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⛳ GABRIEL @ ACCESS – "Briar" Golf Collaboration ⛳
Collab with: DOUX · GABRIEL · FIOR · Crowded Homes
Fusing urban streetwear with golf-inspired flair, the "Briar" collection brings technical details and bold design to the field.
The DRIFT.LINE.09 jacket features functional embroidery patches and a sharp, sporty silhouette.
Jacket: 5 colors / Fatpack Bonus: 3 exclusive options
Shorts: 6 colors / Fatpack Bonus: 3 exclusive options
🎯 Featuring embroidered patches: "DRIFT.LINE.09" and "POSITION LOCKED"
Compatible with:
Belleza Jake / Legacy (M / A)
Photo by Ryo Tsukiyama
📍Available now at ACCESS
Mamiya RB67 Pro Sd | Mamiya 90mm | Cinestill 400-D @ Box speed
Digitized with Olympus OM-1 Digital, 60mm macro lens | Valoi Easy 120
Home developed in Cinestill C-41 | Cinestill method for development
This reflex camera has something in common with me: it's from 1954! It was built by KW Niedersedlitz in Dresden, its lens is the legendary eagle eye, the Tessar by Carl Zeiss Jena, 50mm F 2.8. Everything is fully functional.
[Meyer-Optik Görlitz Primagon, 35mm 4.5]
Hello!
The Apartments & Coming Home
Our new releases are now at Collabor88
The Apartments is an inspired release featuring a (non functional) grand lift & lobby. Please note, the decor (mail clutter, plants) are not included.
The backdrop comes with the lobby side table and wall art for the stairwell included as deco props to help you get started decorating your own ^^
Paste this directly into your viewer's address bar for a quick taxi to C88->>
/8%208/172/193/1084
Overnewton was the residence of William Taylor (1818 – 1903). He was born in Glasgow, Scotland and arrived in Australia in 1840. Soon after his arrival he purchased a sheep station (a large farm) on the Moorabool River some twenty miles from Geelong and subsequently acquired extensive properties totalling 2,048,000 acres in Victoria and New South Wales. William Taylor married Helen Wilson Fisken in 1849 and established the Overnewton property the same year in Keilor, then a district outside of Melbourne.
Overnewton originally covered 13,000 acres of land and a single storey, six roomed homestead was built in the typical style of the period; a colonial cottage with large shuttered windows and wide verandahs. The homestead was positioned on a gentle slope overlooking Keilor and afforded extensive views of the surrounding countryside.
It was not until William Taylor returned from a trip to Scotland in 1859 that the grandeur of his dreams became apparent. He set about turning the functional colonial homestead into a miniature Scottish Baronial Castle. The stately two storeyed wing was added, along with the blue stone dairy and butchery and the private billiard room.
Overnewton is built in the Victorian Tudor style, inspired by 16th century English and Scottish architecture. The Scottish Baronial style is characterised by its rough textured masonry, steeped pitched roofs and overhanging battlement corner turrets. The candle snuffer roofs show the influence of the French architecture. The bluestone walls were quarried on the estate and rendered with a yellow gravel and stucco finish. Above the large windows of the master bedroom is the Taylor family crest - a mailed arm and fist enclosing a dagger and the motto "Semper Fidelis" (always faithful) and above several other windows are the carved initals of HT, T 1859 and WT.
After the completion of this wing the homestead consisted of over thirty-five rooms including seven bedrooms (the master room included a small circular room and a dressing room) schoolroom, library, drawing room, two kitchens, five servants rooms and the billiard room. There are still many original features such as tiles in the bathrooms, claw foot bath and the old IXL wood stove in the kitchen. Several out buildings on the estate include the bluestone butchery and dairy, lamp room, bootroom, coachhouse, stables, woolshed, shearing sheds and machine shed.
Technology from when things were built to last... 1952 and still in daily use. 👍
Update August 2025: The UK are "phasing out" the traditional "copper based" landlines, replacing them all with VoIP. So I'm now pleased to report that this 1952 piece of hardware... flies on the new fangled VoIP, without any issues.
These photographs document the platform area at Starnberg station, not the main station building. The visible structure consists primarily of historic iron columns and beams that remain in active use but show clear signs of aging: corrosion, flaking paint, and uneven maintenance. What was once a coherent architectural system has become a fragmented, utilitarian framework.
The original platform roofs are completely gone. In their place, the iron skeleton stands exposed to weather and light. Rather than being restored, the structure has been stabilized through added construction: scaffolding, bracing elements, and protective netting that cut across the original geometry. This creates a layered visual language of old infrastructure and temporary reinforcement.
A newer canopy appears only in selected areas, mainly above stair access points. This roof is made of corrugated sheet metal (Wellblech) and serves a purely functional role. It offers basic protection but no architectural continuity with the historic structure. Large sections of the platforms remain open.
The site reflects the character of a “lost place” in operation. It is neither fully preserved nor abandoned. Ongoing disputes between heritage protection (Denkmalschutz), ownership responsibilities, and questions of funding for repair and upkeep have left the platforms in a state of visual and structural limbo. The result is an environment where historical fabric survives, but without clear restoration strategy.
Access is partially restricted through fenced zones and controlled pathways. This affects circulation and accessibility, including limited or indirect wheelchair access. The station continues to function, yet the platform space feels provisional — maintained just enough to operate, but not enough to recover its former architectural identity.
From a photographic perspective, the focus lies on the exposed iron framework, the absence of the original roof, and the contrast between historic construction and pragmatic modern additions. The images document a transitional state: a working railway platform that visually reads as a relic.
Completed in 1904, the Caban Coch Dam is the lowest and largest of the original four dams in the Elan Valley Scheme.
The project was a monumental response to Birmingham’s Industrial Revolution water crisis. By the late 19th century, the city's population had exploded, leading to devastating outbreaks of typhoid and cholera. The solution was an ambitious 73-mile aqueduct that utilized gravity alone to transport clean Welsh water to the English Midlands.
The construction (1893–1904) transformed the landscape, requiring a purpose-built railway and the displacement of over 100 residents. Entire manor houses and farms were submerged to create the reservoir, which holds over 35,000 megalitres of water.
The photograph captures the dam in a state of "full spate." This was a deliberate aesthetic choice by the Victorian engineers; while most dams are purely functional, Caban Coch was designed to resemble a natural waterfall when overflowing.
The white curtain of water in the shot is the result of the reservoir reaching its capacity, allowing excess water to cascade 122 feet (37m) down the curved masonry face.
The Landscape: The rugged hills in the background are part of the 70-square-mile catchment area. The impermeable mudstone of these valleys made them the perfect natural "bowl" for this massive storage project.
After being presented with a sculptural-yet-non-Functional-
cluster of Butterflies, my colleague (Sculptor/Scientist/Metal Fabricator-and "Mensch"- Peter N. Gray ) was tasked
to "make-it-work",
as a Fireplace Grill- and- "Make it pretty"....for a new Condo inside of Chicago's former Tribune Towers.
I think - he hit it on the mark!
ENGLISH:
The DIMAG company truck crane from the late 80's has a 245hp engine. The vehicle drives at 75 km/h.
25 tons can be lifted at a radius of 2.5m to a height of 26m.
I made the 1/87 model from a Kibri kit. The crane is fully functional.
There are steel weights on the chassis to prevent the model from tipping over.
ESPAÑOL:
El camión grúa de la empresa DIMAG de finales de los 80 tiene un motor de 245cv. El vehículo circula a 75 km/h.
Se pueden levantar 25 toneladas en un radio de 2,5 ma una altura de 26 m.
Hice el modelo 1:87 a partir de un kit de Kibri. La grúa es completamente funcional.
Hay pesos de acero en el chasis para evitar que el modelo se vuelque.
DEUTSCH:
Der DIMAG Firmen Autokran aus den späten 80er hat einen 245PS Motor. Das Fahrzeug fährt 75km/h.
Es können 25 Tonnen bei einer Ausladung von 2.5m bis auf eine Höhe von 26m gehoben werden.
Das 1:87 Modell habe ich aus einem Kibri Bausatz hergestellt. Der Kran ist voll funktionsfähig.
Im Fahrgestell sind Stahlgewichte, damit das Modell nicht kippt.
NYC: NYGASP / Utopia Limited
New York Gilbert & Sullivan Players
Stephen Quint, Laurelyn Watson Chase, David Wannen, Erika Person, Stephen O'Brien
Nikon D700 | Nikon 70-200@175 | ƒ5.6 | 1/125s | ISO400 | Handheld
SB-600 #1 off-camera left at TTL -0.3, SB-600 #2 off-camera right at TTL -1.0
Post-Processing: +0.33 EV (+/- as needed), +0.05 contrast, crop (as desired), +0.05 definition
Thank you for viewing, faving or commenting on my images, have a great day!
CC Most Versatile: Spring Cleaning
Functional art: an oversized park table and bench. Not meant for the old and fragile for sure.
Harbourfront district, Toronto
While wondering the Fields of “Art Omi” in Ghent NY in search of a restroom, I came across this elaborate flushing system, WOW
Trinity House vessel Patricia (IMO: 8003632), built by Robb Caledon in Leith in 1982, docked in Lowestoft inner harbour.
Trinity House’s Multi Functional Tender (MFT) Patricia operates around the coast of England, Wales and the Channel Islands undertaking aid to navigation maintenance work, towing, wreck location and marking amongst other projects.
One of Modiin's iconic buildings (Yigal Yadin street). Modiin, established in 1993, is one of Israel's youngest cities and a bold urban project at the same time.
Excuse me while I fangirl out. It has been love at first sight for me with this new creator, Apollo Peridot. Most of his collections are in pink, which everyone knows I love. The pieces are sparkly, elegant and just downright gorgeous. These sets drip with luxury. Check out his other collections — they’re amazing! 💎💎💎💎Peridot by Apollo - Lilly Laundry Collection
Transform your laundry room into a dreamy, functional haven with the Lilly Laundry Collection! 💕 Featuring modular snapping cabinets, customizable finishes, and a touch of girly sophistication, this set blends style and practicality like never before.
Key Features:
💎 Modular Snapping Cabinets – Easily customize layouts to fit your space. Change paint colors, countertops, and hardware finishes with the included HUDs for endless personalization.
💎 Interactive Elements – Working clock, and animations for the washer and dryer, including both PG and Adult options.
💎Variety of Materials – Includes multiple finishes with exclusive PBR materials for a stunning, realistic look.
💎Additional Details – Lighting options, decor items, and so much more to complete the perfect laundry setup.
⚠ This product requires a PBR viewer. There are no legacy textures included on these products.
TP to Equal 10
maps.secondlife.com/secondlife/equal10/231/127/89 💎 💎💎💎💎💎💎💎💎 💎💎Main Store maps.secondlife.com/secondlife/Apple%20Fall/118/191/55
💎Marketplace marketplace.secondlife.com/en-US/stores/261212
#Peridot #peridotbyApolllo 💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎💎 💎💎💎💎💎Extras —Belleza Jake Body and Lelutka Quinn Head.
Modulus - Dale Hair. My Blackberry Design - Sexy Maid Apron.
Not Found- Jack Skin
A pair of Amtrak Amfleet I cars are seen at Alexandria, VA. The first of these cares were delivered in 1975, making the oldest 51 years old. when this photo was taken. Railfans mocked them because of their tubular shape, their narrow windows, and "they all look alike". The public accepted them. They increased reliability and in many ways saved Amtrak.
Yet here we are some five decades later and they're still with us. And they're not relegated to some back country local runs. They are still in heavy line-haul service on the nation's busiest corridor. And they still do their jobs well. The average traveler might not know how old they really are--after all their interiors have been updated over the years.
They've been pulled by GG-1s, E60CHs, P30CHs, P32-8BWHs, P40 DCs, P42DCs, and --gack-SC-44s.
Meanwhile, Amtrak has had loads of trouble with new purchases, especially the Siemens Ventrure cars, but others too. So, given that they are doing what they were intended to do 50 years ago, the question is, what did Budd understand five decades ago that today's car builders don't. Care to comment?
Red Peak sunrise alpenglow reflected in Red devil Lake. California, Sierra Nevada Mountains, Yosemite, Red Devil Lake. Off the John Muir Trail near Mile 000.
(All images copyrighted. Copying my photos is not ok w/out permission. LINKING to this page via Flickr "share" functionality is ok. See my Profile for queries regarding any other usage.)
Howto:
1) Wait for a cloudlness, moonless night. Or do it after moonset or before moonrise. The moon is really really bright and it washes out the stars.
2) Set camera to continuous shooting mode. This is the mode where if you hold down the shutter release, it will just take picture after picture after picture... Set the shutter speed as long as it will go without BULB -- This is probably 30 seconds. You can experiment with different ISO and F/numbers, but generally you're going to want low F/number and high ISO. These were F/3.5 and ISO 1600.
3) put it on a tripod.
4) Focus. I've found that racking the focus all the way toward infinity doesn't quite work -- it focuses PAST infinity. So I have to focus it all the way out and then bring it back just a smidge.
5) use something to hold the shutter release button down. I used a wire wrapped around the camera with a piece of paper wadded up over the shutter release button. That keeps the button down so the camera takes picture after picture after picture...
(I'd recommend using RAW mode if you know how to process raw images. That way, you don't have to worry about white balance, and you can stretch the images appropriately without causing too much degradation.)
6) Wait a few hours. Now you've got 200 photos where the stars are slightly offset and the foreground stays relatively stationary.
(If you've used RAW images, then you now load em into your RAW processing program, set the white balance so the sky is not red, adjust for noise, etc, etc... You can process them all simultaneously with Adobe Camera RAW, and other programs probably have that same functionality...)
7) Get www.startrails.de/html/software.html and load up those images. Now it'll do two things. First it will combine all the images to smooth out the unchanging parts, getting rid of noise. Use a large number of frames to smooth it out more. Then it will essentially do a brighten command with each frame, painting the stars over the smoothed background.
Voila!
I forget exactly how many images are combined here but I think it's a bit over 200.
Other things:
Stars move fastest around the celestial equator and slowest near the celestial poles. The North Star is at the North celestial pole. If you took 200 pictures of it, it'd hardly move at all. If the camera is pointed west or east, the stars will trail faster.
Stars circle around the celestial poles, so towards the celestial equator, the trails will be fairly straight, but near the North star, they will make more pronounced circles. This image is wide angle and looking east, so the North Star is towards the top left. The effect is quite noticable.
Higher focal lengths (more zoomed in) will make stars trail faster, but I think wide angle shots usually work better. This one is at 18mm on a 1.6x crop camera.
Those weird straight lines are airplanes. There are two in this image. You may also catch sattelites and shooting stars.