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One of the most photographed farmhouses in Iceland, Þorvaldseyri in Eyjafjöll district. Rather obvious why. Eyjafjöll and Eyjafjallajökull icecap in background.
Shot like this, and it is not as nice when it has been "corrected" and made level.
Level crossing near Drolsum station on the Randsfjorden line
Planovergang nær nedlagte Drolsum holdeplass på Randsjordbanen
During the early days of my South Bay photography, Cargill’s Newark salt plant and its surrounding crystallizer beds appeared on my map as terra incognita. From the beginning, I wanted to photograph Cargill’s facility, both for its colorful nature and its role as the last truly active salt plant in the Bay Area. The plant, originating as Arden Salt Works #2 in the 1920s, has long provided the distinctive sight of stacked salt on the edge of the former wetlands. In the current day, an annual harvest of around 500,000 tons is added to the twin mounds of salt that are 500 feet long and 75 feet high. It is a striking landmark.
In 2010, after several years of discussion, I was able to secure Cargill’s permission for five sessions to photograph their property under supervision. This session involved a trip out to a recently harvested crystallizer bed, where laser-guided levelling equipment was preparing the bed for the next round of brine and salt precipitation. The crystallizer beds have a floor of unharvested salt that separated the brine from bay mud below and provides a structural surface for the balloon-tired dump trucks using in hauling the harvest to the washhouse. Some of the images in this set show the activity of bed levelling while others convey my intoxication with the colors and textures of the place.
I took these documentary photographs with the permission and supervision of Cargill. Kite flying is prohibited over Cargill-controlled lands without their permission.
Exposure: f5.6, ISO100 at 60 seconds
Location: Providence, RI
Date: March 22, 2008 9:53pm
Notes: Shot with Nikon D200 with Nikon 10.5mm.
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The condensed crew of Threshold and myself came out to the see what was left of the Providence Fruit & Produce Warehouse. There was an injunction to halt demolition but as you can see, things change and there wasn't much left. Read more about it at Art In Ruins.
You can see a group pool here of all our shots on Flickr from the night or a slick slideshow here. It may take a week or so for all the shots to be posted.
The fifth (lowest) level of the parking garage under the Grand Hyatt in San Antonio, Texas.
If you would like to read more about this photo, please visit my blog post:
These engravings on the wall here show the different heights the river crested to from major floods in the past. My best guess is the camera itself is about 10 feet above the current river level to take this photo. The sign marking the 1974 flood must be 20-22 feet above the current river level. (Thats an estimate, whish I knew for sure)
For several years this beautiful granite shaft lay outside the church, against the south aisle wall, but in July 1889 it was moved, and erected on St. Neot's Stone in the churchyard. This stone is situated opposite to the south porch, and thirty feet from it, and appears to be part of a cross-base, as there is a portion of the mortise remaining on the south side, the rest of that side being broken off.
In plan the shaft is irregular, each face varying in width. It has an entasis, and is beaded on the angles. Each face is divided into three panels by horizontal beads, which are on the same level all round. The bottom panels on the front and back are square, but as the shaft is much narrower on the sides, it causes the panels on the latter to be elongated. The middle panels are now the longest, but the top of the shaft having been broken, it is impossible to say what was the original height of those above. A large piece may be missing, or perhaps only a small portion has been knocked off, in order to make the stone suitable for some purpose. The same reason would probably account also for the loss of the tenon.
This is the best example of interlaced work on a granite cross to be found in Cornwall. The patterns are well designed and well executed, the stone itself being in an excellent state of preservation. As a proof of the superiority in workmanship of this stone compared with others, it will be noticed that all the interlaced cords lap regularly over and under each other, as is always the case in the best work of this kind.
All four sides are ornamented with deeply sculptured, interlaced work, as follows:
Right Side
The design in the upper panel is very curious. It consists of a short piece of six-cord plait-work with breaks made at regular intervals. In the middle panel is an instance of S-shaped knot-work developed out of a six-cord plait. The diagonal treatment of the middle band in this beautiful example is, as far as I have been able to ascertain, unique. On the lower panel is irregular six-cord, broken plait-work, in the upper portion of which two elliptical rings occur, filling up the corners.
Front
The surface here called the front faces north. In the upper panel is the only example in Cornwall of the pattern known as ‘plaits and rings’, which can be developed from an eight-cord plait. There is an instance of this in Devonshire, on the north-west face of the well-known Copplestone Cross, near Crediton, a monument which is mentioned in a charter of King Edgar dated ad974, now in H.M, Record Office, In the middle panel is a fine specimen of irregular plait-work developed out of an eight-cord plait. In the lower panel is a knot formed by two elliptical rings crossing diagonally, combined with two concentric circles, all interlaced; this design also occurs on the cross-shaft in the church of St Just-in-Penwith.
Left Side
All three panels are filled with a regular eight-cord plait.
Back
The upper panel contains broken plait-work; and although somewhat similar to that on the reverse side, and developed from a plait of the same number of cords, it will be seen that the rings in this case are not separated, but are joined together like the figure eight in a horizontal position. In the middle panel is another very good example of broken plait-work developed from an eight-cord plait. At the bottom is a panel with breaks made in an irregular manner, producing an elliptical ring at the left lower corner.
Old Cornish Crosses, AG Langdon (1896)
Machu Pikchu or Old Mountain is a 15th-century Inca site located 2,430 metres above sea level at the edge of the Amazonian Rainforest in the Andes Mountains. The Lost City of the Incas was built as the estate of Emperor Pachacuti (1438-1471) around 1450, but abandoned it a century later at the time of the Spanish Conquest. Although known locally, it was unknown to the outside world before being brought to international attention in 1911 by the American historian Hiram Bingham. Bingham theorized that site was both the last city of the Inca, and also the legendary lost city of Vilcabamba la Vieja, which the last of the independent Inca rulers waged a lengthy battle against Spanish conquistadors in the 16th century. He was wrong on this account, as archaeologists later discovered the actual last city was Espíritu Pampa, a jungle site about 80 miles west of the Inca capital city of Cusco. Bingham did visit Espíritu Pampa in 1911. However, he decided the site was not grand enough to be the legendary city. Most historians agree with Verano's interpretation of the Machu Picchu skeletons as a group of individuals who worked on a royal retreat under the fifteenth-century Inca Emperor Pachacuti. According to this theory, Machu Picchu was a place for Pachacuti and his royal court, or panaca, to relax, hunt, and entertain guests. The opening sequence of the 1972 film Aguirre, the Wrath of God was shot in the Machu Picchu area and on the stone stairway of Huayna Picchu.
Colby Level Crossing halt and crossing keeper's hut on 20th June 1999. Also referred to as The Level (Yn Laare), this diminutive request stop serves the hamlets or individual houses of Level (Rushen), Croit-E-Caley, Kentraugh, Ballagawie and Ballakillowey. The 1km section of line from the previous station (Colby) is straight and has a level crossing for Kentraugh Farm (seen in the distance). In February 2013 the crossing lodge and its environs were restored by volunteers from the Isle of Man Steam Railway Supporters' Association. Automatic barriers were introduced in 2002 and the manually operated gates were removed and since then the crossing keeper's hut remained unmanned, but it was retained for the purpose of a railway materials storage facility out of season. Also around that time, a section of raised platform of just one coach length was also installed at the request of a regular passenger.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Taken using a pinhole camera consisting of a spray painted tin, a wooden square and photographic paper. Original picture was in negative, converted to positive later. A Level photography surrealism project.
We are proud to reveal Naked Terror, the first of two exclusive levels from The House of the Dead: OVERKILL™ - Extended Cut.
Construction is fun when it's 90 degrees and humid. I didn't even notice at the time how they were keeping plumb. There's a leather cord going off to the right and the guy lower down is twisting a stick tighter or looser to get it to go left or right as they pound it down.
Sao Jose dos Campos (SP), 13/05/2018 - NEXT LEVEL LEAGUE REGIONAL 2018 - REGIAO SUDESTE - Jogo entre Next Skeletons (SJC) vs. Next Hunters(GRU) realizado na Associação Sabesp, em Sao Jose dos Campos, SP. Foto: Mauro Horita
High level conference on the future of the EU’s eastern and southern neighbourhoods in Madrid
Photo: Latvian Embassy in Spain
Sept. 3, 2015 at St. Mary's Conference Center in Huntington. Fashion show presented by First Impressions School of Modeling, Pageantry, and Etiquette. (Photo by Kaylin Adkins.)