A deposit of copper bearing ore 14km southeast of Duchess at Trekelano was exploited by the Hampden Co for use at its Kuridala smelter. The ore body was one of the richer ones in the Cloncurry area, averaging around 13% copper and lesser amount of silver and gold. Trekelano ore was particularly valuable as a smelting aid.

The deposit was first worked in about 1906 in a small way, mostly for development work, and gradually increased its output of economical volumes by 1915. In time, the mine was equipped with a semi-marine type Babcock & Wilcox boiler, a Walker geared winding engine, Fraser & Chambers compressor, electric light from a 40hp Hornsby gas engine and wood producer, a picking plant, and ore bins. Narrow gauge tramways were used to move the ore to the dumps to the loading state and to fart firewood to the boiler house. Associated facilities were a change room, an engine room, a boiler shed, magazines, offices, stores, and staff quarters. At its peak, the mine employed 60 men. A school and post office were provided from 1918 and these remained viable until 1928.

When the railway was extended from Malbon to Duchess, the company began sending Trekelano ore to Duchess using a traction engine and wagons. This arrangement was not satisfactory in the long term so as soon as the railway was extended from Duchess to Dajarra, the company immediately took steps to lay a connecting tramway. The link was 12.3km in length.

The line was funded and built by the company under the Tramways Act. Engineering specifications were based on QR standards but were more economical in regard to the road bed and ballasting. The company sourced the rails and sleepers from QR and secured them on time payment based on a rebate from a premium placed on every ton carried. The company also paid the line maintenance fees.

Construction commenced on the 10th of September 1917 some 7.5km from Duchess at 553 miles and 21 chains, later known as Juenburra. Accommodation comprised a loop siding on the left from which was laid the branch proper which consisted of a curve to the southeast where another loop was placed on the right. From here the line continued southeast to the mine, which was 130 rail kilometres from Cloncurry.

A passenger service was offered but it was minimally supported because the Trekelano community had a road coach service to Duchess station. The coach departed Duchess at 7am on Monday and Friday for a same day return. Passenger rail journeys were around 200 per year to 1921 and then tailed off to virtually nothing, ceasing altogether soon after.

From 1941 the train day became a Monday and was worked by the Cloncurry-Dajarra-Cloncurry weekly mixed running on a Sunday-Monday overnight rest schedule. Ore loadings had dropped by half at this time to around 3500 tons due to shortages of labour and machinery spare parts. One train a week sufficed. Loadings diminished even further to less then 2000 tons by 1943. The mine closed that year and the train service ceased at this time. A small community remained until the end, and this included several school aged children who were driven to Duchess each day for their education.

The mine owners retired to the coast and after the war put the mine and tramway on the market. There were no takers for the assets as a going concern so the plant was sold for scrap. The rails were purchased by the North Eton Sugar Mill and were removed by 1947. The telephone pole line was dismantled at the same time. The sleepers had no value and were left in situ. The official closure of the tramway is the 14th of May 1947.

The original Trekelano mine produced 220 000 tons of ore over its lifetime to yield 20 000 tons of copper and 3000 oz of gold. In the 1990s the site was gone over by the drivers of Mineral Commodities NL to locate and estimated 400 000 tonnes of 2.2% copper and 0.6 grams/tonne of gold. The deposit was reopened in 2005 by Osborne Mines and worked as a massive pit, this development swallowing the remains of the original mine and tramway. The Trekelano ore was carted to a concentrating plant at Mount Osborne, south of Selwyn, and the treated ore despatched by rail through to Phosphate Hill.

The mine is no longer in use.

Source: Copper in the Curry by Norman Houghton.

Exploitant : Keolis CIF

Réseau : GoBus

Lieu : Centre Opérationnel Bus de Goussainville (Goussainville, F-95)

Lien TC Infos : tc-infos.fr/vehicule/81512

"Border crossing"

"Not for all vehicles except construction machinery"

Chevigny St Sauveur (Bourgogne - Côte d'Or)

Website : www.fluidr.com/photos/pat21

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

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Twinned with Cheltenham, Gloucestershire.

A site blessed by nature

A special destiny has permitted a town with origins that reach far into the past to exploit all the resources of a site blessed by nature, knowing how to seize opportunities and how to survive through the centuries while remaining always of its own time.

A lock town at the exit from a lake on a road crossing the great routes from Italy to Geneva, its site puts in contact with two zones: the pre-Alpine mountains of the Bornes and the Bauges on one side and the plain with the Albanais district on the other.

Its site is particularly blessed with the lake which has become its symbol, the Thiou, a former industrial route that has become a tourist attraction, the huge Semnoz forest which has remained wild, the spacious Fins plain well-suited to unlimited urban development, and finally the sloping border of Annecy-le-Vieux, the pleasant beginning of the northern landscape.

As for its history, the nearness of Geneva was to be the cause of successive rises in status as the town became in succession capital of Geneva county when the Counts chased from that city settled there in the 13th century, then a bishopric after the triumph of Calvinism in the 16th century.

Promoted in the 15th century to capital of an attached territory of the House of Savoie, it was to experience a radical transformation at the beginning of the 19th century by becoming an active industrial centre, a role which grew stronger in the 20th century without slowing the growth of tourism.

3100 years before Jesus Christ : a village on the shore-line

Annecy is probably one of the oldest inhabited sites in the Northern Alps. In fact, the recent digs carried out by the Department of Sub-Aquatic and Sub-marine Archaeological research, set up in Annecy, have allowed us to date the lakeside village which has been identified off the bank at Annecy-le-Vieux at 3,100 years before Christ.

The station known as “the Port” located near the Swan Island ; could be used to fix the date at 2,500 years before Christ.

Boutae in the Gallo-roman period

The Gallo-romain period started about years before our own and saw the rapid emergence of a “village” of about 2,000 people given the name Boutae whose expansion into a town on the Fins plain let enough remains to let us know the precise location of the Forum, Temple, Thermal baths (to be seen at 36 avenue des Romains), and of the theatre, the final element which could be restored.

The triangular shape of this town shows the importance of the traffic routes converging on this crossroads: points leading to Faverges (Casuaria), Aix Les Bains (Aquae) and Geneva.

After the dispersal of the inhabitants of Boutae in the 6th century, a new stage was begun from the 12th century with the progressive occupation of the banks of the Thiou at the lake mouth, an advantageous position controlling a vital part of the great north-south axis, crossing the river at the level of the island which was very quickly converted into a stronghold.

The medieval town

From that moment the medieval town began to be built on both sides of the Thiou protected by the fortifications which would become the castle. This was the beginning of “New Annecy” which is mentioned in a text of 1107.

The growing township was given an unexpected boost when it became the residence of the Count of Geneva when he was chased out of his capital after disputes with the Bishops.

Annecy becomes Savoyarde

This event triggered the building of the castle which became the prince’s residence until the extinction of the Geneva family in 1394 when the last member, Robert of Geneva, who had become anti-Pope at Avignon under the name of Clement VII, died. A few years later, in 1401, Annecy became Savoyarde with the absorption of the County of Geneva into the Savoyard state under its most prestigious ruler, Amadeus VIII, the first Duke of Savoie.

The former capital of the Geneva district, having lost its title, went through a period of sharp decline caused by a series of terrible fires which destroyed the greater part of the town in 1412 and then again in 1448. Amadeus VIII, realising the seriousness of the situation, took action to help the city to rise from its own ruins, undertaking reconstruction of the castle and the town.

He then completed these signs of regard for the town by creating an attached territory of Geneva for his son Philippe in 1444. And so Annecy rose from the ashes and regained its title of capital of a county including the districts of Geneva, Faucigny and Beaufort.

This brilliant dynasty of princes formed matrimonial connections with the royal family of France and received from Francis I the Duchy of Nemours (near Fontainebleau), conferring on these new princes the title of Dukes of Geneva-Nemours.

Annecy as a bishopric

This period left a permanent mark on the history of Annecy, when it became a bishopric after the Bishop of Geneva decided to leave the town after the Protestant Reformation in 1535. He was followed by several religious communities who further reinforced Annecy’s importance as a religious centre, which was such that some historians called it “The Rome of Savoie”.

From this period Annecy has preserved some beautiful buildings which permanently enriched its heritage: the Nemours Lodge, St Peter’s Cathedral, the Lambert House, the Note Dame de Liesse bell-tower. If we add to this the glorious history of the episcopate of St François de Sales, the opening of the Chappuisian College, and the creation of the Florimontane Academy, we can speak without doubt of a golden age for our town.

The occupation of Savoie by the French Revolutionary Army (1792) shook the town even though we notice a decline in religious fervour from the beginning of the 18th century.

An industrial destiny

Now open to new ideas, the town experienced a transformation for industrial uses of the sites vacated by the clergy, which was a considerable economic boost. Factories of all sorts were started, powered by hydraulic force from the Thiou.

It was a also a revolutionary vision which inspired the town plan drawn up by Thomas-Dominique Ruphy in 1794 in which a wide rectilinear road on the main traffic routes was designed to divert circulation from the historic town centre.

During the period of Sardinian rule (1815-1860), the industrial destiny of the town was confirmed by the plan for hydro-electric power carried out at the end of the century.

But from the middle of the century, the new sensibility concerning Alpine sites opened the region to the fashion for tourism attracting ever-growing numbers of visitors to our lake.

In a sky tormented the lisbon christ indicates light.

"Copyright © – Nikola Bernard

The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

Exploitant : Transdev Ecquevilly

Réseau : Bus O'Mureaux

Lieu : Médiathèque (Les Mureaux, F-78)

Exploitant : SPL TransUrbain

Réseau : TransUrbain

Ligne : T2

Lieu : Pôle d'Échanges SNCF (Évreux, F-27)

Lien TC Infos : tc-infos.fr/vehicule/33417

Two animal rights protesters in Parliament Square on 26 August 2023. They had just completed a march from Marble Arch to the square. According to an activist I talked to, they were demanding the end to all types of animal exploitation and highlighting universal veganism as not only the only ethical and humane option, but as also a vital tool to prevent catastrophic climate change.

Here are four good reasons to go vegan in 2023

Animal Welfare: By not using or consuming animal products you are helping to reduce harm to animals and supporting their well-being. You should choose veganism if you believe in treating animals with kindness and respect.

Health Benefits: Vegan diets can lower the risk of heart disease, certain cancers, and type 2 diabetes. They typically include more fruits, vegetables, and whole grains, which are good for your health.

Environmental Impact: Producing plant-based foods typically has a much smaller environmental footprint than raising animals for meat. It can help combat issues of immense importance to the planet's future, particularly by reducing methane emissions and deforestation and thereby mitigating climate change.

Resource Conservation: A vegan diet requires fewer resources like water and land compared to a diet heavy in animal products. It's a more sustainable choice for the planet's future.

Véhicule : MAN Lion's City A21 CNG

Identification : 1505 (EF-893-AP)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Dépôt de Bastide-Niel

Réseau : TBM (Bordeaux Métropole)

Ligne : Principale 24

Voiture : n.c.

Destination : Retour Dépôt (Bastide-Niel)

16/09/2019 15:12

Allée Jean Giono ; F-33 BORDEAUX

my website: mcphotographie.com/urbanexploration/

Grand Falls Windsor, NL

Title / Titre :

Map of mining operations along the Klondike River, Yukon /

Carte des travaux d’exploitation minière le long de la rivière Klondike (Yukon)

Description :

Plan of Lot 8 Group 2 showing claims nos. 12-13-14-15 above Maris discovery on the left limit of the Klondike River /

Plan du lot 8 groupe 2 montrant les concession minières n° 12-13-14-15 au-dessus de la découverte de Maris sur la limite gauche de la rivière Klondike

Creator(s) / Créateur(s) : Unknown / Inconnu

Date(s) : 1899-1950

Reference No. / Numéro de référence : ITEM 4047078

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=4047...

Location / Lieu : Yukon, Canada

Credit / Mention de source :

Yukon Consolidated Gold Corporation fonds. Library and Archives Canada, e011316577 /

Fonds Yukon Consolidated Gold Corporation. Bibliothèque et Archives Canada, e011316577

Véhicule : VANHOOL T916 Altano €2

Identification : _ (CK-104-WB)

Exploitant : Pyrénées Tours

Dépôt : n.c.

Véhicule ex Mariot-Gamelin.

Réseau : n.a.

Ligne : n.a.

Service : Tourisme - Occasionnel

Destination : hors service

07/05/2016 15:27

Gare SNCF de Libourne

Place des Martyrs de la Résistance ; F-33 LIBOURNE

Processed with VSCOcam with a6 preset

The frankly exploitative Greek publishing house, Synéchise, produced a series of comic books in the early fifties.

Now very hard to find, this rare cover features one of their enduring characters - the giant octopus.

The story, in this case "Oluupurs", is inconsequential, in that it involves nothing more than a few smugglers, some cat fighting, whisky, some shooting, a plot to overthrow the government, a trip to the moon, some amusing byplay on the word "socks", a talking dog, some psychedelic sweets and a talking candlestick, but the illustrations were something to behold.

These colourful covers mean that surviving copies today are very collectible. Look out for one in your local charity shop - you might get lucky!

the exploited skull by russell at bizarre ink 36 westport edinburgh

By Tove Jansson.

First published in English by Ernest Benn, 1952.

Puffin edition 1969, this reprint 1972.

installed the new Maxwell screen last night. All i can say is WOW! The difference is like night and day, comparing to the default screen it came with. Love the sharpness and brightness this new part brings.

Oh, and the message in the screen. i guess you have to Press L and read the words backwards! :)

Olympus E-P2

Nokton Voigtlander 25mm F0.95

E52

- Delivered new to Belgium

- Only two owners from new

- ca. 66,000 kilometres recorded from new

- Garaged and used only sparingly since 2011

- Freshly serviced for the sale

Bonhams : The Zoute Sale

Important Collectors' Motor Cars

The Zoute Grand Prix Gallery

Estimated : € 160.000 - 180.000

Sold for € 195.500

Zoute Grand Prix Car Week 2025

Knokke - Zoute

België - Belgium

October 2025

In recent times many motor manufacturers, particularly those with a significant sporting heritage, have felt the need to reference iconic models from the past when launching their latest. BMW has proved adept at exploiting this 'retro' trend, commencing in 1996 with the Z3 coupé and convertible, the styling of which brilliantly recalled its fabulous '328' sports car of pre-war days. Its next effort along similar lines - the 'Z07' concept car of 1997 - took its inspiration from the post-war Alfred Goetz-designed '507', a luxurious limited-edition roadster.

The sensation of the 1997 Tokyo Auto Show, the Z07 was received so enthusiastically that BMW decided to proceed with a production version: the Z8. For the most part the Z8 remained remarkably faithful to the original concept, retaining the 507-like twin-nostril front grille and distinctive front-wing vents. A period-style interior had been one of the Z07's most remarked upon features, and that too made it into the Z8.

The Z8's body panelling and bespoke spaceframe chassis were fabricated in lightweight and corrosion resistant aluminium, while the 32-valve 4,941cc V8 engine, shared with the M5 saloon, was built by BMW's Motorsport division. With 400bhp on tap, the Z8 raced to 100km/h (62mph) in 4.7 seconds and only the built-in rev limiter stopped it from exceeding 250km/h (155mph). It was rumoured that 290km/h (180mph) was achievable with the restrictor removed...

Power reached the run-flat tyres via a Getrag six-speed manual gearbox. Needless to say, the Z8 also came with all the modern appurtenances one would expect of a flagship model: traction control, stability control, front and side air bags, GPS navigation, climate control and power operation of the seats, steering wheel and convertible hood all being included in the package.

The fact that the Z8 was a low-volume model assembled, for the most part, by hand, enabled BMW to offer customers considerable freedom in personalising their cars. Further enhancing its appeal to collectors, the factory announced that a 50-year stockpile of Z8 parts would be maintained. Despite a (US) launch price of over $128,000, initial demand was so high that a bidding war broke out, with many Z8s selling for well in excess of that figure. By the time production ceased in 2003, 5,703 of these fabulous cars had been built.

Manufactured on 19th February 2001 and Belgian delivered new, this two-owner car comes with its original hardtop, service book, instruction books, and a third party condition report from 2011 when the odometer reading was approximately the same as today. A Car-Pass certificate from 2011 is on file, suggesting that the odometer reading was correct up until March 2011 when the current owner purchased the car, which has been garaged and only used sparingly.

Finished in Titanium Silver with black convertible roof and matching leather-trimmed interior, the car features a body-coloured upper dashboard and seat bases, and aluminium-effect accents. The car rides on the correct 18" spoked alloy wheels. The vendor describes the condition overall as excellent, with only light signs of wear visible, as one would expect of a car this age.

This BMW Z8 is a highly sought-after convertible cruiser, finished in a timeless factory colour combination. This two-owner Belgian-market example has a solid history and is certain to appeal to collectors. Garaged for several years and used only sparingly since 2011, this modern classic comes to the sale freshly serviced and ready to be enjoyed on spirited drives or long-distance tours.

Exploitant : Cars Perrier

Réseau : SQYBUS

Ligne : 463

Lieu : Gare de Saint-Quentin-en-Yvelines (Montigny-le-Bretonneux, F-78)

Lien TC Infos : tc-infos.fr/id/54336

6/1/02 tanya's island: scanned mex lobby detail.descreened.

Ligne 93 - Arrêt : François Mitterrand

Exploitant : Transdev STAO PL 44

Réseau TAN - Nantes

Exploits River Grand Falls Windsor,NL

More rocks from my pre-twisted knee adventures. My exploits are now somewhat restricted but I will be back, as they say!

Fiat Abarth 500 - Exposition de voitures de collection sur le port de Javel - Paris 15ème arrondissement.

Diaporama / Slideshow : "Rétro Parade du 15ème" :

www.flickr.com/photos/pat21/sets/72157643364146703/show/

Website : www.fluidr.com/photos/pat21

picssr.com/photos/pat21?ref=user

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

© Copyright: The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited.

Ligne 1 - Arrêt : Haluchère-Batignolles

Exploitant : SEMITAN

Réseau TAN - Nantes

Pelliculage spécial pour le "Tram de l'Emploi"

French Navy Patrol Vessel FS FLAMANT (P676) arriving in Portsmouth for a weekend visit just ahead of forecast stormy weather.

The Flamant-class patrol vessels are a series of three Type OPV54 patrol boats of the French Navy used for fishery monitoring, search and rescue, and patrolling France's exclusive economic zone

A DSB (Dive support boat) RHIB operated by the Royal Navy's Diving & Threat Exploitation Group (DTXG) is passing by.

Taken at Pembroke Bay on October 30th 2021, CT Plus Guernsey 1952 27718 is one of a highly standardised fleet of Wright Streetvibes used around the island. The tower behind is one of the Loophole Towers built to defend the island from French invaders in Elizabethan times.

exploiting the wonderful anti bacterial properties of allicin, found in garlic

Primo Maggio 2015

Torino

"Desperado II"

Chevigny St Sauveur (COTE D'OR)

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

Exploitant : Podiocom

Pelliculé pour la victoire de la Coupe de France 2022 du FC Nantes.

Koppelverband bei Brühl auf dem Rhein zu Tal

youtu.be/wO9XjCM6tB8?t=3s Trailer

1964 was a better year for sci-fi and Columbia's First Men in the Moon (FMM) was the year's big-budget treat. HG Wells' 1899 novel was adapted to a more modern retelling by Nigel Kneal (of Quatermass fame), but is still fairly faithful to the original. Two men (and a woman) travel to the moon in 1899 and encounter a civilization of insect-like beings. FMM also features the animation of Ray Harryhausen. He gives the usual monster (moon cows), but brings the selenites to life.

Synopsis

A modern (1960s) UN moon mission lands, only to discover a little British flag and a paper claiming the moon for Queen Victoria. On earth, they trace the names to an old Arnold Bedford in a nursing home. He tells his story as flashback. He rented a cottage next door to an eccentric inventor. Cavor created Cavorite, a substance which blocks gravity. Bedford sees the money-making potential, so attaches himself to the work. Cavor, however, wants to explore the moon. To that end, he built a sphere. Bedford agrees to go with him, thinking of gold on the moon. Bedford's fiancee, Kate, is pulled aboard at the last minute. Amid some mild antics en route, they arrive on the moon. Cavor and Bedford explore, finding a labyrinth of tunnels and little insect people. They return to the surface, but the sphere (with Kate inside) has been taken by the selenites. They re-enter the tunnels in search, but become separated when a giant "moon cow" caterpillar beast attacks them. The selenite scientists study Cavor and Kate, eventually learning english. The selenites are disassembling the sphere for study. Cavor is given an audience with the Grand Lunar. He tells the Grand Lunar about earth and men. Cavor's description of war alarms the Grand Lunar, who decrees that Cavor must remain on the moon to prevent more defective earthmen make the trip. Meanwhile, Bedford and Kate have reassembled the sphere, but need Cavor to get the shutters to work. Bedford interrupts the Grand Lunar audience, causing a fight. Cavor and Bedford flee to the sphere. Cavor fixes it, but refuses to return to earth. Bedford and Kate return. End flashback. Old Bedford sums up his tale. TV reports that the astronauts on the moon find abandoned underground cities. Quick conjecture is that some virus wiped out the inhabitants. Bedford quips that Cavor did have a bad cold. The End.

There is much to like in FMM. Lionel Jeffries almost steals the show with his highly colorful portrayal of Cavor. The matt art, scenery, sets and models are well done. Harryhausen's work doesn't dominate, but enhances the alien-world feel.

There is more of Wells' original anti-imperialism message than anything of the Cold War. The portrayed fact that the first moon landing was an international effort shows a bit of optimism.

Nigel Kneal's screenplay tries to maintain much of Wells' original story, but a few concessions had to be made to make a good movie for mid-60s audiences. Rather than modernize the tale, Kneal framed the Victorian story as a flashback within modern bookends. Kneal omitted the frozen atmosphere and fungal plant life, (as modern audiences would not buy that). He kept a simplified version of the selenite civilization, and the moon cows. He also kept Bedford returning and Cavor remaining.

Kneal's script pulls in elements from a couple of Wells' other stories. He repeats the trope of the aliens taking the protagonist's machine underground, which Wells had in The Time Machine. Kneal borrows from Wells' War of the Worlds to have the aliens all killed off by a simple earth germ. In Wells' novel, the selenites are not wiped out. Modern folk knew the moon was lifeless, so a handy plague was needed.

Embedded in Wells' novel, and echoed somewhat in Kneal's screenplay, was stratified, dehumanizing industrial society. A cute counterfoil to that and commentary on unionized culture, was the scene at Cavor's house where the three workers argue about whose job it was to stoke the furnace. The metal worker complained that since he wasn't a stoker (by profession), it therefore wasn't his job. The gardener agreed that he wasn't a stoker either. The butler also agreed that he was a butler, not a stoker, so none of them stoked, but all went out for a pint.

In Wells' War of the Words, imperialist humans get a taste of their own medicine from the über-imperialist Martians. In FFM, imperialist humans go to someone else's planet. In both the novel and the screenplay, the two protagonists embody classic British imperialism. Cavor is the benevolent explorer, missionary and claimer of places. Bedford is the exploiter capitalist, who puts little value on the lives of the "brownies". This condensed duo of earth-ish imperialism plops down amid a greater power. Cavor and Bedford play out the traditional arguments (benevolence vs. conquest) but Bedford's view prevails and he goes about smashing their cities. In Kneal's script, imperialist man manages to completely ruins things -- even if only by accident (Cavor's cold germs). This has several earth history parallels too.

It was fairly common in 19th century sci-fi (e.g. Wells and Verne) to have only men as the protagonists. Post-WWII Hollywood was unable to resist inserting a woman into the character mix. They usually served as simple cheesecake, or love-triangle fodder, or the damel to be rescued. In FFM, Kate is a bit less flagrantly the intruded woman. She is useful to keep up dialogue while Cavor and Bedford are separated. She is a occasionally the damsel, but not obnoxiously so. (Heck, she blasts some selenites with a shotgun). We can be thankful the producers resisted including a cute animal in Disney fashion.

Bottom line? FMM is a classic that no one should miss -- even viewers who don't normally go in for sci-fi. The story is thoughtful, the acting good, and the production very good.

While many contemporary science fiction and fantasy films find their inspiration in graphic novels and comic books, H.G. Wells is still the gold standard when it comes to an indisputable master of the genre. More than 62 years after his death, the film industry continues to steal from and rework ideas and storylines from his popular fantasy novels. Most of them have been enormously successful (The War of the Worlds [1953 & 2005], The Time Machine [1960 & 2002], The Invisible Man [1932], Island of Lost Souls [1933]). In fact, one of the first silent films to become an international success was French filmmaker Georges Melies's 1902 adaptation of Wells' First Men in the Moon, released as Le Voyage dans la lune.

TCM review by Jeff Stafford

In Wells' original 1901 novel, the story, set in the rural village of Kent, focused on an eccentric scientist, Cavor, conducting anti-gravity experiments on a man-made substance called 'Cavorite,' and his neighbor, Mr. Bedford, a struggling, debt-ridden playwright. Enlisting Bedford's help, Cavor eventually succeeds in proving the "gravitational opacity" of cavorite and together the two men depart for the Moon in a glass-lined steel sphere powered by Cavor's invention. After successfully landing on the lunar surface and exploring the terrain, Cavor and Bedford are captured by moon men Selenites and imprisoned. Bedford manages to escape, and believing that Cavor has been killed, he locates their stolen sphere and returns to Earth. Once he is back, Bedford publishes an account of his adventures and learns from a Dutch scientist experimenting with wireless waves that messages are being sent from the moon by Cavor. It appears that Bedford's former neighbor has learned to live and communicate with the Selenites but eventually Cavor's messages become incoherent and then abruptly stop. The story ends with Bedford assuming that the Selenites silenced Cavor because they were afraid of further Earth expeditions to the moon.

Georges Melies's loose 1902 adaptation of Wells' First Men in the Moon condenses the story into a brief running time of barely eleven minutes but in 1919, Gaumont studio attempted a longer feature version, directed by J.L.V. Leigh, which added a female character as the love interest. It is now considered a lost film. No one else attempted to film Wells' story until the early sixties when screenwriter Nigel Kneale, stop-motion animator Ray Harryhausen, and director Nathan Juran were brought together by producer Charles Schneer.

After securing the rights from Frank Wells, son of the famous author, Schneer approached Columbia Pictures with the project. Despite their initial reluctance, Schneer's previous successes for them - 20 Million Miles to Earth [1957], The 7th Voyage of Sinbad [1958], Jason and the Argonauts [1963] convinced them to finance First Men in the Moon [1964]. Kneale, who had penned The Quatermass Experiment, a highly influential science fiction series on BBC-TV, updated Wells's original story to include a clever framing device set in present times in which a United Nations space mission to the moon discovers evidence of a British expedition in 1899, during the reign of Queen Victoria. Kneale also expanded the role of the female love interest who was first introduced in the 1919 version. Martha Hyer was cast in the latter role with Lionel Jeffries and Edward Judd being tapped to play Cavot and Bedford, respectively.

In the book Ray Harryhausen: An Animated Life, the special effects master describes some of the difficulties of filming First Men in the Moon. "Along with numerous other tasks, I was also faced with the design basics for a whole alien civilization. Because the Selenites were to be insect-like, I decided that all doors and apertures were to be hexagonal, a common structure in the insect world. Whether it was scientifically accurate was secondary to the consideration that it should look realistic, be practical and above all spectacular. These basics were relatively straightforward, but when it came to broader aspects of the story that included tunnels, lunar landscapes, lens complexes, oxygen machines and the palace of the Grand Lunar, the budget prevented any of them from being built as full sets, so I designed them as miniatures and incorporated the actors with the aid of traveling mattes. For example, the huge bubbling vats that produced the oxygen were three- or four-foot high miniatures. However, these design headaches were nothing compared to Charles [Schneer] and Columbia Pictures announcing that the film, if possible, should be photographed in widescreen to give it an added attraction."

Filmed in the anamorphic process known as "Dynamation," in which live action and stop-motion animation can be combined via rear-projection and split-screen techniques, First Men in the Moon proved to be more restrictive and cost-prohibitive for Harryhausen on a creative level. As a result, his famous stop-motion work was only highlighted in three key sequences the Selenites in their high tech laboratories, the giant mooncalf and the Grand Lunar.

Most of the live-action cinematography took place at Shepperton Studios where a full-sized section of the moon's surface was constructed on a sound stage for the framing sequence and for the arrival and departure of Cavor's sphere from the lunar surface. NASA served as technical advisors on the film and the blueprints for their own Lunar module aided Harryhausen tremendously in designing the entire U.N. expedition sequence; it would also serve as a dry run for NASA which would stage a real moon walk for the entire world on television on July 20, 1969.

Less successful was the design of the Selenites. Harryhausen said, "I have never been keen on using 'men in suits' as animated creatures, but several scenes called for masses of smaller 'worker' Selenites, which would have taken an eternity to animate. So we had to resort to using children in suits. I designed a suit made into twenty-five moulded latex costumes with reinforced sections. Although they were never really convincing, mainly because the children's arms were not spindly enough to match the animated Selenites, the low-key lighting allowed Jerry [a nickname for director Nathan Juran] to use the suits with reasonable success."

Despite the many technical frustrations he experienced while working on First Men in the Moon, Harryhausen also enjoyed some aspects of it. "Some of my fondest memories during production," he said, "were the surprise visits of several personalities. The first was Frank Wells, son of H.G. Sadly, I only met him briefly, but he showed great enthusiasm for the design and animation, and we talked about his father. Another visit was by one of Hollywood's greatest directors, William Wyler. He was shooting a film on another stage, and although he wasn't there very long, I did manage to talk with him, and he seemed intrigued at what we were doing. Furthermore, when British performer William Rushton was unable to turn up for the part of the writ server, we unexpectedly secured the services of one of the world's top actors. Lionel [Jeffries] persuaded Peter Finch, who happened to be shooting The Pumpkin Eater (1964) on the next stage, to guest in the role. To save time, Lionel wrote out Finch's lines on the back of the summons paper, which he delivered with enormous enjoyment."

When First Men in the Moon opened theatrically, it was treated by most critics as a children's film and not as a bona-fide sci-fi thriller in the style of Wells' The War of the Worlds or The Time Machine. Howard Thompson of The New York Times dismissed it, writing, "Only the most indulgent youngsters should derive much stimulation let alone fun from the tedious, heavy-handed science-fiction vehicle that arrived yesterday from England..." The Variety review was more positive and reflected the film's general reception, calling it "an exploiteer's dream. Family audiences should flock to the wickets. It is an astute blend of comedy, occasional thrills and special effects work. Film is a good example of the kind of fare that television cannot hope to match in the foreseeable future."

Moviegoers did not, however, flock to see First Men in the Moon as they had previous Harryhausen ventures such as Jason and the Argonauts and The 7th Voyage of Sinbad. Part of the problem may have been the film's emphasis on comedy instead of suspense or action-adventure and many reviewers noted that the whimsical tone neutralized any potential excitement. The Hollywood Reporter, in fact, proclaimed it "the first space fantasy comedy." Harryhausen was also working with a different composer this time instead of Bernard Herrmann, who was unavailable. While Laurie Johnson's score is atmospheric and evocative of its setting, it lacked the dynamic range and intensity that Herrmann's music brought to such Harryhausen films as The 3 Worlds of Gulliver (1960) and Mysterious Island (1961), among others.

Harryhausen also admits that "...the poster Columbia came up with really didn't help to sell it. It was too childish in its attempts to point out that it was 'in' in the Moon, not 'on.'" Yet people who avoided the movie missed a visual treat, brimming with rich Victorian-era art direction, futuristic set designs reflecting the Selenites's world and unusual special effects. "Personally," Harryhausen stated, "I believe it is one of the most faithful adaptations of Wells' novels, but perhaps the time was not right for such a film, or perhaps the real moon landings were too close. Hopefully, posterity will look upon it with kinder eyes."

Producer: Charles H. Schneer

Director: Nathan Juran

Screenplay: Nigel Kneale, Jan Read; H.G. Wells (story)

Cinematography: Wilkie Cooper

Art Direction: John Blezard

Music: Laurie Johnson

Film Editing: Maurice Rootes

Cast: Edward Judd (Arnold Bedford), Martha Hyer (Katherine 'Kate' Callender), Lionel Jeffries (Joseph Cavor), Miles Malleson (Dymchurch Registrar), Norman Bird (Stuart), Gladys Henson (nursing home matron), Hugh McDermott (Richard Challis).

C-103m.

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 8

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/37468

A health teacher fights for her job at a high school plagued by delinquents and teenage pregnancy in this notorious exploitation film.

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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.

On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. (ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably).

With visits now in excess of 19.209 Million to my FLICKR site, used primarily these days as a fun platform to reach friends and family as I have now sold my professional gear and now take a more leisurely approach to my photographic exploits, I would like to say a huge and heartfelt 'THANK YOU' to FLICKR, GETTY IMAGES and everyone who drops by.

***** Selected for sale in the GETTY IMAGES COLLECTION on March 20th 2017

CREATIVE RF gty.im/654200174 MOMENT OPEN COLLECTION**

This photograph became my 2,607th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

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Photograph taken at an altitude of Twenty nine metres at 13:29pm on March 10th 2012 of a beautiful Heilan Coo (Highland cattle or kyloe), off Burley Road near Hincheslea Wood and Brockenhurst in the heart of the New Forest, Hampshire, England.

The Heilan Coo, (Scottish Gaelic: Bò Ghàidhealach), or Highland cattle is one of Britains oldest and most distinctive breeds. Also referred to as kyloe, they are a Scottish breed of cattle with long horns and long wavy coats which are coloured black, brindled, red, yellow or dun.

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Nikon D7000 85mm 1/200s f/11.0 iso200 -0.3EV Exposure Compensation. Raw L 4928x3264 image size (14 bit) Handheld with Nikkor VR Vibration Reduction enabled. Auto Focus mode AF-A. Dynamic AF-Area mode. Manual exposure. Matrix metering. Auto Active D-lighting. Colour space Adobe RGB.

Nikkor AF-S 18-105mm f/3.5-5.6G ED VR. Jessops 72mm UV filter. Nikon MB-D11 battery grip. My memory 32GB class 10 20MB/s SDHC. . Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit

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LATITUDE: N 50d 48m 45.56s

LONGITUDE: W 1d 36m 8.81s

ALTITUDE: 28.0m

RAW (TIFF) FILE: 46.20MB

PROCESSED FILE: 17.06MB

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PROCESSING POWER:

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.

"Sunbating in The Name"

contrast exploitation

11/05/2016

Kristina Hansen - ID's NTM - Nude w/ accesory

New Muse!!

Sunday Morning at 8AM at Creamy's Spot

maps.secondlife.com/secondlife/Soulcity/30/88/24

At the time, DUPERREX Frères SA operated two Scania 144L 530 V8 tractor-trailers and one Scania 164L 580 V8 semi-trailer. These trucks were among the first to be put into service in Switzerland with the new cab, starting in 1996. The company currently has a modern fleet of Scania V8 trucks.

En son temps, l'entreprise DUPERREX Frères SA a exploité 2 camions-remorques Scania 144L 530 V8 et 1 semi-remorque Scania 164L 580 V8. Ces camions font partie des premiers à avoir été mis en service en Suisse avec la nouvelle cabine dès 1996. La société possède actuellement une flotte récente de Scania V8.