View allAll Photos Tagged keepsake
CR510 Pennsylvania Truss Bridge
Marquette County
Background:
www.historicbridges.org/bridges/browser/?bridgebrowser=tr...
This is one of the largest, most beautiful, and most significant truss spans in Michigan. Not only does this truss bridge display the Pennsylvania truss configuration, it appears that it may have actually come from the state of Pennsylvania. In 1919, the Michigan State Highway Department purchased the bridge which originally crossed the Allegheny River. Relocating and reusing truss bridges was not unusual in this period of history. An example notice indicating bridges for sale from 1921 is shown to the right. At this time, CR-510 was a state trunk line route and purchasing and relocating this bridge would have been an inexpensive alternative to building a new bridge from scratch. It was erected on the CR-510 location in 1921. The Michigan State Highway Department's Biennial Report stated that the bridge was one of two toll bridges crossing the Allegheny River within 500 feet of each other and was being removed due to the redundancy. Unfortunately, the report did not state exactly where on the river this bridge came from. Since most of the Allegheny River is in Pennsylvania, it is assumed the bridge came from Pennsylvania, although the Allegheny River does dip into New York State for a short time. Depending on where on the Allegheny River it was originally located, it may have been part of a multi-span bridge.
Pennsylvania truss bridges are an uncommon truss type, and the nature of their design means that they are reserved for longer truss spans. However, even among pin-connected highway Pennsylvania truss spans, this bridge's span still stands out as fairly long. It is the longest pin-connected highway truss span in Michigan. The truss type is extremely rare in Michigan, and so the bridge has additional significance in the context of Michigan. The bridge also retains excellent historic integrity with minimal alterations despite its long service and being located in two different states over its service life. The bridge has decorative details on its portal bracing, another feature that is rare among Michigan truss bridges.
In 2010, this bridge was replaced by a new high level bridge on new alignment a short distance west of the historic bridge. Fortunately, Marquette County did not demolish the historic bridge. Instead, the bridge was left standing for its historic value and remains open to pedestrians. The county even did substantial work to create a walkway that approaches the bridge on a more even grade. No work was done on the historic bridge, however the bridge is not in severe condition. At the same time it is worth noting that the paint system is failing and rust and section loss have been developing in the typical trouble spots like the bottom chord. However, now that the bridge is away from vehicular traffic and corrosive deicing salts the rate of deterioration should greatly slow. A long term goal worth considering would be to plan for a project to repair and repaint the bridge. However, in the meantime, the bridge is safe from both demolition and deterioration from vehicular traffic.
It should be worth noting that other states like Pennsylvania have refused to leave historic bridges standing when they are replaced by a bridge on new alignment. One of the reasons cited is liability. Firstly, these concerns about liability are unfounded since no proof has ever existed that a substantial number of historic bridge related lawsuits have ever occurred. Furthermore, Marquette County has demonstrated how easy it is to reduce or eliminate liability. Signs are posted at the walkway leading to the bridge that read "MCRC Property Enter At Own Risk." While these signs do not prohibit people from visiting and enjoying the bridge, they also indicate that MCRC is not responsible for any injury occurring at the bridge site.
A dear friend Antoinette's handmade card. Beginning to clear out my studio to prepare to move back to the Midwest and am being reminded of sweet spirits I have met along the way.
For Jules Photo Challenge Group, May 2018, the letter K..5/18/18
Keepsakes...a photo of the Cape May lighthouse and shells from the beach there and a Cape May diamond.
This is a special place for me...it connects me to my past and who I am at the core.
Keepsakes
Keeping the Memories alive and the soul fed
An unfinished wood box, stained in walnut with a Hitty graphic decoupaged to the lid. The inside has fabric covered padded cardboard insets.
For 118 pictures in 2018, #22, "I made this". This is a keepsake box I made for my wife about 30 years ago, made from black walnut (main wood), rosewood (dark center strips), lacewood (lighter center strip), and maple (corner braces and thin stripes on lid). I'm not sure I would have the patience required to make this today, lol.
💄FATPACK INCLUDES:
◈ HD Lips HUD of 32 Different Lipstick Shades
◈ 16 FULL Lipstick Set For EVOX
◈ 16 FADED Lipstick Set For EVOX
💖Each Lipstick Set can be purchased seperately
❗NOTE: Results may vary depending on Head/Lip Shape.
❗PLEASE TRY DEMO FIRST
➡️ Links to Marketplace and Surl in my About Tab
Flickr Lounge ~ Treasures from the Past
A jug that was more often than not used for flowers by my mother. I kept it because I really like the colours.
Thank you to everyone who pauses long enough to look at my photo. All comments and Faves are very much appreciated
W. H. Scribner’s Art Gallery, Newton, Iowa,
Albumen silver print from a collodion glass negative, mounted on card
The sitter wears her hair parted at the center and drawn back smoothly over the temples into a low, softly arranged chignon, with deliberate looseness and flyaway texture characteristic of post–Civil War fashion.
Decorative accessories—most notably a narrow ribbon threaded with small beads and a light-colored bow placed high toward the crown—signal the mid-to-late 1860s shift away from earlier, tightly controlled hairstyles toward a more natural, romantic aesthetic.
Long pendant earrings and a large bow fastened at the throat with a brooch further anchor the image in this period: such vertical drop earrings and prominent neck bows are especially associated with the years immediately following the war, c. 1865–1870.
The overall effect is restrained but consciously stylish, consistent with mid-1860s ideals of respectable femininity.
The photograph is presented as a standard carte de visite, mounted on a pale card with double-rule borders printed in muted tones. This style of mount—simple, elegant, and unembellished—became common in provincial American studios during the later 1860s, after earlier, heavier mounts but before the more ornate and branded designs of the 1870s. The absence of elaborate printed fronts places the emphasis squarely on the portrait itself, a convention typical of the period.
Material Traces of a Social Exchange
As an object, this photograph also bears witness to its own use. Cartes de visite were made to be handled, exchanged, and kept close, and this print was almost certainly held by the sitter herself after it was produced—examined, judged, and possibly given to another person as a token of regard.
Although no identifiable biological traces survive, the photograph retains material evidence of touch and circulation in the form of softened edges, surface wear, and subtle disturbances in the image layer. In this sense, the object preserves not the body of its subject, but a record of its participation in lived social relationships, bridging the moment of its making and the present through continued physical presence rather than symbolic association.
Silver on Glass and Silver on Paper: Two Independent Systems Joined Only by Light
Mid-19th-century photography relied on silver chemistry at two distinct stages of image-making, using the same element for two different purposes. Understanding the separation between these stages—**image capture on glass** and **image reproduction on paper**—is essential both to the technology itself and to the material traces visible in surviving photographs today.
Image capture: the wet collodion glass negative:
In the wet collodion process, a sheet of glass was coated with collodion containing iodide and/or bromide salts and then sensitized by immersion in silver nitrate. This produced light-sensitive silver halides suspended within a thin collodion film on the glass surface. While the plate remained wet, it was placed in the camera and exposed.
Light reflected from the sitter passed through the lens and struck these silver compounds, creating a **latent image**—an invisible chemical alteration corresponding to the distribution of light and shadow. During development, the exposed silver halides were reduced to **metallic silver**, forming a negative image. After fixing and washing, the plate became chemically stable and insensitive to further light. At this point, the negative was complete: a durable object bearing a silver image embedded in a transparent film on glass. The glass itself served only as a support; the image resided entirely in the collodion layer.
Image reproduction: the albumen paper print:
The finished glass negative was then used to create positive prints on paper. Albumen paper was prepared by coating thin sheets of paper with egg white mixed with salts, then sensitizing the dried coating by floating it on silver nitrate. This produced a second, entirely separate population of light-sensitive silver salts, now embedded in the albumen layer on the paper’s surface.
To make a print, the glass negative was placed directly against the sensitized paper and exposed to sunlight. Light passing through the negative—strong where the glass was clear, weak where it was dense—struck the paper and caused the silver salts in the albumen layer to darken, forming metallic silver in direct proportion to exposure. This process produced a **positive image** without a separate chemical development stage; albumen prints are “printed-out” images, visible as they form under light. After printing, the paper was fixed, washed, dried, and mounted to a card.
Two uses of silver, no interaction between them:
Although silver chemistry appears in both stages, the silver on the glass and the silver on the paper **never interacted physically or chemically**. They participated in independent reactions, at different times, in different materials. No silver moved from the negative to the print; no chemical process crossed from one surface to the other. The glass negative functioned purely as an optical modulator—a stencil for light.
The relationship can be summarized simply:
**Silver → light → silver**
The silver image on glass shaped the light; the silver salts on paper responded to it.
Because the negative remained chemically stable after fixing, it could be reused repeatedly. Each print made from it was a new, independent chemical event, allowing studios to produce dozens or hundreds of identical cartes de visite over months or years, even in different locations. This reproducibility—combined with the small, affordable format—made the carte de visite the dominant photographic form of the 1860s.
Why this distinction matters today
The dual use of silver explains many features visible in surviving photographs. Glass negatives and paper prints age differently because they contain silver in different physical and chemical environments. Albumen prints yellow as the organic egg-white layer oxidizes; glass negatives do not. Silver migration, speckling, and fiber-following marks occur only where silver is present in the paper’s albumen layer. The paper support decays organically, while the image material behaves as a metal.
In material terms, one is looking not at a single photographic substance, but at two generations of silver, chemically related yet historically and physically separate—linked only by light.
This negative-positive system also marks a fundamental shift from earlier photographic technologies such as the daguerreotype. Where the daguerreotype plate was directly exposed to light reflected from the sitter, later paper photographs are mediated objects: translations of an earlier optical event rather than its direct physical trace. The silver on glass recorded the scene; the silver on paper reproduced it.
Because the negative and paper were the same size, no enlargement was involved; each print was an exact replica of the original exposure.
After printing, the paper was typically toned—often with gold chloride—to improve stability and image color, then fixed, washed, dried, and finally mounted on a card support.
This negative-positive system allowed studios to produce multiple identical prints from a single sitting with relative efficiency and at modest cost. Its reproducibility, combined with the small, easily exchanged format, made the carte de visite the dominant photographic form of the 1860s.
The resulting silver image reflects the dominant photographic technology of the era: sharp yet softly tonal, with the gentle falloff and warm aging characteristic of albumen prints. Such studios catered to local clients seeking durable, exchangeable likenesses rather than unique objects.
Photographs of this type were commonly made at moments of transition—engagement, impending marriage, or the establishment of an adult identity—and were often exchanged between families or kept together in albums. The sitter’s composed expression and carefully chosen adornments suggest an image intended not merely as a personal keepsake, but as a representation meant to circulate within a social and familial network.
Doll: Delilah - Barbie Holiday Blue Dress 2016
Fashiono credits:
T-shirt: Barbie ♥ Angry Birds
Trousers: Barbie Shakira Rockin concert
Shoes: Barbie Twillight Bella
Earrings: gift by my friend Katka
Diorama - attic:
The building is originally a canadian souvenir shop, which my mom made 5 years ago.
Picture: gift by my friend Ivana
Mirror with angels: miniature decoration
Chair: dining room from doll Sindy Pedigree
Spider web: from halloween party decoration
Box: decoration
Egypt statues: from my mini egyptian collection, which I have in egypt souvenir shop for dolls, because I love Egypt and this anticient history :-)
About this photos:
Delilah went to attic to find memories of her grandfather who was an archeologist in Egypt.:-)
tagged :D by belladayys and palmer 26999 (top two people tagged) check out their streams, they show mine right up
i have already done the twenty questions, so... facts
1. its pancake thursday tomorrow. this makes me smile, because it means that my friends will walk round to mine at lunch and we will all get fat on pancakes xD
2. i have two favourite pieces of jewellery. the first is a vintage locket i bought at a fair, and the other is a little wooden hippo from malawi, which is the brown out of focus blob in the bottom left corner
3. flickr > facebook. i can talk to my friends in real life, thanks :)
4. the map on the floor is of the isles of scilly, which is one of the most wonderful places in the world
5. i'm too skinny. but i eat whateverr, i just have a freak metabolism :L
6. hmmm... what else... OH i think i want to be a writer. vague, right?
7. i ♥ smoothies
8. ever felt totally torn between two choices? and you can't bring yourself to go for either, because whichever one you go for someone is going to get hurt. i hope you haven't. i'm there right now. nghhhhhhh.
9. i know some wonderful people :)
10. 'my candle burns at both ends,
it will not last the night.
but ah my foes,
and oh my friends,
it gives a lovely light.'
- a borrowed motto
My son Craig made this when he was eight years old, I used it for a challenge on 52Frames this week for Door. The detail is amazing He went on to buy a lot of houses throughout his 48 years for rental. He also built a house in Kalgoorlie Australia.
This is my great grandmother Laura’s chair. She was wheelchair bound and despised it. So her family members would put her in this rocking chair and slide her across the floor.
Weekly alphabet challenge: patterns
Doll: Delilah - Barbie Holiday Blue Dress 2016
Fashiono credits:
T-shirt: Barbie ♥ Angry Birds
Trousers: Barbie Shakira Rockin concert
Shoes: Barbie Twillight Bella
Earrings: gift by my friend Katka
Diorama - attic:
The building is originally a canadian souvenir shop, which my mom made 5 years ago.
Picture: gift by my friend Ivana
Mirror with angels: miniature decoration
Chair: dining room from doll Sindy Pedigree
Spider web: from halloween party decoration
Box: decoration
Egypt statues: from my mini egyptian collection, which I have in egypt souvenir shop for dolls, because I love Egypt and this anticient history :-)
About this photos:
Delilah went to attic to find memories of her grandfather who was an archeologist in Egypt.:-)
Enamel, crosshatch pattern, cotton cloth.
Compositionally Challenged - Textures
Creative Tabletop Photography
The Flickr Lounge - Get Closer
Canon RF 100mm f/2.8 macro, taken at f/22
I am trying to be ruthless in tossing out unnecessary things in this upcoming move. But this, my first digital camera, first Panasonic, my companion for my time in China, will stay with me, though it hasn't worked in a long time. I remember being so thrilled at the 12 power zoom ! Now I'm using 60 X. I have 2 newer Panasonics, love them and depend on them, but this one was a brilliant companion, work horse and travel buddy for those ten years. I like to think it remembers what we saw.
These cuff links were my dad's. The engraving made an impression..... And obviously so did he. My plan is to offer them by Facebook drawing to my family members. I think it is time that I start sharing the many wonderful memories I have of my parents. It will be fascinating to see who would like to have them.
ODC: impression
Quilt made from my wedding centerpieces.
Read more about the making of this quilt here:
www.fabricpaperglue.com/2010/10/wedding-keepsake-quilt-pa...
www.fabricpaperglue.com/2010/10/wedding-keepsake-quilt-pa...
5.365
if you loved me
why'd you leave me?
wouldn't it be nice if you could hold all the beautiful things, everything you love, in a bottle, and never let it go, and never let it escape you.
| facebook | photo blog |