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the texture has now been fitted across the whole image
i changed the layer blend mode to hard light and set the opacity at 60% i also added a purple hue just to add some punch
this is now ready to use as a background for scapbooking etc
This photo is an example of the intricate, light sculptures Smartylamps have created for their customers. Smartylamps provide smart designer lighting for all types of rooms, homes, work spaces and public spaces. Smartylamps retail their lights to individuals, shops, online retailers and the leisure industry from their website www.smartylamps.co.uk. Smartylamps also offer a hire service for events, festivals, club nights and private parties.
This example shows four different runs of the same driving transect route rendered as a single ESRI Shapefile and displayed in Quantum GIS. The point layer is classified by species.
©Liz Walsh
This building made of woven palm fronds sits within a larger courtyard of the Dubai Museum and Al Fahidi Fort.
This woven structure is called an 'Arish', which is a traditional summer house. The Arish features the popular wind tower design - the square shaped feature on top of the main single-story structure - used to channel airflow into the house.
It was mind-meltingly hot when I took this.
Hi games workshop, i am not a games workshop colector, but i wanted to share a massive gw related project. I make minatures of my own design using only gw paints, gw bases and green stuff. Theyre not the best quality, especialy my first modles, but i now have over 150 and it is not the easyest of jobs. i will add mor photos with descriptions, i hope they are of interest.
(sory about the picture quality, the modle looks grey but its actualy unpainted green stuff)
20250131 - Playground slips into darkness and nothingness - some of the last lights flash faintly on the screen
Here's my last example of the season of what not to do around shelf ice. This man decided the mounds looked safe enough to climb on - apparently it was, but an inch from his foot the ice might be paper thin...
Lauderdale County, AL
Listed: 02/24/2000
The Forks of Cypress Cemetery is significant under criterion C for Art as it contains many fine examples of grave markers that represent the high end of antebellum funerary expressions in the western Tennessee River Valley in Alabama. Many fine obelisks and several tombstones illustrate the stone-carving skills of both local craftsmen and workshops from around the eastern United States. Limestone markers were more likely from local sources, as were the limestone bases of many of the marble markers. Among the marble markers are several that are signed by their makers or workshops. These include an obelisk by J. Sloan of Nashville, an obelisk by A. Gary of Boston, an obelisk by Hughes & Sharrod of Philadelphia, and an obelisk by L.H. and J.B. Fuller of St. Louis. A range of stylistic influences is evident in many of the markers, including Federal, Greek Revival, Gothic Revival, and Renaissance Revival motifs (as well as one twentieth century stone with some restrained Art Deco details). In addition to more geometric (and architectural) details, some of the stones feature fine representational and particularly floral relief sculpture.
The Forks of Cypress Cemetery is significant under criterion C for Architecture as the Jackson family cemetery wall is an exceptional example of the stonemason's art in early Alabama. The massive dimensions, stile, and sturdy dry-laid construction all characterize a structure which stands out among the walls around other family cemeteries in the Tennessee River Valley, which were more frequently of brick or less substantial stone construction. Only about six or so walls of similar sizable and dressed appearance are known to exist in northern Alabama.4 The wall displays both the skill of local craftsmen and the material predilections of a family whose patriarch was a first generation Irish immigrant and who perhaps opted for a wall which imitated or recalled the quintessential boundary markers of his homeland. Although the exact date of construction of the wall is unknown, location of early graves in relation to the wall indicates a probable date of before 1840 and a positive date of before 1865.
The Forks of Cypress Cemetery is significant under criterion A for Ethnic Heritage: Black as it contains one of the largest identified African American/slave cemeteries in northwest Alabama. With around 250 burials, slave cemetery was the final resting place for the Jackson family's substantial enslaved workforce. The burials, though unmarked, do reveal to some degree that a status hierarchy existed among the enslaved inhabitants of the Forks of Cypress and perhaps the Jacksons' other plantations. Traditionally slave jockeys were the only African Americans allowed to be buried within the walls of the family cemetery. A few depressions nearer the family cemetery probably mark the graves of treasured domestic servants. The majority of the field slaves and those without distinctive status within the household were buried on the bluff further away from the family cemetery. One headstone/footstone pairing in the center of the slave section of the cemetery shows at least one person who, while not important enough to be buried with the jockeys, had a high enough position to warrant a permanent stone marker. The slave cemetery has taken on somewhat mythical associations in recent years as it is almost certainly the interment place of African American author Alex Haley's great-grandmother, Ester or Queen Ester. Traditionally, James Jackson, Jr., (son and heir to James Jackson, the builder of the Forks), had at least one child with Queen Ester, who was the Jackson's cook. Their daughter, Queen, was Haley's grandmother and the subject of Haley's unfinished book Queenie. The depth and regularity of the depressions in the slave cemetery also indicate that it was highly probable that the slaves at least on this plantation were actually buried in coffins rather than simply interred in shrouds. This cemetery continued to be used by descendants of the Jackson slaves in the late-19th- and eariy-20th centuries.
The Forks of Cypress Cemetery is significant under criterion A for Social History as the placement of monuments and graves within both the family and slave sections illustrate social structures of an extended elite frontier planter family and its enslaved workforce. The cemetery also offers a temporal display of changing attitudes towards death and commemoration in the transition from conspicuous and showy markers to low-profile and plain markers over a period of 130 years. The monuments of James Jackson and his immediate and contemporary family serve as the focal points of the cemetery (both because of placement and because of scale). In spatial terms, the core of the cemetery, with many of the earlier monuments, form a line from east to west slightly south of the centerline of the rectangular plot created by the wall. The planter patriarch, James Jackson, and several of his siblings form this axis. James' brothers, John and Alexander, are buried near the center, with James' own grave near the front and his wife's grave to his south. The offspring of James Jackson's sister, Eleanora Jackson Kirkman (who herself is buried in New Orleans), are interred just to the north of his grave. Another of Jackson's sisters, Sarah Jackson Hanna, and many of her family members (including at least one daughter-in-law and one son-in-law) are buried to the west of the main axis formed by the older markers. Though within the family, there is not a great deal of differentiation as to burial place excepting the grouping of Sarah Jackson Manna's family to the west of James, most of his descendants and his other siblings, a distinction is made between the core of the extended family and more distant relations or social connections. The earlier burials along the back wall are burials of people with somewhat tenuous connections to the family. William O'Neal Perkins and Pocahontas Bowling Perkins, whose monuments are the most impressive on the western end of the cemetery, appear to be the parents of one of James Jackson's daughters-in- law. Alexander Larrimer, buried in the southwest corner, appears to have no familial connection whatsoever to the Jacksons. Two uninscribed slabs traditionally marking the burials of slave jockeys are on alignment with the old main axis of the cemetery but along the west wall. The social units in this extended planter family, therefore, come out in their burial locations-the planter patriarch, James Jackson, his offspring, and his siblings without or with few offspring are buried towards the front of the cemetery in an intermixed fashion. Jackson's sister Sarah Hanna had a large enough extended family of her own to warrant a contiguous section of burials in the southwest quarter of the cemetery. People with more tenuous connections with the family were buried along the rear (west) wall. In addition, the hierarchy of slave burials, mentioned above, reveals more aspects of the social organization of Jackson's plantation. Finally, the burials in the cemetery after the 1870s are consistently of James Jackson's direct descendants. Their attitudes towards commemoration varies drastically with that of their antebellum ancestors' conspicuous consumption via tall and elaborated monuments. Later monuments of the deceased are rather low to the ground and inscribed with little other than the descendants' names and vital dates. These burials are consistently in the northern half of the cemetery as well.
The Forks of Cypress Cemetery meets criterion exception D as it derives its primary importance both from distinctive design features and association with historic events.
Here are five images of a local Chiropractic Office and Staff that I did recently. They wanted updated images for their website, print material and for the HDTV in their lobby. Images included: staff portraits, group shots, photos of the complete office facility--lobby, treatment rooms, massage rooms, x-ray room, rehab room, kitchen, conference room and a series of nearly 100 photos for stretch/rehab pamplets to give to patients. Please visit www.http://www.nwccmv.com/ to see more of the staff and facility photos.
Feel free to contact me if your office or business would like great looking updated images to use -- or if you'd like inspiring images to hang on your wall--peruse through my landscape images.
denhajm @ yahoo.com
20250131 - Playground slips into darkness and nothingness - some of the last lights flash faintly on the screen
Comparing Tompaz Clarity.
1: Original Image
2: Add curves layer in Softlight mode. Masked using colour range dark areas.
3: Topaz Clarity
Maria Alm am Steinernes Meer, Salzburgland, Austria.
Example of Joinery.
The Gamble House in Pasadena, California, is an outstanding example of American Arts and Crafts style architecture with Japanese aethetics. The house and furnishings were designed by Charles and Henry Greene in 1908 for David and Mary Gamble of the Procter & Gamble Company. The house, a National Historic Landmark, is owned by the City of Pasadena and operated by the University of Southern California.
Franklin House.
Convicts built this good example of a Georgian style house in the village of Franklin. Next door is St James’ Anglican Church built in 1845. Franklin House was built for a local brewer and innkeeper in 1838 but in 1842 it was sold to Mr W. Hawkes who converted it into a school for boys. The school operated until 1866 when the house changed owners. It had a succession of owners until the National Trust bought it in 1860. Note the fine porch with Ionic Greek columns, the wonderful fan light above the door with an elliptical central piece of glass, and the string course across the facade to separate the two levels of the building. Inside the house is known for its extensive use of Australian red cedar for the doors, architraves, door frames etc. The complex has a pleasant coffee shop and gardens.