View allAll Photos Tagged loadingdock
Yes, this was an actual "loading dock" transformed into a gathering place for an afternoon tea
following an organ/string recital at the Estey Organ Museum in Brattleboro, VT.
Kudos to hostess, Kim Benzel for her amazing culinary and organizational skills! She was assisted by another phenomenal person who is too humble to be recognized for his astonishing last minute woodworking details which included railings and a set of stairs up to the platform!
Well, the last time I remember
That train stopping at the depot
Was when me and my Aunt Veta
Came riding back from Waco
I remember I was wearing
My long pants and we was sharing
Conversation with a man
Who sold ball-point pens and paper
And the train stopped once in Clifton
Where my Aunt bought me some ice cream
And my Mom was there to meet us
When the train pulled into Kopperl
But now kids at night break window lights
And the sound of trains only remains
In the memory of the ones like me
Who have turned their backs on the splintered cracks
In the walls that stand on the railroad land
Where we used to play and then run away
From the depot man
I remember me and brother
Used to run down to the depot
Just to listen to the whistle
When the train pulled into Kopperl
And the engine big and shiny
Black as coal that fed the fire
And the engineer would smile and say,
Howdy, how ya fellows?
And the people by the windows
Playing cards and reading papers
Looked as far away to us
As next summer's school vacation
Lyle Lovett Texas Trilogy- Train Ride lyrics
Strobist: Two 580 EX II's in a 28" Westcott Apollo Softbox, camera left and up just out of frame. F8 / 1/250 / ISO 200 / 58mm using 24-70mm f/2.8L USM
Bricks, Brews & Crews GRAFFITI ART Murals Project at The Loading Dock at 2 North Kresson Street in Baltimore MD on Friday afternoon, 16 August 2019 by Elvert Barnes Photography
REUSE REDUCE REVISIT (September 2018) Mural by NETHER at East Fairmount Avenue and North Janney Street
Visit NETHER website at www.nether410.com/
Learn about this mural at www.charmcitystreets.com/bricks-brews-crews-paint-jam-25-...
Bricks, Crews & Brews September 2018 event page at www.facebook.com/events/1676696389125389/
Learn about the September 2018 Monument City Brewing Company Graffiti Art Murals Project at loadingdock.org/INVENTORY_pages/partnerships/index.htm
Follow THE LOADING DOCK at www.facebook.com/theloadingdockinc
Elvert Barnes PUBLIC ART 2019 at elvertbarnes.com/PublicArt2019.html
Elvert Barnes BMORE 2019 at elvertbarnes.com/Bmore2019.html
The bldgs are the smiling faces of 2 animals pressing their heads together side-by-side, posing for a picture.
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In downtown Spartanburg, South Carolina, on December 26th, 2017, the backsides of the Montgomery Ward Building (erected circa 1925) and the Kress Building (erected 1929) as viewed from the southeast corner of South Church Street (U.S. Route 221 and South Carolina Highway 56) and East Broad Street.
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Getty Thesaurus of Geographic Names terms:
• Spartanburg (7014524)
• Spartanburg (county) (2001766)
Art & Architecture Thesaurus terms:
• backs (object portions) (300190692)
• brick (clay material) (300010463)
• commercial buildings (300005147)
Wikidata items:
• 26 December 2017 (Q37788154)
• 1920s architecture (Q7160080)
• brick building (Q41955438)
• December 26 (Q2761)
• December 2017 (Q22971091)
• Greenville-Spartanburg-Anderson, SC Combined Statistical Area (Q5604652)
• Montgomery Ward (Q3246929)
• S. H. Kress & Co. (Q7387517)
• South Carolina Highway 56 (Q6984145)
• Spartanburg Historic District (Q7573932)
• Upstate South Carolina (Q7899317)
• U.S. Route 221 (Q4816645)
"The Commons" - Fort Drum.
Wow, it was a cold rainy day, but Jessica & Bill were troopers--they even let us take them out the back to the loading dock for a few pics :-). From memory, I was just about standing in the rain to get this shot.
Strobist: Two gridded Octodome nxts fired by radio poppers at a 2:1 ratio, one on either side
when you're in Nebraska, its crucial that you find a way to get inside a grain silo/elevator complex - looking up into these chutes that have been the backbone of the local economies (and our dinner plates) for so many years is incredible.
I'm really disappointed with this roll, but I had to post something from it..
I think I've posted it before but while photographing Pete with the nailbat someone in the neighborhood called the police. It was pretty interesting but the police officer was super nice and understanding. I think Pete and I both nearly had heart attacks though. When we got back to my house we played Legos and ate mac n cheese.
Model: Pete
Bricks, Brews & Crews GRAFFITI ART Murals Project at The Loading Dock at 2 North Kresson Street in Baltimore MD on Friday afternoon, 16 August 2019 by Elvert Barnes Photography
Bricks, Crews & Brews September 2018 event page at www.facebook.com/events/1676696389125389/
Learn about the September 2018 Monument City Brewing Company Graffiti Art Murals Project at loadingdock.org/INVENTORY_pages/partnerships/index.htm
Follow THE LOADING DOCK at www.facebook.com/theloadingdockinc
Elvert Barnes PUBLIC ART 2019 at elvertbarnes.com/PublicArt2019.html
Elvert Barnes BMORE 2019 at elvertbarnes.com/Bmore2019.html
Taken at an abandoned pier on the Mississippi River in downtown Baton Rouge. This huge shed is built on the pier, and is made of huge solid steel plates. Graffiti is everywhere, and the whole structure is about to rust away...you have to watch your step because the deck of the whole thing has spots where the steel has rusted completely through.
To see the slideshow of this set, click HERE.
The weather tonight is weird. It's warmish (36F), and misty. The sun is long down, and the nearly full moon hides behind the clouds. It is bright out, in an eerie way, and man-made lights glow in strange ways.
215/365 {photo credit abby clark}
today vandolarp took my senor photos!
they turned out fantastically!
she is a really champ!
we got lots of balloons to celebrate! and this goes perfectly with my current theme!
so today is a rainbow of colors, to celebrate me finishing high school!!
Local Accession Number: 06_11_002263
Title: The wharves, Montreal, Canada
Genre: Stereographs; Photographic prints; Aerial views
Created/Published: Meadville, Pa. ; New York, N.Y. ; Portland, Oregon ; London, Eng. ; Sydney, Aus. : Keystone View Company
Copyright date: 1900
Physical description: 1 photographic print on a curved stereo card : stereograph ; 9 x 18 cm.
General notes: Image caption: The Wharves, Montreal, Canada; No. 10625; Title from printed caption on verso; Copyright 1900, by B.L. Singley.
Subjects: Piers & wharves; Loading docks; Harbors
Collection: Stereographs
Location: Boston Public Library, Print Department
Shelf locator: Foreign Views
Rights: No known copyright restrictions.
I thought this shot of Bayo with his bandana was vaguely Western in style, so I desaturated, added some sepia, and threw in some vignetting to give it a sandy, age-worn flavor. The one thing I've drawn out is the handkerchief, to keep your eye interested. Without it, the picture turns dull.
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They called it the Wild West on account of the relative sense of lawlessness coupled with a sense of vast opportunity. Seemingly limitless resources, coupled with Manifest Destiny, meant America was a land of grand dreams and unrealized potential.
But with differing goals, shared immediate resources, and unknown future resources, it became apparent that daily interactions and the small community values you could touch and feel were all you could trust. As the world opened up, people must have had the impression that nothing would ever be the same again; that the old laws and ways didn't - simply couldn't - apply. This was a Wild West won not quickly, but slowly, by people with vision, a propensity for structure, and a sense of the importance of motivating communities and the individuals that comprise them.
There are those who posit that we are destined to repeat history. And among them, there are those who posit that it's not that we have more or less to work with in any given period than in another. Rather, it's just that we allocate our resources differently.
In some periods, they say, we put our assets, our time, our energy toward discovery and innovating. In others, we recognize that we've pushed beyond our ability to effectively manage all that's occurring - that the proportion of excitement around the New has become so large that, while exciting,life becomes complex and the hope that discovery once inspired becomes both more frequently realized and less frequently enjoyed. And so we circle the wagons, slow the rate of new idea generation, take inventory, and begin to put structure around all the things we know. An Age of certainty and clear goals takes shape.
Eventually, once we have structure, we feel contentment and begin to use our resources in a third way: we start harvesting existing ideas (BCG might call this a Cash Cow period), and aggregating, and building into a new creative phase, becoming excited again about the possibilities ahead.
This pattern - a cycle of innovation and discovery, then building structure to incorporate the New, then expanded resource usage - occurs repeatedly. We even have inspiring names for periods gone by: The Renaissance, The Age of Enlightenment, The Industrial Age, The Wild West.
All this is fine and dandy, but what most intrigues me is that, for all our advancement through the Ages, it never gets easier, because the line between Quotidien and Wild is ever further; the line between Normal and Crazy ever blurrier. In the same way that, as a sphere expands, the volume required to increase its diameter increases, the more we discover, the harder it is to generate proportionally equal impact. To use an old saw, the greater the giants upon whose shoulders we build, the greater the insight required to become a giant of future generations.
So why do we even bother? Is it that we strive for something more than we see around us? Or is it that we don't see an alternative to achieving?
Personally, I'd bet on the later. You might say we owe it to our descendants and our forefathers/mothers, and you might think we kinda-sorta owe it to ourselves, but when it comes down to it, we don't really have an alternative to achieving. What else can we do but use what we have? And, by definition, using what we have requires action. Action involves change. Change requires vision. Vision involves inspiration. And, well, there you are at the basis for movement through the different periods.