Currently I am fascinated by light, artificial light. I am working on the set light . color . form

This picture has all three elements.

First ladybird of the year, a Harlequin, found under a stone on a wall at Coed-y-Paen churchyard.

Belgian actor, artist and glass blower, Luk D'Heu uses a tool to form a piece of molten glass at the Art in Glass studio in Brugge.

LATE SEPTEMBER AT MIZNER PARK

contemporary home design, modern home decor, modern home interior design, modern home plans, modern homes

Umgangssprachlich ausgedrückt ist der Cw-Wert ein Maß für die „Windschlüpfigkeit“ eines Körpers. Es lässt sich aus dem Strömungswiderstandskoeffizienten bei zusätzlicher Kenntnis von Geschwindigkeit, Stirnfläche, Flügelfläche etc. und Dichte des Fluids (z. B. der Luft) die Kraft des Strömungswiderstands berechnen.

CW = Strömungswiderstandskoeffizient

Widerstandsbeiwert, -koeffizient,

co-effizient

W = Widerstand

Besonderheit

Im transsonischen Bereich und im Überschallbereich ändert sich der Strömungswiderstandskoeffizient stark.

In der Nähe der Schallgeschwindigkeit steigt er auf ein Mehrfaches an und sinkt bei sehr hohen Machzahlen auf etwa den doppelten Unterschall-cw-Wert.

Das Verhalten im Überschallbereich wird bestimmt durch die Geometrie des Körpers

Tropfen-Form ist günstiger als Kugel-Form.

Karmann Ghia Typ 14 Coupé Baujahr 67/68 cwWert 0,39

Karmann Ghia Typ 14 Cabriolet geschlossen Bj. 67/68 cwWert 0,38

Karmann Ghia Typ 14 Cabriolet offen Bj 67/68 cwWert 0,48

Karmann Ghia Typ 34 Coupé Bj. 67/68 cwWert 0,39

Karmann Ghia Coupé Bj 72/73 cwWert 0,38

Weshalb konnte der CW-WERT trotz Topfen-Form nicht unter 0.38

gedrückt werden?

CW-WERT

0,78 Mensch, stehend

0,6 Gleitschirm (Bezugsfläche Strömungsquerschnittsfläche!)

0,53…0,69 Fahrrad (Mountainbike, gestreckt/aufrecht)

0,51 moderner LKW

0,45 Kugel (Re 6,7 · 105)

0,34

Halbkugelschale, konvexe Seite 0,09…0,18

Kugel (Re > 4,1 · 105)

0,08 Flugzeug (Bezugsfläche Tragfläche)

0,03 Pinguin

0,02 Stromlinienkörper „Tropfenform

Split light with 2 softboxes, one to camera left, the other to camera right.

More at www.robwerlinger.com

She was a little unwell last week but after an expensive visit to the vets she ok now.

A brief history of railways in New South Wales.

It all began with the calling of a public meeting to consider the issue of building railways in 1846. Lines were being considered to Windsor, Bathurst and Goulburn. It proposed the American solution to railway building – government grants of land along the proposed line but with an added bonus of a government guarantee of 6% per annum on the first £100,000 of capital and a government grant of cash. In 1848 the Sydney Tramroad and Railway Company was formed. After some delays work began in 1850 but by 1851 not much had happened and the company wanted a further £150,000 which was granted for a line only from Sydney to Parramatta. In 1855 the line was finally completed with the first train to Parramatta in September 1855. The line was only completed with substantial government investment and in 1856 the government decided to take over the railway and have it run by three government Commissioners. In 1861 parliament authorised lines to Campbelltown and Goulbourn, another to Bathurst across the Blue Mountains and a third from Newcastle to Murrurundi in the Hunter Valley. The line from Newcastle to Maitland opened in 1857.

Westwards to Bathurst.

At the end of 1860, with the royalties from gold mining the government had completed lines from Sydney to Penrith and Richmond; to Picton in the south; and from Maitland to Morpeth. The biggest engineering challenges were still ahead of the railways department – crossing the Blue Mountains to Bathurst and climbing into the Southern Highlands to reach Goulburn. The problems of crossing the Blue Mountain ridges were immense and two zig zag railway sections near Lithgow were eventually approved and several major viaducts. They line was completed to Wentworth Falls in 1867 and it was 1875 before the railway line reached Kelso across the Macquarie River from Bathurst. The official opening into Bathurst was in April 1876. The 1870s were a decade of significant railway expansion and new lines. At one stage there was even a proposal to have a direct rai link to South Australia from Cootamundra westwards to Pooncarie on the River Darling and then across the SA border near Renmark. That never eventuated. But a link to Queensland was pursued more vigorously and completed as was a line to Albury with a link to Melbourne.

Southwards to Goulburn and Albury.

A main truck railway line to the South was important to peon up the Western Slopes of NSW in the 1870s. The rail head was settled at Picton in 1863 and with tunnels it was extended into the Highlands to Mittagong in 1867. It was quickly pushed on to Goulburn reaching there in 1869. It was important to extend this line south to Albury to prevent the Victorian railways taking more trade from the Riverina Districts. The Goulburn to Yass section was finished in 1876. It was extended to Wagga Wagga in 1878 but the line did not cross the Murrumbidgee River into Wagga Wagga until 1879. From here the line pushed onwards to Albury where the railway opened in February 1881. It was June 1883 before the River Murray was bridged and a connection was made with the line to Melbourne.

Northwards to Newcastle and beyond.

Newcastle was a rail terminal like Sydney with the first line to Maitland completed in 1857.This line was eventually extended to Muswellbrook in 1869 and on to Aberdeen in 1870 and Scone in 1871. Murrurundi was reached in 1872. Work began on pushing the line north through Quirindi to Tamworth in 1874 with it being completed in 1878. From here the railway was extended towards the Queensland border and the northern tablelands. The first section with steep gradients reached Uralla in 1882 and Armidale in 1883. In 1884 the railway reached Glen Innes and then Tenterfield. The Queensland border was reached in January 1888 linking up with the Queensland railway system. Queensland railways had extended their lines to Wallangarra which is across the border from Jennings in NSW. But there was no connection to Brisbane from Sydney as there was no connection between Sydney and Newcastle.

Linking Sydney and Newcastle.

It was Premier Sir Henry Parkes who appropriate funds for a railway northwards from Sydney with the first stage to the Hawkesbury River and a section southwards from Hamilton just outside of Newcastle to Gosford. The line to the Hawksbury River was completed in 1887 and that to Gosford in 1888. The 3,000 feet wide (914 metres) stretch of the Hawkesbury River were still to be spanned by a railway. A competition called for engineering designs and the contract was let to an American company. Despite difficulties the bridge was completed in May 1889 with piers deeper than those of any other bridge and it was largest bridge of its kind in Australia and the third largest in the world at that time. It was a milestone in Australian railway history as it provided a rail link from Sydney to Brisbane via Wallangarra and this service was already linked with the line from Sydney to Albury and Melbourne and Adelaide and Melbourne had been the first colonial capital cities linked by rail in January 1887. So now there was railway link from Adelaide to Brisbane (1,789 miles or2, 8880 kilometres) albeit with many changes of gauge along the way and with no coordinated railway timetable for such a service. But this 1889 bridge was not stable enough for bigger and heavier trains and a new bridge was constructed across the Hawkesbury River between 1939 and 1946.

The North Coast line.

A new coastal line from Newcastle/Maitland to Taree and Gloucester opened in 1913 before reaching Wauchope in 1915. This lien was extended to Coffs Harbour and South Grafton in 1915. Earlier a railway line had headed south from Murwillumbah to Lismore. It was constructed in 1894 but extended to Lismore and Casino in 1903 and northwards to Tweed Heads at the same time. The section from Casino to Grafton opened in 1905 but it did not cross the Clarence River. This was not bridged until 1932. A branch line was built to Kyogle from Casino in 1910 and this was linked to a new line to Brisbane in 1930 which necessitated a rail spiral and a long tunnel across the border between the two rail systems to get the rail tracks up into the Great Dividing Range. A through train service was not possible until the Clarence River was bridged by rail in 1932. The introduction of the Brisbane Limited train via Casino and Kyogle reduced the train travel time from Sydney to Brisbane via Wallangarra by six hours. The service ended at South Brisbane until 1986 when it was rerouted to Brisbane Roma Street railway station. The Brisbane Limited train between Sydney and Brisbane ceased in 1990 when it was replaced with an XPT service. The line from Casino to Murwillumbah closed in 2004.

Extensions to the main truck lines.

By 1900 most major towns and cities of New South Wales had a railway service. The 1880s and the 1890s were decades of considerable railway expansion.

•The urge to get a railway to the Darling River at Bourke branched out from Bathurst firstly to Orange and then on to Dubbo in 1881. The north western line reached Bourke in 1885. From Nyngan a line was built to Cobar.

• The discovery of silver, lead and zinc in the Barrier Ranges near the South Australian border spurred the growth of Broken Hill but it was not linked to Sydney by train until 1927. Earlier a railway had been built from Broken Hill to Menindee in 1919. Then the links were made between Parkes and Condobolin and Roto to Menindee in 1927. The air conditioned Silver City Comet train began the service between Sydney and Broken Hill in 1937.

•New lines in the Riverina were designed to stop the leakage of trade across the River Murray to the Victorian railways. A line from Wagga wagga reached Narrandera in 1881 and Hay on the banks of the Murrumbidgee River in 1882.

•A branch line from Cootamundra to Gundagai was completed in 1886 and later extended to Tumut in 1903. Another line which stretched from Cootamundra to Temora opened in 1893. The Temora line was extended to Lake Cargelligo in 1917. Also from Temora the line went west to Griffith in 1916 and on to Hillston in 1923. It was then joined with the Broken Hill line at Roto in 1926 to provide alternative routes to the west.

•A new southern coast line opened to Wollongong and North Kiama in 1887. The section from Kiama to Bomaderry on the outskirts of Nowra opened in 1893.

•Over a few years a north western railway branched from the New England railway at Werris Creek. The first section to Gunnedah opened in 1879 and the second section to Narrabri opened in 1884. The line reached Moree in 1897. The line extended to the Queensland border at Mungindi in 1914.

Patrimoine de Lyon

marker on paper

These photographs were taken by Roger Hall and it by his kind consent they appear here - the copyright in these images remains with Mr Hall.

In the early 1980s London Transport started to look at what might form the next generation of buses for the city's fleet and, mindful of the earlier decades rather chaotic purchase of large numbers of vehicles with little or no evaluation, in 1983 they bought three Volvo Ailsa B55 buses with Alexander bodywork, the latter I'm sure being a first for the London fleet. The three vehicles were put to work at Stockwell in 1984 - well V1 and V2 were as it was 1985 before the unique 'rear door' V3 appeared in service. In 1987 the trio went to Potters Bar garage, V3 rebuilt to 'standard' layout and there, to help provide economies for the more 'out of London' routes in this part of Hertfordshire, they were joined by an unusual London purchase of secondhand vehicles.

What were to become V4 to V16 came from South Yorkshire PTE and were Van Hool McArdle bodied B55 chassis. As the original "V15" was cannibalised for spares the intended V16 took that bonnet number. These were followed by fifty ex-West Midlands PTE examples that had been delivered to ex-Midland Red garages in 1976 as part of the massive shake-up of the ex-MR fleet in PTE hands and I recall these buses appearing at Oldbury garage to make quite an impression as against the more 'leisurely' BMMO vehicles there! These too had Alexander AV bodies, more akin to A1 -3. This batch was split between Potters Bar and the "Harrow Bus" outfit at Harrow Weald garage.

By 1989 with changes to tendering and LT's sphere of operations, the secondhand Ailsas were withdrawn with quite a number ending up in Leeds with Black Prince. V1 to V3 soldiered until they too went - V1 and V2 to Merseyside and V3, after a serious accident, went to Yorkshire and Black Prince for intended reconstruction. Eventually V3 resurfaced in preservation and, like many other of Mr R Wight's amazing fleet, was extensively reconstructed to rear door/two staicase condition.

This view is of V11, NAK 416R, 416 in South Yorkshire PTE fleet when new. It entered service at Potters Bar in April 1987 and was withdrawn in October 1989 going for scrap. It is standing close to a "standard" LT concrete bus stop and a rather delapidated LT style timber bus shelter.

mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.

“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...

Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.

Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)

Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)

That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.

Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.

This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.

This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)

This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)

Collectors Weekly: How did you find them?

Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.

I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.

A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.

a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.

Collectors Weekly: What did you learn about playground history?

Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.

“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”

In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.

Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.

After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.

The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)

The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)

Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.

Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.

I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.

A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)

A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)

Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.

Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.

Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?

Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.

A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)

A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)

Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?

Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)

The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)

Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.

Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.

This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)

This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)

Collectors Weekly: After a while, were you able to date pieces just by looking at them?

Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.

This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)

This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)

Collectors Weekly: How did Modernism influence playground design?

Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.

When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.

Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?

Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.

This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.

This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.

At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”

There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)

A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)

In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.

Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.

A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)

A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)

Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.

Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.

playground_postcard_milwaukee

Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.

(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...

©2006 Kris Kros

All rights reserved

Taken before the rain dropped near Hansen Dam 3 days ago. It was 48C with wind so it was very chilly by California standard.

KORAKUEN GARDENS, OKAYAMA

Kōraku-en (後楽園 Kōrakuen) is a Japanese garden located in Okayama, Okayama Prefecture. It is one of the Three Great Gardens of Japan, along with Kenroku-en and Kairaku-en. Korakuen was built in 1700 by Ikeda Tsunamasa, lord of Okayama. The garden reached its modern form in 1863

HISTORY

In 1687, the daimyō Ikeda Tsunamasa ordered Tsuda Nagatada to begin construction of the garden. It was completed in 1700 and has retained its original appearance to the present day, except for a few changes by various daimyōs. The garden was originally called Kōen ("later garden") because it was built after Okayama Castle. However, since the garden was built in the spirit of "sen-yu-koraku" ("grieve earlier than others, enjoy later than others"), the name was changed to Kōrakuen in 1871.

The Korakuen is one of the few daimyō gardens in the provinces where historical change can be observed, thanks to the many Edo period paintings and Ikeda family records and documents left behind. The garden was used as a place for entertaining important guests and also as a spa of sorts for daimyōs, although regular folk could visit on certain days.

In 1884, ownership was transferred to Okayama Prefecture and the garden was opened to the public. The garden suffered severe damage during the floods of 1934 and by bombing damage in 1945 during World War II. It has been restored based on Edo-period paintings and diagrams. In 1952, the Kōrakuen was designated as a "Special Scenic Location" under the Cultural Properties Protection Law and is managed as a historical cultural asset to be passed to future generations.

FEATURES OF THE GARDEN

The garden is located on the north bank of the Asahi River on an island between the river and a developed part of the city. The garden was designed in the Kaiyu ("scenic promenade") style which presents the visitor with a new view at every turn of the path which connects the lawns, ponds, hills, tea houses, and streams.

The garden covers a total area of approximately 133,000 square meters, with the grassed area covering approximately 18,500 square meters. The length of the stream which runs through the garden is 640 meters. It features a central pond called Sawa-no-ike (Marsh Pond), which contains three islands purported to replicate the scenery around Lake Biwa near Kyoto.

www.fluidr.com/photos/8404101/interesting

Kanchipuram. Tamilnadu. India.

The Kamakshi Temple is a famous Hindu temple dedicated to Kamakshi, one of the forms of the goddess Parvati. It is located in the historic city of Kanchipuram, near Chennai, India and is popularly associated with Sankaracharya, one of the greatest Hindu gurus. The Meenakshi Temple in Madurai, the Akilandeswari temple in Thiruvanaikaval near Tiruchirappalli and this Kamakshi are the important centers of worship of Parvati as the mother goddess, in the state of Tamil Nadu. The temple was most probably built by the Pallava kings, whose capital was Kanchipuram, around 6 C.E.

The main deity, Kamakshi, is seated in a majestic Padmasana, an yogic posture signifying peace and prosperity, instead of the traditional standing pose. The goddess holds a sugarcane bow and bunch of flowers in the lower two of her arms and has a pasha (lasso), an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower bunch. There are no other Parvati temples in the city of Kanchipuram, apart from this temple, which is unusual in a traditional city that has hundreds of traditional temples. There are various legends that account for this fact. One of them according to Kamakshivilasa is that the Goddess had to absorb all the other shakthi forms to give a boon to Kama, the Hindu god of love. Another legend attributes it to the Raja Rajeswari pose of the deity that signifies an absolute control over the land under the deity's control.Legend has it that Kamakshi offered worship to a Shivalingam made out of sand, under a mango tree and gained Shiva's hand in marriage.

Taken @ Fashion Hall, SM Megamall, Mandaluyong City.

(Rubrica Engineering Form Traveller) Southern pylon stay cables (Seven installed so far on the southern pylon) The southern pylon will have a total of 62 Stay Cables when completed.................Please. note ALL pictures on this Photostream are Copyright Protected . .

1920s box camera manufactured by W. Butcher & Sons, London. Meniscus lens, 3 sliding stops. Takes 120 film.

SMC Takumar 50mm 1.4

instagram.com/forrrest777/

Wake turbulence forms behind aircrafts as they passes through the clouds when descending for landing. London Heathrow Airport UK

More images like this in my Wake turbulence set

All rights reserved Copyright © 2011

Find my images... website | getty | alamy

seed heads on a sunny day, yorkshire sculpture park

embodied form: 241 9.8.16 nll

Sixth Form Spring Ball, March 2017.

After the pink form of this orchid species has almost bloomed out, the white forms have started blooming. Looks nice sprinkled in among the pitcher plants.

Newborn stars peek out from beneath their natal blanket of dust in this dynamic image of the Rho Ophiuchi dark cloud from NASA's Spitzer Space Telescope. Called "Rho Oph" by astronomers, it's one of the closest star-forming regions to our own solar system. Located near the constellations Scorpius and Ophiuchus, the nebula is about 407 light years away from Earth.

Rho Oph is a complex made up of a large main cloud of molecular hydrogen, a key molecule allowing new stars to form from cold cosmic gas, with two long streamers trailing off in different directions. Recent studies using the latest X-ray and infrared observations reveal more than 300 young stellar objects within the large central cloud. Their median age is only 300,000 years, very young compared to some of the universe's oldest stars, which are more than 12 billion years old.

This false-color image of Rho Oph's main cloud, Lynds 1688, was created with data from Spitzer's infrared array camera, which has the highest spatial resolution of Spitzer's three imaging instruments, and its multiband imaging photometer, best for detecting cooler materials. Blue represents 3.6-micron light; green shows light of 8 microns; and red is 24-micron light. The multiple wavelengths reveal different aspects of the dust surrounding and between the embedded stars, yielding information about the stars and their birthplace.

The colors in this image reflect the relative temperatures and evolutionary states of the various stars. The youngest stars are surrounded by dusty disks of gas from which they, and their potential planetary systems, are forming. These young disk systems show up as red in this image. Some of these young stellar objects are surrounded by their own compact nebulae. More evolved stars, which have shed their natal material, are blue.

The extended white nebula in the center right of the image is a region of the cloud which is glowing in infrared light due to the heating of dust by bright young stars near the right edge of the cloud. Fainter multi-hued diffuse emission fills the image. The color of the nebulosity depends on the temperature, composition and size of the dust grains. Most of the stars forming now are concentrated in a filament of cold, dense gas that shows up as a dark cloud in the lower center and left side of the image against the bright background of the warm dust. Although infrared radiation at 24 microns pierces through dust easily, this dark filament is incredibly opaque, appearing dark even at the longest wavelengths in the image.

Image Credit: NASA/JPL-Caltech/Harvard-Smithsonian Center for Astrophysics

[Reciprocal link back Newborn Stars]

Update 20080223: A monograph, ASM-0001 is avalable on the astronomy download page and a 35x23 inch poster can be purchased at the SciTechLab Store.

I just love this guy - this was in Dr Duncans in Liverpool tonight 16/3/09.

I remembered when I I was developing (I think processing is the wrong word tonight, makes it seem so disconnected) this image what I got into photography for - it's not personal gain (apart from the joy of shooting), there's no real agenda, it's not to please anyone else, it's for me and hopefully anyone out there who likes to check in now and again (and of course my long suffering wife).

I'm going to take a break from flickr for a while (not long) so I can contemplate my 'form' just as this fine gentleman with his walkman blaring it's tinnitus enhancing rasp is doing.

Anon

Oh yeah - best viewed largest

www.instagram.com/incognito_jay

www.fb.me/incognitomedia

Instagram

Photo: @incognito_jay

Owner: @imnotjohnnytran

inCognito Media®

Shot made by Ricoh 500 RF & Kodak Elitechrome 100 film (x-pro)

Website | Twitter | Facebook | 500px | Getty Images

© Luca Lubatti photography - all rights reserved.

A lit up single seat racing car forms the centre-piece of the seasonal decoration at the Brands Hatch race circuit in Kent. It's been erected by the grandstand overlooking Clark Curve.

I was passing on the A20 when I caught sight of it and, from a distance, I initially thought it was a tree: I'm happy I let my curiosity get the better of me to take a closer look. The car is Ferrari red but I don't think it is one.

Pure thought

Composed energy

Perceptions grapple

[ part of the sopis series ]