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The mural celebrates local history and the strength of agriculture in the Merriwa district & was officially opened 6 February 2008.
The tin used to create this mural came from the local district including the sheep dip from Collaroy station established 1829, Denman's Blacksmith shed & the original garage at 118 Bettington Street.
The mural takes up a considerable part of a wall & consists of corrugated tin which has been used extensively in Australia as a building material. The mural is supported by poles & is not fixed to the wall. The wagon like structure is a dray with a load of wool bails & is being pulled by bullocks. Next to that is a mob of sheep with a ram at the helm being rounded up by kelpies & above them a flight of galahs. A windmill, a horse & the shearing shed round off the mural.
If you look closely at the wool bails you can see some lettering which could be original or added for effect as each bail has wording added to identify the station & class (quality of wool).
Corrugated tin rusts slowly & the discolouration is part of its appeal. The rust, wear & tear & the work of the artists combine to make an attractive addition to Merriwa's streetscape.
Info source:
www.waymarking.com/waymarks/WMV63Z_Looking_back_Forging_a...
Early one morning I managed to catch this photo of the Viking Blacksmith at work.
I feel like I should be taking Christmas photos and yet I keep taking Viking photos :-) I haven't gotten into the holidays yet this year.....
With all my ❤️ I thank you for your ⭐ or 💬 or just for 👀 it.
A 📷 taken by me + Camera Raw + ps oil
THIS PHOTO IT'S NOT AI 📀
You can look at the Exif data on your right.➡️ in pc, and on phone below the comments 👇
Perched atop a classic Land Rover, in the heart of an abandoned rural setting, light takes on a life of its own. Sparks erupt in a radiant explosion, fanning out like incandescent wings, illuminating the scene with an almost mystical aura. The old stone structure and the deep night sky serve as the perfect backdrop for this mesmerizing dance of fire and steel.
Carl Zeiss Ikon ZM 35mm rangefinder camera
Carl Zeiss C Sonnar T* 1,5/50 ZM lens
Fuji Provia 400x film
Scan from slide @3600dpi
A flock of non-breeding American White Pelicans patrols Marina Spit; Pelecanus erythrorhynchos; no crop done
Forging facility - Berkeley California
I think I have passed by this building over a 1000 times over the years. For the past 2 I have been wanting to spend a little time photographing it under different conditions. Finally a few weeks ago I took the time to walk around a little and figure out the best angles for the confusing lines, and light.
When passing by on the slightly elevated section of freeway (just behind the camera) the perspective is perfect. Nice lines, shadows, and light, but there is no place to legally set up. I am no stranger to finding my way into places that are not necessarily "legal" but standing on one of the Bay Area's most busy freeways in the middle of a weekday is not going to happen. I am sure officers Baker and Poncherello would have put the kibosh on that one in a heartbeat. Anyway... After I walked around and made a few test images, I went on my way.
Now, a few weeks later, I returned with a little more time and knowledge of the area. I found a small section of sidewalk (more like weeds and dirt) setup and made a few long and short exposures. There are a few issues with this subject that were difficult to overcome. The 12,000lb steam hammer inside the building cycles about every 30-45 seconds. Not really a big deal, but it does exert enough pressure to shake the ground, and camera a couple of hundred yards away. After watching the timing of the shake, I finally found a rhythm to the hammer, and made the exposures that I came for. After a making a few long exposures, I switched over to capture some fast shutter exposures. All was great until I was done with the quick exposures and wanted to finish off my roll of film with a couple more longer times. Just as I was switching over I was confronted, yes "confronted" by a nice gentleman that said that I was causing some concern inside the facility. Long story short.... I was being photographed ( as I sarcastically waved at the cellphone camera) and a few words of "national security" were tossed around. Now I understand that industry is a key part of our nation ( at least at one time it was before it was sold off and sent overseas), but tool making and national security? Hmmmm. Because of the "discussion" between the nice gentleman and myself, I forgot to move the lens back to the proper B setting that was needed to properly expose. Basically I ended up with 8 usable frames out of a 12 frame roll.
Thanks for the read, views, and comments.
Camera -Hasselblad 500 C/M
Lens - 80mm f/2.8 @ f/16
Exposure - 25 seconds
Film - Kodak TMAX 100
ISO - 100 (exposed at ISO 50)
Developed with Kodak HC- 110 (H) - 11 minutes using a 15 second every 2 minute agitation cycle.
Waste disposal is a worldwide problem that plagues both industrialized and developing countries. Mali's capitol, Bamako, recycles much of its waste by breaking it down completely and reusing the metal to build new items such as garden tools, cooking utensils and other household items. Bamako is extremely effective at this process, with an 85% reuse rate, exceeding many cities of the industrialized world (e.g. San Francisco at 68%).
Garbage is collected, usually by individuals with donkey drawn carts, in only half of the city. The refuse is sorted and organic matter is sold to farmers and metal scrap is taken to the Recycling Market, a sprawling area of small stalls, each a private enterprise that reworks metal into new, usable objects. You can recognize the Recycling market from a distance by the sounds of pounding hammers – a music all of its own.
Bamako, Mali
"(...) On the third night Ilmarinen,
Bending low to view his metals,
On the bottom of the furnace,
Sees the magic Sampo rising,
Sees the lid in many colors.
Quick the artist of Wainola
Forges with the tongs and anvil,
Knocking with a heavy hammer,
Forges skilfully the Sampo (...)"
Kalevala, runo 10
Sadly, the Finkl metal forging company will not be at this location much longer--they are moving to the South Side. I'll miss coming here on Sundays, when they are closed, and taking photos of their acres of strange machines, metal scraps, and cool buildings.
In 1884, while forging Arizona Canal across uncharted territory, railroad entrepreneur William J. Murphy first engineered Arizona Falls by dropping the canal over a 20-foot shelf of rock he encountered in the outskirts of town. From the onset, the site was taken for a prime rendezvous by water parched pioneers.
In 2003 after being under wraps for over a century, a joint venture between SRP (Salt River Project) and the Phoenix Arts Commission reinvented the public space for a new millennium. A new hydroelectric power plant was strategically designed to unmask the falls, which had been hidden by its defunct predecessors.
Many times removed form its raw state, today the main juncture at the falls is known as the water room, a cool sandstone enclosure planted with a uniform garden of stone seats. A waterfall roars to the back of the room, while the sidewalls sweat with moisture in diminutive rivulets. Farther forward, two more sheets of water race off the tracks to curtain away corners, completing the historic falls 21st century renovation. ( AAA Highroads magazine).
Located at 56st Street and Indian School Road.
More photos to follow. Very interesting place. I was standing in the water room. Behind the water you can see the old gears for the gate.
More info: www.srpnet.com/water/canals/azfalls.aspx
© All rights reserved
A coalition of 2 brothers strolled with purpose through their territory. While antilopes and little bucks fled for their lives, these two had very little interest in the hunt, and were keener on returning to their pride, which was just waiting up ahead under the High Bridge, crossing the Sabi Sand River.
Still, there were many scents halting them in their tracks, and they both raised their muzzles a few times to smell the air on their journey.
Forging it's way through the inclement weather is preserved Alexander-bodied Atlantean LA907 (JGA 189N), partaking in the 2018 GVVT Open Weekend Shuttle services.
Caught on Cowcaddens Rd, partway through a loop 'round B.B.S via Cowcaddens Rd, Port Dundas Rd/West Nile St, Killermont St & then back onto North Hanover St southbound.
Photo Date: 13th October 2018
I started forging my first weapons after years of praticing under my father's watch.
And I failed a lot of times.
When I showed him my latest creation, he always mumbled something.
"You have to think of it as something your life depends on.
You are selling these, the client's life may depend on it.
Remember: every tool and weapon have a purpose."
Even if I didn't understand what he meant, I continued my work at the forge and my father enjoyed his old age by going to drink at the tavern, or going out for a walk outside the city.
"Son I'll go take a walk, take care of the forge for me".
And he went, leaving me doing all the job.
However my clients were satisfied with the stuff I made, no one ever complained.
And yet for some reasons my father still watched over me.
As promised, here is the Forging of Anduril, my next LEGO LOTR MOC! I hope you enjoy it! I watched the actual scene and built it off of that moment in the movie.
"From the ashes a fire shall waken,
a light from the shadows shall spring,
renewed shall be the sword that was broken,
the crownless again shall be king."
"All that is gold does not glitter,
not all those who wonder are lost,
the old that is strong does not wither,
deep roots are not touched by the frost."
There's a temperature of -33C with drifts along the line, and still the coal keeps moving on the 762mm gauge railway at Huanan, but this was to be the last working of our visit in winter 2009/2010, on New Year's Eve 2009, as overnight the drifting snow blocked the tracks completely preventing further movements for several days. Two locos were used for additional power through the drifts, hence the unusual spectacle of two 'C2' Class 0-8-0s on a short coal train across the flat and featureless plain between Tuoyaozi and Huanan.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
The Alfred I. DuPont Building is a historic building in Miami, Florida. It is located at 169 East Flagler Street. Started in 1937 and completed in 1939, it is a 17-story rectangular building in the Modern style with Art Deco embellishments. It was the first skyscraper built after the County courthouse and the bust of 1928. Thus, it represents Miami's emergence from the great depression. It replaced the Halcyon Hotel on this site. On January 4, 1989, it was added to the U.S. National Register of Historic Places.
Alfred I. DuPont was the owner of the Florida National Bank, the principal tenant of the building. Major tenants in 2023 are Bench jewelers who use a combination of skills to make and repair jewelry. Some of the more common skills that a bench jeweler might employ include antique restoration, silversmithing, goldsmithing, stone setting, engraving, fabrication, wax carving, lost-wax casting, electroplating, forging, & polishing, manufactures & wholesale watches for Rolex & Richard Mille. The other major building in Miami is the Seybold Building for jewelry, diamonds and fine watches.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Alfred_I._DuPont_Building
© All Rights Reserved - you may not use this image in any form without my prior permission.
Walking along W. Diversey Avenue to photograph the former Hammond Organ Company headquarters, I spotted open windows (with accompanying noise) on the south side of the street. The building houses Larson Forgings, a subsidiary of Charles E. Larson & Sons, Inc., a manufacturing and warehousing complex that serves businesses including aircraft engine manufacturers, oil patch suppliers, petrochemical corporations and power-generation companies. The company, founded in 1895, has two buildings consisting of 180,000 square-feet along N. Keeler and W. Diversey avenues.
66 200 heads a rake of big red boxes on 6M82 13.38 Walsall to Dowlow with some Crepuscular Rays streaming through the clouds.
'5700' class 0-6-0 pannier tank 9681 heading a short engineer's train through the rain at Upper Forge, near Norchard, on 28th December 2012.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
On an unusually dull day in a period of otherwise warm and sunny weather, Class 43 locomotive No. 43303 heads away from Yatton with 1E63, the 15:27 Plymouth to Leeds service.
Wednesday 29th April 2020.
Shot during my government-permitted exercise activity, which at that time was limited to one per day.
I think I'll try this viewpoint again, or at least one very similar to it, in different weather conditions.
Highschooler makes an attempt through flooded Forest Ave in Cranford NJ. The waters rose overnight during Hurricane Irene. Cranford has never seen this much water in the center of town before.
Thanks all for the explore comments. We may be a small town with a big flood that is insignificant to so many bigger disasters around the world, yet this will be a day not forgotten.
Forging its way Eastbound, 70805 was passing over the old A6 trunk road whilst passing Bamber Bridge with the 10.05 Preston Docks to Lindsey bitumen empties on February 25th 2021.
The path is clear as I forge onward up the difficult trail, burdened by a backpack loaded with cameras and lenses. The thin air and my lack of high-altitude conditioning gives me a reason to pause frequently for photo opportunities.
This photo was taken by a Kowa/SIX medium format film camera and KOWA LENS-S 1:3.5/150mm lens with a Zenza Bronica 67mm SY48•2C(Y2) filter using Ilford Delta 100 Pro film, the negative scanned by an Epson Perfection V600 and digitalized using Photoshop.
The Rundāle Palace, Latvia.
What you're seeing here is a recreation of the original interior. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.
What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.
One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.
Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.
Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that
If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.
Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.
The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).
The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.
Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.
Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.
The old palace was
completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.
Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.
In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.
During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.
During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.
The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.
Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.
The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.
During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.
During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.
The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.
In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.
In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.
In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.
The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.
Construction history
Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.
The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.
The first construction period from 1736 to 1740.
On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.
Construction was stopped on 1 November due to cold.
The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.
When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.
After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.
In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.
From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.
Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm
Rastrelli’s design, nothern facade of the palace with the gate tower.
In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.
On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.
The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.
N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.
In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.
Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.
Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.
The second construction period from 1764 to 1770.
In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.
In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.
During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.
The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.
In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.
In 1768 the gate was built and the forgings were placed.
The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.
The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.
Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.
The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.
The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.
Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.
The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.
20.04.2018
I've been Forging ahead in the contest and have just finished Hammering out a new build. I hope this entry doesn't raise the Roof, but I'm working hard to Steel the show. Still I don't want to leave my competitors in a cloud of Smoke.
My entry to the Brickscalibur Far East Elegance category as well as my second entry to round two of Iron Forge (the seed parts were used a total of 37 times, 26 times in the roof [1 goblet and 25 mugs] and 11 times [I think] in the smoke). Is it really a seed part if it isn't used in a roof.
It was dark in the forest. Two forces waking towards each other at same speed, confident but at the same time careful. When they arrived, both teams stopped and looked at the other side. The first one to speak was Kian:
"Greetings Isacc all mighty. I have called this meeting because an idea occurred to me."
"And what would this brilliant idea be," said a strong and knowledgeable man who goes by the name of Isacc Strenoir.
"I fell as if we must act quick and strong against the queen's troops. To do so, I would suggest an alliance between my army and yours. Do you agree?" Asked Kian, eager to see what the warlord would reply.
"Very well Kian, but on just one condition: If you betray us in anyway, Garheim will hunt you down and hang you for treachery. Understood?"
"You have my word. We gather our forces and in a weeks time, we meet here with our armies ready and we attack the castle. Goodbye now," said Kian as he started to leave.
"You have made a powerful friend, but that friend has powerful troops. If those troops are misused, you will pay the price. Goodbye now Kian," said the Garheim warlord as he started to head his way.
--------------------
A free build I came up with to get the attack in the place. Hope you enjoyed,
Kian