View allAll Photos Tagged generators
I’m astonished that this light-painted shot of a big generator set came out, I was convinced it would be three stops underexposed and out of focus… trying to shoot in the dark using a medium format film camera isn't so simple, it turns out.
Mamiya 645/ 35mm lens/ Agfa RSXii 100
So many colorful varieties to choose from! This comp seems to have lent itself well to the Generator.
Event: Foxfield Classic Show
Location: Foxfield Railway, Blythe Bridge, Stoke-on-Trent
Camera: Minolta SR-T 101
Lens(s): MD Rokkor-X 50mm f/2
Film: Agfa Vista 200
Shot ISO: 160
Light Meter: Camera
Lighting: Mostly Sunny
Mounting: Hand-held
Firing: Shutter button
Developer: Digibase C-41
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)
The other columbine was originally pink and white. Both have been transformed by DDG [Google's Deep Dream Generator].
Friends have noted that this looks like fun. It is a powerful mix of fun, frustration, excitement and satisfaction. I recommend it to anyone who wants to spend hours and hours fooling around with it. Beware - I think it is addictive.
The shaft on this generator would not move. Eventually a variety of techniques got it free. Here you can see the effort needed. Later the generator will be connected to a steam engine and provide electricity to power antique radios among other things ... finally making the connection between steam and wireless at the NEWSM ( www.NEWSM.org )
This power plant is Alberta's largest natural gas-fired generator, and follows Southern Alberta's plan to decentralize energy production, as opposed to Northern Alberta's policy to build enormous centralized coal-fired plants. It can generate 860 megawatts of electricity, half of Calgary's power need...
Central Railroad of New Jersey GP7 1521 at Jersey City, New Jersey on an unknown day in August 1964, Kodachrome by unknown photographer, Chuck Zeiler collection. Number 1521 was built in November 1952 ( c/n 17099 ) and later became Conrail 5677. Set up long hood as Front, it had a squared off end which housed an EMD supplied auxiliary generator used for commuter coach lighting. I have yet to determine what was actually in the squared end. Note also the non-standard class lights and numberboard over the louvers below the cab.
Generator wire holder that allows for easy removal. The customer came up with this idea and made it. I think I'll use this idea again. It's quite clever and effective.
These are just some of the 74 generators in the Saint Marys Falls Hydropower Plant at the Soo. The plant is now operated by Cloverland Electric Cooperative.
Photographed using a Sony A7R using a Nikkor 18mm f/4 lens.
If you take the Taylor Highway to Chicken Alaska - you will see a lot of old equipment laying about that was used back in the gold rush days. This old generator atop a sledge, is just one of the many tools used to help with the extraction of gold.
Just 6 days ago the Taylor (or "Top of the World Highway") was plowed open by Alaska DOT. In about 6 short weeks, tourists will be making their way over the primitive two lane road to visit the historic sites located there. While there you can pan for gold, roam about looking at old mining tools, see a huge gold dredge, stay over night in a cabin, (or overnight in an RV park if that is your mode of travel), and of course, you can also eat some delicious fried chicken in Chicken. The scenery is so beautiful as you climb ever higher into true mining country. There are a lot of mines up and running to this very day - and a lot of delightfully quirky people to chat with. Oh -and I must not forget that gasoline is available, as well as souvenirs. Be sure to get off the beaten path and see "old Chicken", as well as the newly developed portion of town known as the "new Chicken".
See you in Chicken this summer. :-)
Some how I had lost the original so, I had to steal this from one of my sites. Sorry for the low quality.
The quiet places.
These are one of the things I enjoy most about my photography - the thrill of discovering and seeing with my own eyes the remote, little known and sometimes utterly deserted sites built on by man. I have no doubt of those thus far encountered, the vast majority I would never have visited (nor even known about) were it not for my desire to commit scenes like this one to permanent media. It's odd though, you'd be forgiven for thinking within this wide scope I might include historic buildings - abandoned churches, castles and the like, and in some cases you'd be right - except commonly these are still frequented by people and as such their interest wains for me. So how do I categorise these quiet places? Well, there are no hard and fast rules, but generally I find the less appeal a location has to the masses the more it holds for me. Old industrial sites, fortified remnants of the world wars, lighthouses, forgotten mines, ruined bridges and so forth all intrigue me. Does it have a single lane road, near-impassable dirt track or nothing at all leading to it? Chances are I will want to go there! Not listed on a map, cordoned off, hidden from sight by near-impregnable undergrowth? Tell me, where is it?!
So why do I like them so much? Well, leaving besides the obvious photographic possibilities, it's something about their auras. In my previous post I touched on how noise seems strangely amplified at night once people are sleeping - paradoxically enhanced when there's nobody to hear it. Of course, the cacophany we all make as we go about our daily lives is enough to drown out or deaden anything, and as you'll know visiting the kitchen in the middle of the night for a drink of water, or perhaps driving home after a night out with friends has a very different vibe than when all are awake and switched on... People create their own buzz, generating conflicting moods and atmospheres - they impress them not only upon themselves and others but also physical locations. Remove the people and the impressions fade. Remove them long enough and they vanish forever.
This building isn't completely bereft of activity, as you can perhaps tell from it's well maintained blockwork and fresh paint. It houses emergency generators for a working lighthouse, together with the frequency generators for a fog horn contained in the smaller building to the right. Despite this, just yards away is a row of five cottages that have remained empty for a decade, currently on the market for just under £1,000,000 the lot - or alternatively the same money will buy you the old, defunct lighthouse complex nearby now operating as a holiday let. Given the setting's extremely remote placement, as soon as I arrived I began to feel that familiar aura - an unmistakeable sense of solitude and calm. I've thought long and hard for a word that best describes my reaction to the mood(?), atmosphere(?), or ambience(?) that hits me when I'm at one of these quiet places. The closest I've come up with is reverence. It's a sense of profound pleasure at having been fortunate enough to visit, and a conscious, palpable regret that I may never have the opportunity to return.
When I occasionally meet other people at sites like this, I groan inwardly - knowing that social nicety (combined with the fact I have a camera on a tripod ergo instigating a talking point) will dictate us to interact, however briefly. It's not that I'm unsociable (my wife may disagree!), but I'm content in my own company. How odd then that conversely, chance encounters at quiet places are often with the most agreeable people one could hope to meet - as was the case here when Nick and Helen, as they introduced themselves, appeared beside me. We chatted a while about this and that before they headed on their way. My belief is a part of most of us enjoys these quiet places, yet at the same time we need affirmation that people are still within easy reach.
Hi Nick. Hi Helen.
On a side note for those of you with a paid subscription to Landscape Photography Magazine, my latest article can be found in the current issue #19. landscapephotographymagazine.com/
I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.
From New York Magazine
Written by: Justin Davidson
nymag.com/intelligencer/2019/10/review-of-the-redeveloped...
“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.
I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.
Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.
There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.
The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)
The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.
It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”
And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.
When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.
The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.
One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”
Source: New York Magazine
Created with Deep Dream Generator
Based on their vocal ability, cultural influence, and longevity from the 1960s to 2026, here are 10 of the most significant African American female singers. This list includes icons who established their careers in the 60s and 70s, as well as artists who have continued to shape music through the 2020s.
1) Aretha Franklin ("Queen of Soul," 1960s–2010s)
2) Whitney Houston ("The Voice," 1980s–2010s)
3) Beyoncé (1990s–2026)
4) Mariah Carey ("Songbird Supreme," 1990s–2026)
5) Tina Turner ("Queen of Rock 'n' Roll," 1960s–2020s)
6) Diana Ross (1960s–2020s)
7) Anita Baker ("The Songstress," 1980s–2020s)
8) Chaka Khan ("Queen of Funk," 1970s–2020s)
9) Gladys Knight ("Empress of Soul," 1960s–2020s)
10) Mary J. Blige ("Queen of Hip-Hop Soul," 1990s–2026)
Note: This list includes artists who released major work between the 1960s and 2026, featuring a mix of legendary, trailblazing, and contemporary vocalists.
Pic by Adrian
Note : I ran the list of the top 20 but could only feature the top 10 in the image so for those curious here are the other 10.
11) Janet Jackson (1980s–2020s)
12) Etta James (1960s–2000s)
13) Patti LaBelle ("Godmother of Soul," 1960s–2020s)
14) Sade Adu (1980s–2020s) <----My Personal Fave of all Time
15) Lauryn Hill (1990s–2020s)
16) Nina Simone ("High Priestess of Soul," 1960s–2000s)
17) Roberta Flack (1970s–2010s)
18) Donna Summer ("Queen of Disco," 1970s–2010s)
19) Alicia Keys (2000s–2026)
20) Toni Braxton (1990s–2020s)
People have asked how I built the shield generator. Here's the full technique. The outer uses 2x8 plates, with a 2x3 separating one end, and a 1x2-1x2 bracket attaching the curves (I tried using 1x2-1x4s, but the inner ring wouldn't fit on one side with them). Every fifth 2x8 plate has clips inserted to attach flex hose. The inner ring uses 1x4 plateswith a dot and bracked on one end, and a clip on the other. the clips are only half pressed in to their neighbours, so the spacing is 2½ plates at the inside end, and 3 plates at the outer end. Four inner segments are needed for every 5 outer segments. I did find the spacing of the inner segments slightly wider, so when building the full disc, it was necessary to sneak a few extra plates into the outer ring to compensate.
Hope this gives people enough to get started.
Sorry about the multi-coloured 2x8 plates - I used up all the grey ones!
See full shield generator here: www.flickr.com/photos/lostcarpark/34626045361/in/datepost...
Generator 47 407 in Moreton Cutting near Didcot with 1O05, the 07:48 Birmingham New Street - Portsmouth
Photo Taken : 24.04.1989.
High Speed Train Power Car 43 050 sits in the platform at Sheffield Midland on a working to London St.Pancras while rebuilt railfreight red stripe class 37/5 no. 37 680 sits on one of the through lines. 37 680 started life as D6924 a standard class 37/0 and recieved TOPS number 37 224 in May 1974. It was rebuilt with an alternator in place of the main generator and fitted with re-geared CP7 bogies and twin fuel tanks in 1987 to become one of the class 37/5 fleet.
I first wrote a php script sphere generator back in 2005, scaling the idea that Bruce Lowell created to any size. At the time, it required you to have an LDraw viewer to see the results. Jump to 2021, and we now have a live, in-browser preview, layer step through, and mobile support. And you can still download the LDraw file if you want! Check it out at lego.bldesign.org/sphere/