feet in diameter, had similar capabilities to the larger chamber with regard to environmental parameters and accommodated smaller test articles more economically.”

Above from/at, with numerous other excellent images:

www.nasa.gov/feature/building-on-a-mission-spacecraft-env...

Well deserved:

npgallery.nps.gov/AssetDetail/NRIS/85002810

Credit: National Park Service (NPS) website

“This high-resolution image of Enceladus was made from several images obtained Aug. 25, 1981, by Voyager 2 from a range of 119,000 kilometers (74,000 miles). It shows further surface detail on this Saturnian moon. Enceladus is seen to resemble Jupiter's moon Ganymede, which is, however, about 10 times larger. Faintly visible here in light reflected from Saturn is the hemisphere turned away from the sun. The Voyager project is managed for NASA by the Jet Propulsion Laboratory, Pasadena, Calif.”

Above, and possibly the same image in color, both of these being upside-down/downish IMHO:

photojournal.jpl.nasa.gov/catalog/?IDNumber=PIA01367

Although the caption for a very similar photo (correctly oriented?), is accompanied by this:

“This black and white Voyager 2 image mosaic shows the water-ice-covered surface of Enceladus, one of Saturn's icy moons. Enceladus' diameter of just 500 km would fit across the state of Arizona, yet despite its small size Enceladus exhibits one of the most interesting surfaces of all the icy satellites. Enceladus reflects about 90% of the incident sunlight (about like fresh-fallen snow), placing it among the most reflective objects in the Solar System. Several geologic terrains have superposed crater densities that span a factor of at least 500, thereby indicating huge differences in the ages of these terrains. It is possible that the high reflectivity of Enceladus' surface results from continuous deposition of icy particles from Saturn's E-ring, which in fact may originate from icy volcanoes on Enceladus' surface. Some terrains are dominated by sinuous mountain ridges from 1 to 2 km high (3300 to 6600 feet), whereas other terrains are scarred by linear cracks, some of which show evidence for possible sideways fault motion such as that of California's infamous San Andreas fault. Some terrains appear to have formed by separation of icy plates along cracks, and other terrains are exceedingly smooth at the resolution of this image. The implication carried by Enceladus' surface is that this tiny ice ball has been geologically active and perhaps partially liquid in its interior for much of its history. The heat engine that powers geologic activity here is thought to be elastic deformation caused by tides induced by Enceladus' orbital motion around Saturn and the motion of another moon, Dione.”

At:

photojournal.jpl.nasa.gov/catalog/PIA00347

Credit: JPL Photojournal website

Before Enceladus became ‘famous’, thanks to the further revelations of Cassini. Again, impeccable original provenance of the photograph, which may have been the source photograph of an image featured in one of Mr. Burgess' many books...possibly as figure "8-5 (f)".

“Astronauts Steven L. Smith, and John M. Grunsfeld, appear as small figures in this wide scene photographed during extravehicular activity (EVA). On this space walk they are replacing gyroscopes, contained in rate sensor units (RSU), inside the Hubble Space Telescope. A wide expanse of waters, partially covered by clouds, provides the backdrop for the photograph.”

What an amazing recovery the Hubble Space Telescope was. From being the 'spectacle' of an epic blunder, to the brilliant engineering of corrective 'spectacles', resulting in countless 'spectacular' vistas of the heavens.

Bravo to all involved!!!

From the "HUBBLESITE" website:

December 19-27, 1999

SPACE SHUTTLE: Discovery

Crew: Commander Curtis L. Brown, Pilot Scott J. Kelly, Payload Commander Steven L. Smith, Mission Specialists C. Michael Foale, John M. Grunsfield, Claude Nicollier and Jean-Francois Clervoy

NASA decided to split the Servicing Mission 3 (SM3) into two parts, SM3A and SM3B, after the third of Hubble’s six gyroscopes failed. (At that time, Hubble needed three gyroscopes to observe a celestial target.) The second part of the mission, SM3B, took place March 1–12, 2002.

On November 13, 1999, the Hubble Space Telescope was placed into safe mode after the failure of a fourth gyroscope. In safe mode Hubble could not observe targets, but its safety was preserved. This protective mode allows ground control of the telescope, but with only two gyros working, Hubble cannot be aimed with the precision necessary for scientific observations of the sky. Controllers closed the aperture door to protect the optics and aligned the spacecraft to ensure that Hubble’s solar panels would receive adequate power from the Sun.

In the first of the two-part mission, the most pressing task was the replacement of the gyroscopes. The crew, two of whom were Hubble repair veterans, replaced all six gyroscopes — as well as one of Hubble’s three Fine Guidance Sensors, which allow fine pointing and keep Hubble stable during observations, and a transmitter.

The astronauts also installed an advanced central computer, a digital data recorder, an electronics enhancement kit, battery improvement kits, and new outer layers of thermal protection. Hubble was as good as new.

Mission Highlights:

- Replacement of all three Rate Sensing Units (RSUs), each of which contains two gyroscopes

- Installation of new computer, 20 times faster with six times more memory than its predecessor

- Replacement of original reel-to-reel data recorder with digital Solid State Recorder (SSR) which is faster, more reliable and can store 10 times as much data

- Replacement of #2 of 3 Fine Guidance Sensors (FGS) with refurbished unit

- Replacement of failed #2 of 2 S-Band Single Access Transmitter (SSAT) used to relay data to the ground

- Installation six Voltage/Temperature Improvement Kits (VIKs) on wiring between Solar Arrays and each battery to control charging of Hubble's batteries

- Installation of Shell/Shield Replacement Fabric (SSRF) over the original Multi-Layer Insulation on Hubble’s forward shell and light shield to add thermal protection

- Installation of Handrail Covers around the handrails above the Fine Guidance Sensor bay to prevent possible contamination to the Aft Shroud area from flaking handrail paint

- Fit New Outer Blanket Layers (NOBLs) on equipment Bay 1

Above at:

hubblesite.org/mission-and-telescope/servicing-missions

Credit: HUBBLESITE (Hubble Space Telescope) website

Also:

www.nasa.gov/mission_pages/hubble/servicing/index.html

Beautiful photograph of LEM/LM-1, being prepared by GAEC technicians for shipment to KSC. Dated 18 June 1967.

Excellent read, as always:

www.drewexmachina.com/2018/01/22/apollo-5-the-first-fligh...

Along with another photo that was surely taken within a few minutes of it:

i2.wp.com/www.drewexmachina.com/wp-content/uploads/2018/0...

Credit: Andrew LePage/Drew Ex Machina website

Also:

www.nasa.gov/feature/50-years-ago-the-apollo-lunar-module

Awesome:

archive.org/download/S67-50920/S67-50920.jpg

Credit: Internet Archive website

This Pioneer 11 photograph of Saturn’s rings, supposedly taken on August 31, 1979, at a distance of 943,000 km (585,950 miles) from the planet, revealed amazing detail (for that time). Although now crude & primitive, this historic photograph revealed a new feature in the Cassini Division (commonly referred to as the ‘Cassini Gap’ previously), new features in the A-Ring, the discovery of the F-Ring, and a new moon, then designated 1979-S1. Although some uncertainty exists, the moon was likely/possibly Epimetheus, named so in 1983, following higher resolution imaging by the Voyager 1 spacecraft, along with more refined orbital calculations. However, caveat to the above is a reference to Epimetheus (at an ‘official’ NASA website mind you) as 1980-S3, so call it whatever you want. Tethys is to the upper left.

As there appears to be no stand-alone NASA or JPL listing of this/these images, the above is best effort at compiling from the content available at the following:

The exact images, oriented horizontally, on page 123:

atmos.nmsu.edu/data_and_services/atmospheres_data/SATURN/...

And:

www.nasa.gov/image-feature/45-years-ago-pioneer-11-launch...

Specifically, whereas within the URL the photo identification of 'AC79-9111.5' is embedded:

www.nasa.gov/sites/default/files/thumbnails/image/ac79-91...

Finally:

www.fossilhunters.xyz/saturn-ring-system/encounters-with-...

Credit: Dennis Larson/"Fossil Hunters" blogsite

en.wikipedia.org/wiki/Epimetheus_(moon)

Credit: Wikipedia

solarsystem.nasa.gov/moons/saturn-moons/epimetheus/in-dep...

This striking upward view of 181 Fremont captures one of San Francisco’s most sophisticated modern skyscrapers in a moment of architectural drama. Shot from street level with a strong vertical tilt, the photograph emphasizes the building’s gleaming curtain wall, rhythmic facade, and sharp geometry—all hallmarks of this mixed-use tower that rises over SoMa like a blade of glass.

Completed in 2018 and designed by Heller Manus Architects, 181 Fremont stands 802 feet tall and is one of the city’s tallest structures. It’s best known for its sculptural profile and innovative engineering, designed to withstand seismic activity while maintaining a sleek and artful form. The cantilevered design, diagonal support bracing, and outward-tilting facade give the building an angular grace rarely seen in American skyscrapers.

This photo draws attention to the bank of projecting mechanical louvers—a rare and futuristic feature that adds both texture and functionality to the upper exterior. The blue-glass cladding ripples with soft reflections of surrounding towers, while the cloudy sky creates a minimalist backdrop that enhances the tower’s ultramodern vibe.

181 Fremont isn't just a building—it's a statement. And from this angle, it feels like it’s reaching into the future.

A Majestic Backdrop Revealed

Movement of Crawler Transporter number 1 on crawlerway. Probably still had that new CT smell...oil, metal, grease/other lubricants, diesel.

Note the large "M" under the windows of one of the two driving cabs of the vehicle...the logo of the manufacturer, Marion Power Shovel Company.

Photo has been trimmed.

New Croton Dam, Croton Gorge Park, Cortlandt, NY

"A mock-up of the NASA F-1 engine, which develops 1.5 million pounds thrust. Five of these engines will power the first stage of the Saturn V moon rocket."

Note the missing turbine exhaust manifold, commonly seen to girdle the 'nozzle' of the engine, at the thrust chamber and nozzle extension interface.

Excellent F-1 reading:

www.thespacereview.com/article/3724/1

Credit: The Space Review website

So there we were, looking at this beautiful old railway bridge. All prepared for a gorgeous sunset and for the lights to be turned on..., which obviously never happened! One of the best evenings in all of 2011 and they don't turn on the lights; what's all that about?

Anyway, we went back to this bridge on three occassions during our stay in Edinburgh, simply because it is so photogenic and a fascinating piece of old architecture that is still in use even though it is over a hundred years old!

Just for the people who don't know: this is the Forth Bridge near Edinburgh in Scotland. I spent a lovely weekend in that beautiful city with so many nice people!

Another unicorn, I think. An original ca. 1966/67 Lunar Orbiter I panoramic photograph measuring 3’ 5.5” x 9’ 9.75”.

Yeah, it’s almost 10 feet long…the earth itself is ~15” in diameter!

I was informed by the gentleman I obtained it from, who lives/lived in Seattle, Washington, that it came from the estate of a Boeing employee there, who stated that it was originally tacked to a wall, possibly of a hallway, at the Boeing Missile Production Center, also in Seattle, where the Lunar Orbiter spacecraft were assembled.

I have no doubts regarding the validity of the above assertion. There are in fact ‘vintage’ tack holes in the corners. Although the verso bears no watermark, it is definitely some sort of photographic paper, with a very slight, appealing actually, sepia tone. The jagged appearance of the top edge is an artifact of the imprecise panning of my infernal iPhone. The edge is clean, smooth & straight. Finally, the reflections, dulled appearance, lineations, etc., are due to the two plexiglass panels I placed over the ends of the photograph. Lighting was oblique natural under somewhat overcast conditions.

The photograph is in remarkable condition.

This is the only other reference to a large/larger version of this amazing photograph that I’ve seen:

www.spaceref.com/news/viewnews.html?id=1496

Credit: SPACEREF website

The above query was from 2011, so I’m pretty sure Mr. Cowing has found one by now. 😉

TA-DA:

onlineonly.christies.com/s/science-natural-history/enormo...

“NASA-Apollo-Saturn V, 500-F roll out, from VAB bldg.”

The Mobile Service Structure (MSS) can be seen immediately to the right of the crawlerway, parked in its staging area. Launch Complex 39A, identifiable as the elongate whitish sliver of its elevated concrete pad, beckons in the distance.

The building positioned at an angle (in order to look out on Launch Complex 39) is the Launch Control Center (LCC). In fact, it’s angle reflects the optimism, anticipation & expectation of the future construction of LC-39C, even possibly LC-39D.

“This artist’s drawing shows the open end of NASA’s Space Telescope, a multi-purpose optical telescope planned for launch into Earth orbit in 1983 aboard the Space Shuttle. The 10-ton unmanned telescope will enable scientists to see deep into space--seven times farther than is now possible, perhaps even to the outer edge of the universe. NASA’s Marshall Space Flight Center, Huntsville, Ala., has overall management responsibility for the Space Telescope project.”

The Royal Exchange Theatre facade in Manchester - a Grade II* listed building and a testament to the city's industrial past and its creative present.

The Architecture & History

The current building, designed by Mills & Murgatroyd (1867–1874) and later extended by Bradshaw, Gass & Hope (1914–1921), was once the largest trading hall in the world. Known as "the hub of the universe" during the height of the cotton trade, it survived both the Manchester Blitz in 1940 and a devastating IRA bomb in 1996. The inscriptions "FOVNDED MDCCCVI" and "ENLARGED MCMXIV" visible above the entrance mark its 19th-century origins and Edwardian expansion.

The Theatre & Company

In 1973, the building found a new purpose when the 69 Theatre Company (founded by Casper Wrede, Michael Elliott, Richard Negri, James Maxwell, and Braham Murray) moved in. The permanent theatre was officially opened by Sir Laurence Olivier in 1976.

Technical Specifications

The theatre itself is a marvel of modern engineering. Designed by Levitt Bernstein (architects) and Ove Arup & Partners (engineers), it is a seven-sided, 150-tonne steel and glass "lunar module" suspended from the building's four massive central columns.

• Capacity: Seats 750 across three levels.

• Proximity: No seat is further than 9 meters from the circular stage.

• Engineering: The suspension design was necessary because the Great Hall’s floor could not support the weight of a full theatre. This "floating" design actually saved the module during the 1996 bombing, as it was able to flex with the blast wave.

Graphic design pieced together from a macro photograph of a vintage mechanical watch

Golden Gate Bridge never really needs embellishment—but turning it into a vintage postcard feels like closing a creative loop. Shot in soft, late-day light as the Marin Headlands dissolve into gold and haze, this image carries the warmth visitors expect and locals quietly treasure. The International Orange towers stand firm against a pale Pacific sky, suspension cables tracing that unmistakable arc across the mouth of the bay.

Transforming my own photograph into a retro “Greetings from San Francisco” postcard design felt inevitable. The bridge has been reproduced endlessly, yet each vantage point is personal. Every photographer who frames it from Crissy Field, Battery Spencer, or the Presidio adds another layer to the city’s visual archive. Leaning into mid-century postcard typography honors that long tradition of civic pride and tourist romance.

Would anyone buy it? Maybe. San Francisco has always sold the dream—fog, hills, and that bridge—and postcards remain one of the simplest, most democratic art forms. Sometimes the question isn’t whether it will sell. It’s whether it captures how the city feels.

“A JUPITER MILESTONE -- Painting shows Voyager 1 spacecraft as it reaches a major milestone in its flight to Jupiter and Saturn -- passage through the strange phenomenon called the flux tube of Io. Io is one of the largest satellites of Jupiter. The “flux tube” is a region of magnetic and plasma interaction between the big satellite and Jupiter. The painting shows the flux tube at Io (upper right) and contacting the upper atmosphere of Jupiter (lower left). Voyager 1 is being carefully aimed to pass through this unusual region shortly after closest approach to Jupiter, March 5, 1979. After examining Jupiter closely, Voyager 1 will fly on to Saturn, with arrival there planned for November 1980. The Voyager spacecraft are designed and built for NASA by Caltech’s Jet Propulsion Laboratory, control center for the long mission.”

Note the ‘normal’, rocky & cratered appearance of Io’s surface. Who knew of its dynamic volcanically ACTIVE nature, thus being a/the(?) major contributor/generator to/of the flux tube. Outstanding:

ase.tufts.edu/cosmos/view_picture.asp?id=1174

Credit: “NASA’s Cosmos” website

www.jpl.nasa.gov/news/jupiters-io-generates-power-and-noi...

Credit: JPL website

I’m assuming the “faded” region depicts the flux tube extending out from Io, and it’s contact with Jupiter dramatically depicted in the distance.

Yet another beautiful rendering by none other than Ken Hodges.

Included because it’s the only other place I came across the image:

www.granger.com/results.asp?image=0184222

“A scale model of the Lunar Excursion Module (LEM) for Project Apollo.

The LEM is the vehicle to land on the moon surface with 2 men from a moon-orbiting Apollo Spacecraft and return.”

Apparently this is one of multiple documentation photos of this LEM model configuration, this being a “3/4 Left Front” view.

I’ll refrain from lame humor…such as noting the fine-grained Berber-like nature/texture of the simulated lunar surface, along with bringing attention to the Klaatu/Gort/svelte Michelin Man-like appearance of the Astronaut.

Seriously though, note the lines/striations painted on the Astronaut's suit, in vicinity of the tufted convergence areas, to give the appearance of folds & stretching of the "material". Good stuff.

Finally, check out the light residue coating the surface of the model. I wouldn't be surprised if this was hurriedly brought from the model shop, as soon as it was built, to the carpeted offi...err “photo studio".

The High Coast Bridge (Höga Kusten-bron in Swedish) is a notable landmark located in the Hornöberget area of northern Sweden. Also known as the Högakustenbron, it is an impressive suspension bridge that spans the Ångermanälven River. It forms part of the European route E4, a major highway that runs along the Swedish east coast. The bridge is renowned for its architectural design and engineering, as it was constructed to harmonise with the surrounding natural landscape of the High Coast area. With its tall towers and suspension cables, the High Coast Bridge offers stunning views of the river, forests, and coastal scenery. Opened in 1997, the High Coast Bridge has become an iconic symbol of the High Coast region in northern Sweden – Hornöberget, Sweden

“In this rendering by Ball Aerospace and Communications Group artist Scott Kahler, astronauts are positioning the Corrective Optics Space Telescope Axial Replacement (COSTAR) into place during the first Hubble Space Telescope (HST) servicing mission scheduled for late 1993. The COSTAR instrument is designed to significantly restore the HST to its original imaging capabilities. This space-age call will take place 360 miles above Earth. Ball Aerospace, located in Boulder, Colo., built COSTAR for NASA’s Goddard Space Flight Center.”

Above is the official Ball Aerospace photo caption. Below is the per the 24 November 1993 press slug affixed to the verso, likely from “THE DAILY TELEGRAPH”, newspaper, United Kingdom.

“Astronomers have been gravely disappointed in the Hubble space telescope. They could not focus the instrument – which meant unsatisfactory pictures. The problem was traced mainly to spherical aberration and temperature changes that made the whole spacecraft shake. Nevertheless, the telescope has made some important discoveries. The above impression shows astronauts positioning the Costar instrument that should restore Hubble’s full capabilities next week.”

~8.25” x 12”. Likely a 1993 reprint in anticipation of Servicing Mission 1. In fact, the outline of the original photograph is discernible. Despite the lack of watermark on the verso, the image is on a thick, high-gloss photo paper.

If the photo numbering nomenclature of the affixed Ball Aerospace caption is similar to that of NASA photos, in that the year is readily identifiable, the caption is from 1990, as I assume the original photo to be, the year the corrective action/acronym was conceived/coined.

Upon first glance, maybe second…heck, even third, it looks like a photograph. That is incredible!

A credit to Mr. Kahler...some serious talent going on there...attention to detail, and indeed, ‘world class’: 😉

world-classart.blogspot.com/

Credit: “ART & ILLUSTRATION BY SCOTT KAHLER” website

Donate: PayPal & Venmo | Join: Patreon

““Rocket’s Red Glare”, 1996

“I was talking to one of the head engineers with the Mars Pathfinder, and I said, ‘What time of day will it land?’ He said, ‘3 a.m., Mars time. It’ll be pitch black.’ I said, ‘Is there anything in the course of its final landing sequence that gives off any light at all?’ He said, ‘As the aeroshell pulls back, three solid rockets fire.’ That light of the rockets gives a campfire sort of lighting, an almost spotlight effect. It ended up being more dramatic by delving deep into the facts of the landing. The truth will usually give good images. My job is just to find the subset of beautiful stuff out of the truth.””

Above/At from:

www.fastcompany.com/1682055/making-the-impossible-approac...

Credit: “Fast Company” website

From Mr. Rawlings’ website. Since it's Mr. Rawlings, I'll overlook the “glaring” grammatical, spelling & content errors:

“Rockets Red Glare - In the middle of a Martian night about 2 years from now, three solid rocket engines in the Mars Pathfinder ignite, illuminating the landscape about 30 meters below. As the rockets push the descent stage away, the airbag-covered lander is released. After bouncing across the rocket surface, the airbags deflate, and the lander unfolds petal-like panels.

Encyclopaedia Brittanica artwork by Pat Rawlings”

At:

www.patrawlings.com/art-gallery/mars#gallery-12

Per NASA’s issuance/version:

“This artist's rendering shows Pathfinder's unique descent to the surface of Mars. The spacecraft, enclosed in a cocoon of airbags, has just been severed from the tether which connected it to a huge parachute and Viking-derived heatshield used to slow the spacecraft's speed after entry in the Martian atmosphere. Once the spacecraft comes to a halt, the airbags will deflate and the spacecraft will stand itself side up, then open its panels to expose its solar panels. As the Sun rises over Mars, Pathfinder will power on, along with a miniature companion rover, called Sojourner, which sits on the inside of one of its panels. Sojourner will use one of two exit ramps to roll off the lander and drive onto the surface of Mars. There it will begin a week of science experiments on the surface of Mars, while the lander takes panoramic photographs of the Martian terrain. The Mars Pathfinder mission is managed by the Jet Propulsion Laboratory (JPL) for NASA's Office of Space Science, Washington, D.C., and is scheduled for launch from Cape Canaveral, Florida, atop a Delta II expendable launch vehicle on December 2, 1996.”

Finally, good/pertinent reading:

sirius.bu.edu/withers/pppp/pdf/lisbonentry2003talk.pdf

Credit: Boston University Imaging Science Team website

The backshell depicted:

science.nasa.gov/resource/backshell-located/

Also:

www.uahirise.org/PSP_001890_1995

Specifically:

static.uahirise.org/images/2007/details/cut/MPF_parts_2.jpg

One of the solid rockets that are firing:

commons.wikimedia.org/wiki/File:Mars_Pathfinder_spacecraf...

Credit: Wikimedia Commons

8.5” x 11”. Note...Appreciate...the attention to detail. What a gorgeous work. Pat Rawlings.

Donate: PayPal & Venmo | Join: Patreon

Lunar Module 12 (LM-12)/Challenger ascent stage cabin 'baseline' documentation photo. Taken at the Manned Spacecraft Operations Building (MSOB), 13 March 1972.

In this view, looking up at the ceiling above LMP Harrison Schmitt’s station, the upper right corner of panel no. 2, to include some of its displays & controls, is at the far left. To its right is the Alignment Optical Telescope (AOT) guard, it's optics & controls wrapped in plastic for protection. Two sets/groupings of main panel/cabin floodlights are ‘above’ & ‘below’ to its immediate right. Farther to the right is the centrally located/consolidated controls for those lights, in addition to two utility light receptacles. At the lower left-hand corner, the angled/canted (from this perspective) top edge of the LMP window can be seen, with a protective panel over it, which apparently has a circular ‘window’. Running along the top edge of the window are two coiled cables, at least one of which connects to the 16mm DAC, when it’s affixed. The triangularly peaked recessed area accommodates the camera, which is mounted to the lighter gray bar bearing the long red-ink serial/part no. Finally, along the bottom of the photograph is the top edge of circuit breaker panel no. 16.

As if all of that wasn’t enough, the glass-reinforced perforated covers were not originally planned for the LM interior. The ceiling originally had exposed cabling, which Astronauts raised concerns about possibly damaging. As a result, one of the eight ‘crew compartment design’ Requests For Change (RFC) that were approved - which required hardware changes - was the addition of the ceiling covers to protect the wiring and prevent the collection of debris in this area.

END TRANSMISSION

“Jupiter's satellite Io poses before the giant planet in this photo returned January 17, 1979, from a distance of 29 million miles (47 million kilometers). The satellite's shadow can be seen falling on the face of Jupiter at left. Io is traveling from left to right in its one-and-three-quarter-day orbit around Jupiter. Even from this great distance the image of Io shows dark poles and a bright equatorial region. Voyager will make its closest approach to Jupiter -- 174,000 miles (280,000 kilometer) -- on March 5. It will then continue to Saturn in November 1980, Meanwhile Voyager 2, a sister spacecraft, will fly past Jupiter July 9, 1979, and reach Saturn in August 1981. This color image was taken through orange, green and blue filters. The Voyagers are managed for NASA's Office of Space Science by Jet Propulsion Laboratory.”

Above at:

photojournal.jpl.nasa.gov/catalog/PIA00455

Credit: JPL Photojournal website

If the above isn't enough:

fineartamerica.com/featured/2-voyager-1-photo-of-jupiter-...

Credit: FINE ART AMERICA website

Obviously, they both use the same third party vendor:

sciencephotogallery.com/featured/2-voyager-1-photo-of-jup...

Credit: Science Photo Gallery website

Graphic design pieced together from a macro photograph of a vintage mechanical watch

“An Apollo/Saturn V space vehicle carrying Apollo 10 astronauts Thomas P. Stafford, John W. Young and Eugene A. Cernan lifted off at 12:49p.m., DST, May 18, 1969, from the Kennedy Space Center’s Launch Complex 39B. The 363-foot-high vehicle launched the astronauts on the first leg of their 73-hour, 240,000-mile-journey to the moon. Apollo 10 is a dress rehearsal for the first manned lunar landing and includes all major aspects except the actual lunar touchdown. During Apollo 10, Stafford and Cernan will descend in a lunar module spacecraft to within eight nautical miles of the Moon’s surface while Young pilots the command module at an altitude of 60 nautical miles. Following an eight-and-a-half exercise, Stafford and Cernan will rendezvous and dock their lunar module with the command module and return to the mother ship for the remainder of their 60 hours or 30 revolutions in lunar orbit. The astronauts will conduct lunar navigation tasks and will photograph Apollo landing sites in order to provide information for the succeeding landing mission. Several color television transmissions are planned during the National Aeronautics and Space Administration’s eight-day mission. (The Saturn V generates a liftoff thrust of 7.7 million pounds).”

“Jupiter's faint ring system is shown in this color composite as two light orange lines protruding from the left toward Jupiter's limb. This picture was taken in Jupiter's shadow through orange and violet filters. The colorful images of Jupiter's bright limb are evidence of the spacecraft motion during these long exposures. The Voyager 2 spacecraft was at a range of 1,450,000 kilometers (900,000 miles) about two degrees below the plane of the ring. The lower ring image was cut short by Jupiter's shadow on the ring.”

www.jpl.nasa.gov/images/pia01529-jupiter-ring-system/

pds-rings.seti.org/press_releases/pages/PIA01xxx/PIA01529...

images.nasa.gov/details/PIA01529

wikiarchives.space/picture.php?/1202820/category/8782

“This view, looking northward toward the equator, is the closest picture of Jupiter’s Great Red Spot taken by Pioneer 11. (Distance is 545,000 km or 338,000 mi).

More details of the Great Red Spot (which is large enough to swallow three Earths) and its surrounding region are visible here than have ever been seen before. The picture was taken in red and blue light and color.

Details of the flow, already known to exist, of the white cloud streams north of the Spot [flow] from right to left in the picture, and flow from left to right in the strip of clouds south of the Spot is clearly visible. The triangular regions on either side of the Spot appear to be areas where these two streams converge to flow side-by-side in opposite directions.

Details visible within the Spot (especially in the blue light picture) seem to show counterclockwise spiral there. Theory suggests that the Spot rotates counterclockwise due to the flow in the opposite directions of cloud streams north and south of it.

There also appears to be a narrow jet stream of brown material flowing southwestward above and to the left of the Spot. Strung out along the boundary between the white South Tropical zone, containing the Spot, and the brown belt north of it, is a series of small, white cloud puffs. (Puffs are only relatively small, typically about the size of Ohio). The puffs may be an example of flow instability between the zone and belt, where cloud currents are fastest relative to the planet.

The white oval below the right end of the Great Red Spot is one of three white ovals which are usually 120° apart around Jupiter, and have been known for 30 years. The oval’s position relative to the Red Spot changes with time due to a different rate of flow of the cloud current which contains it. New details of the white oval in this picture, such as the circular “eye” in its center, strongly suggest rotational motion.

Between the Red Spot and the white oval is a stream of brownish cloud material. Turbulance extending out to the right of the Spot seems to show (especially in the red light view) a large wake created by this atmosphere stream. This cloud stream appears to be one of the first examples seen of transfer of mass between the belts and zones, something predicted by theories on Jovian meteorology.

Pioneer 11, which took the picture, flew past Jupiter last December. The Pioneer Project is managed by NASA’s Ames Research Center, Mountain View, Ca. The spacecraft were built by TRW Systems.

Scientists believe that understanding of Jupiter’s Meteorology, and of other planets, will be of major importance in the understanding of weather on Earth.”

Also, the image (in color) and associated caption, on page 20:

“One of the best Pioneer images of Jupiter was obtained at a range of 545000 kilometers by Pioneer 11. Structure withing the Great Red Spot and the surrounding belts and zones can be seen. There was less turbulent cloud activity around the Spot at the times of the Pioneer flybys then was seen five years later by the Voyager cameras.”

At:

ntrs.nasa.gov/citations/19820018276

Finally:

From “NASA SP-446/PIONEER: FIRST TO JUPITER, SATURN, AND BEYOND”, pages 169 & 170 where the orthographic(?) projection of the image is shown as; (a) color composite, (b) blue channel image, and (c) red channel image, with the following accompanying text:

“For planetary astronomers, this image of the Great Red Spot of Jupiter was one of Pioneer 11’s most exciting results. From Pioneer 10, the highest-resolution image of the spot had been degraded by radiation problems, but Pioneer 11 obtained this unique image (Figure 9-11a). The area covered by the image on the planet is shown in the line drawing insert (d) on this page.

The image, obtained 545,000 km (339,000 miles) above the cloud tops, contains more than 4,000 individual pixels (see chapter 7) of measurable data in the red area of the spot a wealth of detailed markings since each pixel represents an area of approximately 237 km (147 miles) square. Scientists will be able to compare this image with those obtained by other spacecraft in later years to ascertain how the structure of the Spot changes with time.

Planetary scientists have derived new interpretations of the Great Red Spot from this image. Despite the relatively high resolution obtained, there is much less fine structure visible in the spot than in comparable areas at other latitudes (e.g., in Figure 9-12 and 914). The Great Red Spot appears to lie in the most quiescent zone of Jupiter, which may contribute to its stability.

The blue image has little internal detail (Figure 9-11b), the main feature being the dark border on the periphery of the spot. A break appears in the border in the northeast portion of the spot, where some of the red material appears to intermix with the South Tropical Zone.

The red image reveals much internal detail (Figure 9-11c), perhaps the most significant being two circular outlines that cross over near the center of the spot. This same feature also appeared in the Pioneer 10 images. This image does not show clear evidence of motions within the spot. The image does not show direct evidence of flow lines from any single region inside the spot, which could he interpreted as a source or a sink of red material.”

From/at:

atmos.nmsu.edu/data_and_services/atmospheres_data/SATURN/...

Kaleidoscopic design patterned based off of one of my pocket watch photos

A beautiful depiction of the Hubble Space Telescope (HST) basking in the sun by the incredibly talented Paul Hudson. Orientation of the photo, although arbitrary, was chosen because the sun by convention should be ‘up’ & it’s the closest to Mr. Hudson’s other, iconic depiction of the engineering marvel, aka HST.

The photograph was featured as the centerfold of a STS-31 presentation.

Kaleidoscopic design patterened from one of my macro photographs of watch gears

“Color-enhanced image of sunset on Mars, recorded by the Viking 1 lander. Part of the spacecraft is just visible at bottom right, colored dark blue. The contouring effect around the setting sun is a result of the imaging system.”

Disappointingly, the image and the above, which may have been part of the original NASA caption, seem to only be available at the ‘pay to play’ sites.

A high contrast version is contained within:

history.nasa.gov/EP-177/ch8-2.html

Although I can see how this has an artistic, mod/pop…whatever it’s called, appeal, I’ve always disliked it. Yet it seemed to have been oft-reproduced. I remember seeing it as a poster, lithograph of course…I think even in NASA/JPL informational/promotional material.

It definitely looks way better as an actual photograph print, not the garish, ‘HDR’, end of “2001: A Space Odyssey”, comic book-like look I seem to recall & refer to above.

i.discogs.com/kAPI00d2TdTseTZwVL5YXOR03oD9osbsjRzeG_z1zbk...

i.discogs.com/Lc1xLVGuQIhLAr66dCTnXmd-qAXxrQPVuiUYqO3HBOU...

Credit: Both above credit Discogs website

Further, although the image is subdued & accurate, the ‘contour lines’ do seem to match. Maybe just processed differently? IDK:

“Viking 1 Lander image of a Martian sunset over Chryse Planitia. In this image the sun is 2 degrees below the local horizon. The banding in the sky is an artifact produced by the incremental brightness levels of the camera. This image was taken on the 30th Martian day (sol) after touchdown, at 19:13 local time. The camera is pointing towards the southwest.”

At:

nssdc.gsfc.nasa.gov/imgcat/html/object_page/vl1_12a240.html

Credit: NSSDCA website

Also:

commons.wikimedia.org/wiki/File:Viking_sunset.jpg

Credit: Wikimedia Commons

Finally, featured on the cover. The right half of it that is:

ntrs.nasa.gov/citations/19800009678

Comparative color-enhanced/false-color Voyager 1 & 2 images (left & right, respectively) of Saturn, taken October 1980 and ~July 1981, during the flybys of the ringed planet by these two remarkable spacecraft.

Left:

nssdc.gsfc.nasa.gov/imgcat/html/object_page/vg1_p22994c.html

Credit: NASA Space Science Data Coordinated Archive website

Right:

photojournal.jpl.nasa.gov/catalog/PIA03152

Credit: JPL Photojournal website

nssdc.gsfc.nasa.gov/imgcat/html/object_page/vg2_p23880c.html

Credit: NASA Space Science Data Coordinated Archive website

photojournal.jpl.nasa.gov/catalog/PIA03152

Credit: JPL Photojournal website

This captivating photograph captures the historic B&O Railroad Bridge crossing the Shenandoah River at Harpers Ferry, West Virginia. This site marks the confluence of the Shenandoah and Potomac rivers, nestled beneath the imposing rock face of Maryland Heights—a rugged landmark that looms above the scene. The bridge, a testament to 19th-century engineering and design, was a vital transportation route during the Civil War and remains a crucial part of American railroad history.

The steel truss bridge stretches across the river on sturdy stone piers, its weathered ironwork echoing the industrial past that shaped Harpers Ferry’s identity. Trains, still in service today, traverse the bridge, connecting the past with the present as they journey through the Appalachian landscape. The piers of an older bridge can be seen in the foreground—remnants of an earlier crossing that was destroyed during the war, a silent witness to the town’s tumultuous history.

Beyond the bridge, the stone ruins of earlier bridge abutments stand on the riverbank like sentinels, each block telling a story of conflict and resilience. Harpers Ferry was a strategic target during the Civil War, repeatedly contested by Union and Confederate forces. These bridge piers once supported a crucial link in the transportation network that supplied troops and carried commerce along the B&O Railroad.

The photograph’s composition draws the eye along the bridge to the dark, cavernous train tunnel cut into the mountain—a passage through which countless trains have roared since the 19th century. Above, the clouds dance in a dynamic sky, a perfect counterpoint to the river’s steady flow and the rugged cliffs beyond.

This image captures the enduring intersection of nature, history, and technology in Harpers Ferry, a town that continues to honor its place in America’s story.

The south tower of Joseph Strauss and Irving Morrow's 1937 span, caught in the narrow window when twilight is still bleeding color into the sky and the marine layer is just beginning to commit. Fog hangs behind the tower in a pale wash, softening the upper structure into the Marin Headlands. The aircraft beacon still fires red at the apex. Morrow's International Orange — chosen specifically to harmonize with the rust tones of the headlands rather than the battleship grey the Navy wanted — reads almost luminous against the cooling blue atmosphere.

This vantage from the south anchorage bluffs trades the postcard sweep for something more grounded. That concrete stairway threading down at lower left is utilitarian Park Service infrastructure, and it gives the frame a human-scale entry that the wider compositions lack. Native coastal scrub layers across the foreground — part of the Presidio's ongoing restoration of the bluff ecosystem — leading the eye up through the Welcome Center pavilions toward the deck, where the roadway lights pull a luminous arc across the span as it bends toward Fort Point.

Twilight here is brief. Earlier the sky reads colder; later the tower goes flat against black. This is the seam.

“APOLLO 11 LIFTOFF----------The huge, 363-foot tall Apollo 11 (Spacecraft 107/Lunar Module 5/Saturn 506) space vehicle is launched from Pad A, Launch Complex 39, Kennedy Space Center, at 9:32 a.m. (EDT), July 16, 1969. Aboard the Apollo 11 spacecraft were Astronauts Neil A. Armstrong, commander; Michael Collins, command module pilot; and Edwin E. Aldrin Jr., lunar module pilot. Apollo 11 is the United States’ first lunar landing mission.”

Wow:

www.sothebys.com/en/buy/auction/2019/space-photography-on...

Credit: Sotheby's website

Also wow:

www.auctionzip.com/auction-lot/apollo-11-launch-nasa-numb...

Credit: AuctionZip website

$2,300 (plus 25% Buyer's Premium):

historical.ha.com/itm/explorers/space-exploration/apollo-...

Credit: Heritage Auctions website

Speaking of high costs, along with insightful, albeit depressing discussion of current ‘back to the moon’ reality:

spacenews.com/cost-and-schedule-overruns-continue-to-grow...

Credit: SPACENEWS website

Have you ever been to historic places in south India and ever wondered why the heck on earth you find so many ugly holes on huge rocks, right next to nice carvings and scriptures? Well if you have the discovery DVD's and seen it already, good enough. The folks who still have no clue, listen carefully.

The maximum load that you are allowed to transport in the USA by road is about 30 tonnes. Anything more than this requires a license and specialized equipment and of course a lot of things. Now come to India, rewind your time way back to say 3500 B.C or 300 B.C or 700 A.D when most of these huge temples were built. We did not have airplanes, we did not have trucks or cranes to do the job. Nope, god did not do shit as usual, nor did black magic or divine power. Engineering science did the job.

The average weight of each and every rock is about 1300 tonnes and many of them shot past the regular 7000 tonne mark. Now how do you take these rocks up the hill, about 700 meters up the sea level? The simple answer is you gotta break them into pieces and take them, but then how the heck do you break such huge rocks. If your answer was drill and hammer them out, sorry mate, you scored an F :-) (i did too!)

Drilling, hammering et all was time consuming and resourceful and required impossible amount of manpower and horsepower. Explosives are a thing that happened a few hundred years ago and were unheard of during these times. Even if they were available, blasting off mountain rocks meant you could not use them properly and cut it on a shape you wanted them to come out for specific purposes. So, here is what they did.

Instead of breaking the entire rock, they drilled very small holes into them along the line where the rock was meant to be broken. As soon as the holes were drilled, soft pieces of wood was thrust into these holes and the rock was heated so that it would expand (remember the physics lesson, objects expand on heat) and they thrust more soft wood into these holes and sealed them with mud and plastered it with lime. Now pour cold water over it in large quantities, the rock cools down and contracts, however the wood inside absorbs the water and expands due to its soft nature and absorbing characteristic. So rock shrinks, wood enlarges/expands and thereby forces the rock to crack along the lines where the wholes were drilled.

Ta daa! You have a neatly cut rock precise to the line where the engineer drew the line and you could not cut them again into smaller pieces till they could be carried over or carved here for whatever use they were meant to be. That's exactly how they did it. Engineering freaking genius, 1000's of years back!

Canon EOS 400D with the Sigma EF 24 - 70 MM F/2.8, Aperture Priority, F/8 at 1/200th of a Second, ISO100.