View allAll Photos Tagged foreshadowing
Well whaddaya know?
He does look like that.
(Please use the enlarge option {use "All sizes" or "Detail", above} -- am working on getting new editing software loaded but for now this will have to do.)
To be fair, Kitty's 'Green Man' s' photo effects
--don't want to call it paranormal in the eerie kind of way just yet--
seemingly does not show any type of hairstyle, along with the forehead appearing to be strangely misshapen.
Doesn't seem to have much of a nose either, but then again neither does Moseley.
But it is, still and all, a remarkable (in the literal sense) photograph.
All photos taken off the web. Unless specified, no retouching.
So far I have a couple of these in the "Domestic Bliss" series. It's sort of a 50s or earlier feel, but with a dark foreshadowing, like the way we take something, use it for how it was never intended, and become lazy and something else.
Made in Adobe Illustrator CS2 with a G5.
Financial District, Lower Manhattan
The Temple Court Building and Annex consists of two connected structures on the designated Landmark Site. The nine-story (ten stories in certain portions) Temple Court Building was commissioned by Eugene Kelly, an IrishAmerican multi-millionaire-merchant-banker, and built in 1881-83 to the design of architects Silliman & Farnswonh. Executed in red Philadelphia brick, tan Dorchester stone, and terra cotta above a two-story granite base, the handsome vertically-expressed design employs Queen Anne, neo-Grec, and Renaissance Revival motifs.
Today, Temple Court is the earliest surviving, essentially unaltered, tall "fIreproof' New York office building of the period prior to the full development of the skyscraper. Funhermore, it is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, as well as a rare surviving office building of its era constructed around a fullheight interior skylighted atrium. Its two towers foreshadow the pyramidal form that later became popular for skyscrapers.
The Annex to the building, clad in Irish limestone on its principal, Nassau Street facade, was constructed for Kelly in 1889-90 to the design of James Farnswonh, in an arcaded Romanesque Revival style that complements the original building. Temple Court's signifIcance is enhanced by its visibility as it rises above the low buildings of Park Row facing City Hall Park, its prominent towers, and its articulated facades on three sides.
The nine-story (ten stories in certain portions) building has facades on Beekman Street. Nassau Street. and Theatre Alley. Of fireproofed construction with iron floor bearns, it was built around an interior skylighted atrium (now enclosed), with an additional exterior light well on the south side. It is clad in granite on the two-story base, and red Philadelphia brick (originally laid with red mortar), tan Dorchester stone trim. and terra-cotta panels on the upper stories. Much of the building, other than parts of the Theatre Alley facade, has been painted. Articulation on the facades on Beekman and Nassau Streets. as well as part of that on Theatre Alley, is similar, employing Queen Anne, neo-Grec. and Renaissance Revival motifi; and ornamental details.
The design is arranged horizontally into a base, midsectiou, and upper section (with mansard roof and towers). and in addition. it has a tripartite arrangement with end pavilions on each facade. The building is vertically expressed with continuous piers. Windows originally had one-{)verone double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows with a variety of configurations. Base The two-story base is clad in granite. that on the piers rockfaced. Each story is capped by a cornice. Second-story windows in the center of the facades on Beekman and Nassau Streets are segmentally arched. All of the ground-story bays of the facades on Beekman and Nassau Streets (except the main entrance) have been converted to shopfronts over the years, and have been altered so that little historic fabric survives. Shopfronts are currently framed in metal, with rolldown gates.
Base: Beekman StreEt The main entrance, located in the central bay, originally had polished red granite colunms supporting an entablature bearing the name of the building, capped by an iron balustrade flanked by pinnacles; in 1949-50 the main entrance was altered with a polished marble surround, metal and glass doors, a transom, and the letters " Beekman." The bays flanking the entrance were originally windows; surviving below the cornice in each bay are a paneled band and decorative metal band. The end pavilions were originally tripartite, having a central door flanked by colunms and windows with bulkheads and transoms; they were later altered to single bays with a bulkhead, display window. door, and broad sign band (since altered).
The easternmost storefront is still framed by original fluted stone pilasters with stylized floral capitals. Base: Nassau Street End pavilion bays were originally tripartite, divided by piers. These bays. as well as those of the central section. had paired windows with bulkheads and transoms (the south end undoubtedly had an entrance door to the elevator hall); these bays were later altered in a manner similar to the pavilion bays of the Beekman Street facade (since altered). Surviving below the cornice in the south pavilion bay are a paneled band and decorative metal band.
Base: Theatre Alley The northern section has articulation similar to that on Beekman Street. The ground and second stories of the center and southern sections are capped by stone bandcourses. The ground-story bays of these sections are divided by cast -iron piers and have transoms and ornamental iron bulkhead bands. All bays have been filled with cinderblock. The second-story bays of the center and southern sections are divided by cast-iron piers. Midsection The brick midsection consists of the third through the sixth stories. Articulation on the principal facades (and north pavilion of Theatre Alley) is similar, with terra-cotta spandrel panels above the third, fourth. and fifth stories; bandcourses, and stone capitals with a stylized floral design on the piers. on the thittl. fourth. and fifth stories; windows capped by round arches (with decorative tympana) in the center sections of the fifth story; and a stone cornice capping the sixth story.
Most of the Theatre Alley facade is unadorned "Croton-faced" brick. with simple bluestone lintels and sills.
Upper Section The upper section consists of the seveoth through the tenth stories. The north section of the Theatre Alley facade has articulation similar to that on Beekman and Nassau Streets. The center portion of the two principal facades has paired windows with entablatures on the seventh story (the Theatre Alley facade is capped by a corbelled cornice on the seventh story). surmounted by. on each of the three facades. a two-story slate mansard roof with pedimented dormers (the upper dormers on Nassau Street. all dormers on Theatre Alley, and the flanking dormers on Beekman Street, are iron). The sections of roof on Beekman and Nassau Streets appear covered with asphalt.
The end pavilions have bandcourses and terra-cotta spandrel panels above the seventh and eighth stories; round-arched windows, a subcornice, and cornice on the ninth story; a central pedimented window, and cornice with flared corner projections, on the tenth story of the northern pavilions; and a pediment on the tenth story of the southern pavilions (with a rondel on Nassau Street and corbelling on Theatre Alley). Roof Surviving decorative iron railings cap the mansard roof of the center section of each facade. Two prominent corner towers above the Beekman Street pavilions have octagonal pinnacled roofs, covered with slate and capped by metal finials. The corners of the pavilions are ornamented with pinnacles, and the inner side of each pavilion (except Theatre Alley) is flanked by a chimney. The southern pavilions have gable roofs. The center portion of the building is covered by a large pyramidal skylight with a monitor.
TEMPLE COURT ANNEX (119-121 Nassau Street)
The ten-story annex is adjacent to the original building on its south side, extending from Nassau Street to Theatre Alley. Framed with iron, it is Cshaped in plan, with an exterior light well that joins that of the original building. Windows originally had one-{)ver-{)ne double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows. The Annex has a flat roof, which holds a water tower and four sheds on the south side.
Nassau Street
The principal facade in the Romanesque Revival style, clad in Irish limestone, is organized into horizontal sections by cornices capping the second, sixth, and ninth stories. The entrance, originally located in the southern ground-story bay, had a round arch with a surround with columns supporting a pointed-arCh; the entrance was convened into a storefront in 1959. All three ground-story bays have been altered a number of times and no historic fabric is visible; most of the ground story is covered with a metal veneer. The southern bay of each upper story (except for the top rwo) has a rectangular window.
The northern two bays of the facade are arranged as superimposed arcades of paired arches (the second story; the third through sixth stories; and seventh through ninth stories). The arches have Romanesque style stone carving and decorative metal spandrel panels and mullions. The southern hay of the ninth story and the entire tenth story have roundarched windows. The facade is terminated on the south end by a pediment with a rondel. In the fire of 1893, "great pieces spalled off"w the stone sills of the top four stories, but these were repaired. Theatre Alley The plain brick facade has rectangular windows with simple stone lintels and sills. The ground story has a round-arched secondary entranceway in the southern bay and rwo rectangular bays capped by an iron beam; these former openings are now filled with cinderblock.
- From the 1998 NYCLPC Landmark Designation Report
Akron Children’s Hospital held its 32nd annual Holiday Tree Festival Nov. 23 to Dec. 1 at the John S. Knight Center. The Holiday Tree Festival Preview Gala foreshadows the festival. The Preview Gala took place on Nov. 22 this year.
Foreshadowing, or when the remnants of a good time transform into the harbingers of working hungover.
This is a bit of foreshadowing for an up-coming conceptual / editorial photo shoot I've got in the pipeline.
I survived this epic blowout, changed the 'flat' and still made it to work by 9:30! ...though it foreshadowed the work day ahead.
It was pretty exciting though.
July 19, 2018
1:35 pm - 2:35 pm
Doerr-Hosier Center
Andrea Mitchell, Daniel Coats
Property of the Aspen Institute / Photo Credit: Dan Bayer
July 19, 2018
1:35 pm - 2:35 pm
Doerr-Hosier Center
Andrea Mitchell, Daniel Coats
Property of the Aspen Institute / Photo Credit: Dan Bayer
1961 Chevrolet Corvette
Chassis No. 10867S103251
By 1961, the Corvette had evolved into a very credible sports car. Styling was carefully updated under GM design chief Bill Mitchell with a subtle new grille design, while the new rear end treatment foreshadowed the upcoming Sting Ray with a neat ducktail design incorporating four cylindrical taillights. In addition, the growing list of standard equipment now included a tachometer, seat belts, sun visors, dual exhaust, carpeting, an electric clock, outside rearview mirror and an aluminum radiator.
This brawny 1961 Corvette displays an older, yet very well presented resto-mod refinish in silver and white side coves over black interior upholstery. A white vinyl top, cowl hood, vintage Firestone Firehawk radials, steel wheels and chrome wheel covers complete the presentation.
Cabin amenities include a tachometer, clock, defroster, AM/FM radio with premium sound system, and Hurst t-handle shifter. The car’s small-block V8 engine mated to a four-speed manual transmission provides more than enough power to get this vette up and going in a hurry!
The older restoration has begun to show its age in areas, but remains well suited for continued use as an attention grabbing weekend cruiser. This Corvette is sure to please its new owner with a great combination of timeless styling, performance and modern upgrades.
Desirable Early Solid-Axle Corvette!
Classic Resto-Mod!
Beautiful Presentation & Well Outfitted!
Back when it was cool to have each band member looking in a different direction.
At least we thought it was cool then.
July 19, 2018
1:35 pm - 2:35 pm
Doerr-Hosier Center
Andrea Mitchell, Daniel Coats
Property of the Aspen Institute / Photo Credit: Dan Bayer
Financial District, Lower Manhattan
The Temple Court Building and Annex consists of two connected structures on the designated Landmark Site. The nine-story (ten stories in certain portions) Temple Court Building was commissioned by Eugene Kelly, an IrishAmerican multi-millionaire-merchant-banker, and built in 1881-83 to the design of architects Silliman & Farnswonh. Executed in red Philadelphia brick, tan Dorchester stone, and terra cotta above a two-story granite base, the handsome vertically-expressed design employs Queen Anne, neo-Grec, and Renaissance Revival motifs.
Today, Temple Court is the earliest surviving, essentially unaltered, tall "fIreproof' New York office building of the period prior to the full development of the skyscraper. Funhermore, it is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, as well as a rare surviving office building of its era constructed around a fullheight interior skylighted atrium. Its two towers foreshadow the pyramidal form that later became popular for skyscrapers.
The Annex to the building, clad in Irish limestone on its principal, Nassau Street facade, was constructed for Kelly in 1889-90 to the design of James Farnswonh, in an arcaded Romanesque Revival style that complements the original building. Temple Court's signifIcance is enhanced by its visibility as it rises above the low buildings of Park Row facing City Hall Park, its prominent towers, and its articulated facades on three sides.
The nine-story (ten stories in certain portions) building has facades on Beekman Street. Nassau Street. and Theatre Alley. Of fireproofed construction with iron floor bearns, it was built around an interior skylighted atrium (now enclosed), with an additional exterior light well on the south side. It is clad in granite on the two-story base, and red Philadelphia brick (originally laid with red mortar), tan Dorchester stone trim. and terra-cotta panels on the upper stories. Much of the building, other than parts of the Theatre Alley facade, has been painted. Articulation on the facades on Beekman and Nassau Streets. as well as part of that on Theatre Alley, is similar, employing Queen Anne, neo-Grec. and Renaissance Revival motifi; and ornamental details.
The design is arranged horizontally into a base, midsectiou, and upper section (with mansard roof and towers). and in addition. it has a tripartite arrangement with end pavilions on each facade. The building is vertically expressed with continuous piers. Windows originally had one-{)verone double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows with a variety of configurations. Base The two-story base is clad in granite. that on the piers rockfaced. Each story is capped by a cornice. Second-story windows in the center of the facades on Beekman and Nassau Streets are segmentally arched. All of the ground-story bays of the facades on Beekman and Nassau Streets (except the main entrance) have been converted to shopfronts over the years, and have been altered so that little historic fabric survives. Shopfronts are currently framed in metal, with rolldown gates.
Base: Beekman StreEt The main entrance, located in the central bay, originally had polished red granite colunms supporting an entablature bearing the name of the building, capped by an iron balustrade flanked by pinnacles; in 1949-50 the main entrance was altered with a polished marble surround, metal and glass doors, a transom, and the letters " Beekman." The bays flanking the entrance were originally windows; surviving below the cornice in each bay are a paneled band and decorative metal band. The end pavilions were originally tripartite, having a central door flanked by colunms and windows with bulkheads and transoms; they were later altered to single bays with a bulkhead, display window. door, and broad sign band (since altered).
The easternmost storefront is still framed by original fluted stone pilasters with stylized floral capitals. Base: Nassau Street End pavilion bays were originally tripartite, divided by piers. These bays. as well as those of the central section. had paired windows with bulkheads and transoms (the south end undoubtedly had an entrance door to the elevator hall); these bays were later altered in a manner similar to the pavilion bays of the Beekman Street facade (since altered). Surviving below the cornice in the south pavilion bay are a paneled band and decorative metal band.
Base: Theatre Alley The northern section has articulation similar to that on Beekman Street. The ground and second stories of the center and southern sections are capped by stone bandcourses. The ground-story bays of these sections are divided by cast -iron piers and have transoms and ornamental iron bulkhead bands. All bays have been filled with cinderblock. The second-story bays of the center and southern sections are divided by cast-iron piers. Midsection The brick midsection consists of the third through the sixth stories. Articulation on the principal facades (and north pavilion of Theatre Alley) is similar, with terra-cotta spandrel panels above the third, fourth. and fifth stories; bandcourses, and stone capitals with a stylized floral design on the piers. on the thittl. fourth. and fifth stories; windows capped by round arches (with decorative tympana) in the center sections of the fifth story; and a stone cornice capping the sixth story.
Most of the Theatre Alley facade is unadorned "Croton-faced" brick. with simple bluestone lintels and sills.
Upper Section The upper section consists of the seveoth through the tenth stories. The north section of the Theatre Alley facade has articulation similar to that on Beekman and Nassau Streets. The center portion of the two principal facades has paired windows with entablatures on the seventh story (the Theatre Alley facade is capped by a corbelled cornice on the seventh story). surmounted by. on each of the three facades. a two-story slate mansard roof with pedimented dormers (the upper dormers on Nassau Street. all dormers on Theatre Alley, and the flanking dormers on Beekman Street, are iron). The sections of roof on Beekman and Nassau Streets appear covered with asphalt.
The end pavilions have bandcourses and terra-cotta spandrel panels above the seventh and eighth stories; round-arched windows, a subcornice, and cornice on the ninth story; a central pedimented window, and cornice with flared corner projections, on the tenth story of the northern pavilions; and a pediment on the tenth story of the southern pavilions (with a rondel on Nassau Street and corbelling on Theatre Alley). Roof Surviving decorative iron railings cap the mansard roof of the center section of each facade. Two prominent corner towers above the Beekman Street pavilions have octagonal pinnacled roofs, covered with slate and capped by metal finials. The corners of the pavilions are ornamented with pinnacles, and the inner side of each pavilion (except Theatre Alley) is flanked by a chimney. The southern pavilions have gable roofs. The center portion of the building is covered by a large pyramidal skylight with a monitor.
TEMPLE COURT ANNEX (119-121 Nassau Street)
The ten-story annex is adjacent to the original building on its south side, extending from Nassau Street to Theatre Alley. Framed with iron, it is Cshaped in plan, with an exterior light well that joins that of the original building. Windows originally had one-{)ver-{)ne double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows. The Annex has a flat roof, which holds a water tower and four sheds on the south side.
Nassau Street
The principal facade in the Romanesque Revival style, clad in Irish limestone, is organized into horizontal sections by cornices capping the second, sixth, and ninth stories. The entrance, originally located in the southern ground-story bay, had a round arch with a surround with columns supporting a pointed-arCh; the entrance was convened into a storefront in 1959. All three ground-story bays have been altered a number of times and no historic fabric is visible; most of the ground story is covered with a metal veneer. The southern bay of each upper story (except for the top rwo) has a rectangular window.
The northern two bays of the facade are arranged as superimposed arcades of paired arches (the second story; the third through sixth stories; and seventh through ninth stories). The arches have Romanesque style stone carving and decorative metal spandrel panels and mullions. The southern hay of the ninth story and the entire tenth story have roundarched windows. The facade is terminated on the south end by a pediment with a rondel. In the fire of 1893, "great pieces spalled off"w the stone sills of the top four stories, but these were repaired. Theatre Alley The plain brick facade has rectangular windows with simple stone lintels and sills. The ground story has a round-arched secondary entranceway in the southern bay and rwo rectangular bays capped by an iron beam; these former openings are now filled with cinderblock.
- From the 1998 NYCLPC Landmark Designation Report
Ian Schwartz's latest setup with almost foreshadowed ketchup and mustard colorway. He's not one to just sit around, Ian's always tinkering with his bike setup. Its not just colors either, there's all sorts of modifications on his bike.
Searching through the archives again and found this guy from back in August. I only had one exposure so I created my own bracket of 0, +1, and -1 in photoshop. I'm pleased. More one exposure HDRs it is. Stay tuned for new posts of headshots and landscapes folks.
Foreshadowing GM's later split-wheelbase intermediates, two-door Studebakers rode a 109-inch wheelbase, while four-doors like this one had a 113-inch span.
I had a lot of problems with my iBook - well, with Apple repair services - last year, detailed (along with the events of my life) here:
I could use some cheering up - aka "foreshadowing"
For a peaceful future, marry the kindest person you know
[It's strange rereading those entries from a year ago. "I reacted quite negatively to this and was shunted very quickly to Customer Relations." I am pleased to say I can't actually remember that conversation, but it sounds like it was a doozy. I definitely remember how I felt when I typed, "A Genius has been poking it with a stick for a couple of days, after discovering that the magic FireWire external diagnostics disk could not penetrate its mysteries." Yeah, today is a bad day, but that was worse.]
So. Today. I'm facing a big deadline, and what better way to get the day started than by spending the whole morning watching Six Feet Under, and then spilling an entire cup of tea into my iBook?
Oh well, it was long past time to replace it.
Early January storm in Toronto, just after sunrise, foreshadowing a deep cold spell. A 4-second exposure @ F29 and 200 ISO. Looks good large, too.
face - guerlain meteorites #2
eyes - Urban Decay Foreshadow palette, Urban Decay Flipside eyeliner
lips - MAC Ember glow lipgloss
Foreshadowing the duels that would happen here in Sunday's race, four cars try to negotiate turn 3 during Friday practice at the Honda Indy Toronto. In the foreground (#38) is Graham Rahal, followed by Marco Andretti (Dr. Pepper) and Tony Kanaan (blue car near the wall). To the extreme right is Simona de Silvestro.
Photo reference HIT 2012 PHenman472
1961 Chevrolet Corvette
Chassis No. 10867S103251
By 1961, the Corvette had evolved into a very credible sports car. Styling was carefully updated under GM design chief Bill Mitchell with a subtle new grille design, while the new rear end treatment foreshadowed the upcoming Sting Ray with a neat ducktail design incorporating four cylindrical taillights. In addition, the growing list of standard equipment now included a tachometer, seat belts, sun visors, dual exhaust, carpeting, an electric clock, outside rearview mirror and an aluminum radiator.
This brawny 1961 Corvette displays an older, yet very well presented resto-mod refinish in silver and white side coves over black interior upholstery. A white vinyl top, cowl hood, vintage Firestone Firehawk radials, steel wheels and chrome wheel covers complete the presentation.
Cabin amenities include a tachometer, clock, defroster, AM/FM radio with premium sound system, and Hurst t-handle shifter. The car’s small-block V8 engine mated to a four-speed manual transmission provides more than enough power to get this vette up and going in a hurry!
The older restoration has begun to show its age in areas, but remains well suited for continued use as an attention grabbing weekend cruiser. This Corvette is sure to please its new owner with a great combination of timeless styling, performance and modern upgrades.
Desirable Early Solid-Axle Corvette!
Classic Resto-Mod!
Beautiful Presentation & Well Outfitted!
Conrail C40-8W 6074 was westbound with train USF-743 was rolling west at an undisclosed location in 1994.
Norfolk Southern pool power in the form of SD70 2515 and B32-8 3544 and a solid train of NS hoppers was the harbinger of things to come as in 1999 this line became Norfolk Southern property.
The 6074 would also become NS property and would survive as NS 8329 before being sold to Progress Rail for scrap in 2020.
Ok maybe not so grand....But Ani and Padme lead thier team into battle! though you can tell they are experiencing cut backs, they had to hire some loser photographer! he can't even shoot a straight picture! foreshadowing to stormies? possibly....
1961 Chevrolet Corvette
Chassis No. 10867S103251
By 1961, the Corvette had evolved into a very credible sports car. Styling was carefully updated under GM design chief Bill Mitchell with a subtle new grille design, while the new rear end treatment foreshadowed the upcoming Sting Ray with a neat ducktail design incorporating four cylindrical taillights. In addition, the growing list of standard equipment now included a tachometer, seat belts, sun visors, dual exhaust, carpeting, an electric clock, outside rearview mirror and an aluminum radiator.
This brawny 1961 Corvette displays an older, yet very well presented resto-mod refinish in silver and white side coves over black interior upholstery. A white vinyl top, cowl hood, vintage Firestone Firehawk radials, steel wheels and chrome wheel covers complete the presentation.
Cabin amenities include a tachometer, clock, defroster, AM/FM radio with premium sound system, and Hurst t-handle shifter. The car’s small-block V8 engine mated to a four-speed manual transmission provides more than enough power to get this vette up and going in a hurry!
The older restoration has begun to show its age in areas, but remains well suited for continued use as an attention grabbing weekend cruiser. This Corvette is sure to please its new owner with a great combination of timeless styling, performance and modern upgrades.
Desirable Early Solid-Axle Corvette!
Classic Resto-Mod!
Beautiful Presentation & Well Outfitted!
Thursday, January 20, 2011
Seems like it's hardest to come up with subject matter on the days following paid gigs. I enjoy the blank canvas, but it can be a challenge to redirect my focus from the more narrowly defined parameters of a paid assignment. On these occasions, as I struggle to refresh my brain, I endeavor to view the ordinary objects around me through creative goggles: a fresh light, an odd angle, an unnoticed detail.
I've photographed cups, coffee mugs, and containers before, but there's always a new way to revisit an old subject. Just before bedtime, I set a glass of ice water on the kitchen counter so that it was backlit by the livingroom light. I leaned in with my macro lens, aiming it slightly downward, setting the focus on the closest point of the cylinder, near the base of the glass. Voila! I've looked at the pattern on this glass a thousand times, but I haven't seen it quite this way until tonight. Be sure to view it in light box on black for full effect!
---
Silhouettes were my subject on this date in 2010.
There will be foreshadowing in the story but for the fun of the readers I will put little clues into the fates of the characters mentioned in Henry's nightmare so . In this clue notice Thomas' disheveled appearance and the darkness of the area and pretend the books aren't there so minus the book he is holding.
So clue number one as Mentioned in Chapter 14: More will be somehow imprisoned.
Note: No it is not the tower of London so scratch that off the list