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I moved the jeep out of the garage and now you can see through the sun porch windows. The garden doors are the ones with all the little rectangles and now you can see onto the street. Jacques parks at the garage door and works from there, it is much easier than going around the house. He's going to put the walls in the Sun Room and paint it white :) The breezeway window is on the left.
This red damselfly seemed to have no concern whatever about being photographed. He stared right back at me as I looked at him!
St Nicholas chapel, Gipping, Suffolk
Remote and rural out in the middle of mid-Suffolk, Gipping takes its name from the little stream that rises here to become the River Gipping which, flowing through Ipswich, becomes the tidal River Orwell. When it joins the Stour and flows out to sea between Harwich and Felixstowe, it will be a mile wide.
St Nicholas is styled a chapel. This is because it is not a parish church, and never has been. The history of England’s medieval parish churches is complex enough, but suffice to say that they were built as Catholic parish churches before the Reformation, and translated directly into the new Church of England in the middle years of the 16th century. The imagery, style and iconography of St Nicholas will clearly demonstrate it to be pre-Reformation, but it was actually the private chapel of a Big House, Gipping Hall, home of the Tyrrells.
Gipping Hall once stood immediately to the east of the St Nicholas chapel, but it was demolished in the 1850s, and all that remains today is the wide pond, and a couple of outbuildings. You approach the tiny village along the narrow road to Old Newton, and then turn off along a farm track for about 100 metres. Not far from here, a spring rises, and the parish shares its name with the river that it makes. Two lovely farmhouses stand to the left of the track, but already your eyes and breath will be caught by the stunning building to their right.
It is like a finely-crafted jewel. Forget the glum little tower at the west end – this was an unfortunate addition of the 17th century, presumably by a Tyrrell of the time. The rest is a superb example of late Perpendicular architecture; the flint-becrusted walls soar to heaven, and great expanses of glass shimmer in the late afternoon light. Once, the windows were full of stained glass images of Saints, but they were all destroyed, probably by 17th century puritans. Not the iconoclast William Dowsing, who never came here; but he was vicious in his treatment of the Tyrrell chapel at Stowmarket, and the fact that he never came here suggests that he knew it had already been dealt with. At the time, it was still a private chapel (although he investigated these elsewhere) and the Tyrrells were still tainted by their recusancy, so it is a mystery.
Because the windows are so vast, there is a kind of greenhouse effect; from the outside, you can see right through the building, and within can be lighter than outside. I wandered around. The flintwork is superb; the buttresses are punctuated with the iconography of the Tyrrell family, some of which has still not been certainly decoded. Most notable is the Tyrrell knot, a three-bowed interlacing that looks like the kind of thing I used to make with my spirograph set when I was little. There is the interlocking heart of the Arundell family, into which the Tyrrells married, and the letters AMLA, almost certainly Ave Maria, Laetare, Alleluia! ('Hail Mary, rejoice, alleluia!') from the May anthem. Also on the north side is the extraordinary chaplain's quarters, like a 15th century house red brick grafted on. Above the door is written Pray for Sir Jamys Tirrell. Dame Anne his wyf.
The church is open, and it is so every day, although be aware that the south door is rather stiff. You step directly into the nave - there is no porch. If the exterior of the building speaks of late medieval glory, you will be delighted to find an interior that still retains much of its prayerbook atmosphere, from the time before the Oxford Movement resacramentalised the Church of England. The glory of the inside is the awesome east window, where surviving glass from other windows is collected. There is much to see, including fragments of Saints and their emblems; but the best are the grieving figures of St John and Mary the Mother of God, reset in their original position. The rood that once separated them has gone, but the glass between is sensitively arranged to suggest a cross. Set in the cross are shields depicting the Instruments of the Passion, held by the ghostly hands of long-since broken angels. Above are three bishops, one with a king's head. Other fragments below suggest what a remarkable chapel this must have been before the Anglican Reformation.
The furnishings are a simple, late 18th century affair, painted in a seemly manner in recent years. On either side of the east window are theatrical decorations, draped pillars that rise to the 15th century ceiling. They would seem curious in most medieval buildings, but in the 18th century they were common enough. The Victorians hated them, of course, and so few survive. The font is easily dismissed, but its shape, on the eve of the Reformation, already speaks of the rumblings on the continent that would flower as the Renaissance; a flowering to which the Tyrrels would have an access unusual in this county.
It was in 1743 that St Nicholas became a public chapel, and an outstation within Old Newton parish. There are no memorials; in fact, the Tyrrells are mostly remembered at Stowmarket, three miles away, where the Parish church contains some of Suffolk's best, including some intriguing 17th century survivals. But perhaps the most remarkable thing of all about Gipping is the sense of constant care, that there has always been a community here to look after it. It has always been a tiny one; even at the time of the 1851 census of religious observance, when churchgoing in England was at its height, the congregation here only numbered 20. The officiating minister was the headmaster of Needham Market Grammar School.
Gipping chapel will always be significant to me for another reason. Just as I finished visiting all the medieval churches of Suffolk in 2003, decent digital cameras became cheap enough for me to afford one - or, at least, not to put too big a dent in my overdraft - and so I went out and bought a Fuji S5000. This was, of course, too late for Suffolk. Instead, I went off to explore Norfolk, but by the summer of 2007, when I had got about 700 churches around Norfolk, I decided that it was time to start exploring Suffolk again. By now, I had an S9000, and there was simply no comparison with the dismal, blurred old photographs of the first Suffolk site entries. I took about eighty of the entries down, but I really meant to redo the lot, eventually.
Back in 2003, Tom Muckley had nagged me constantly about going to Gipping. Tom, an enthusiast of East Anglian churches living in Hampshire, was far better than me at seeing both the strengths and weaknesses of the Suffolk site. It was he, when my energy and enthusiasm were flagging in the spring of 2001, who had first contacted me with convincing threats of his own mortality, something along the lines of if you don't get on with this, I'm not going to be alive to see you finish it! As it turned out, Gipping was one of the very last Suffolk churches which I visited. And when Suffolk was complete, Tom, of course, was not satisfied. He bullied and cajoled me into finally agreeing on a great adventure - visiting every Anglican and Catholic church in Norfolk.
What with medieval ones, and Victorian ones, and modern ones, and ruins, and places where churches had once been, and even a sprinkling of non-conformist ones, we came up with a total of about a thousand Norfolk churches, with which Tom seemed satisfied. But coming back to Suffolk, I had the privilege of being able to decide exactly where I'd like to go back first. There's no great hurry this time. Inevitably, it was churches with medieval glass that enthused me, and I went around Suffolk with the satisfying task of putting right what I knew I had not done well before. But Tom noticed one great omission. When on earth was I going to get off my backside and revisit Gipping? The threats of mortality were brought to bear, and in reality Tom knew what he was talking about. Around the turn of the Millennium, he had been given six months to live, which, as he pointed out to me, concentrates the mind wonderfully. Here we were, almost ten years on, and Tom had the satisfaction of knowing that his threats were real, but that he was successfully reaping the harvest he was sowing.
I came back to Gipping in March 2009. I had plans to meet up with Tom in Norfolk a couple of weeks later, but on this bright early spring day I cycled out of Stowmarket up the Old Newton road, and then off into the countryside. I hadn't told him I was planning to pass this way. I found the beautiful church open, and took photographs of those wonderful windows in digital, at last, at last.
I hurried home. I don't usually unpack the photographs I have taken straight away, but I really wanted Tom to see these Gipping windows, and so I downloaded them off the camera and sent them that evening over to Hampshire. Well, he went into raptures. Tom's expertise in all areas of the medieval never failed to impress me, but he was always the most passionate about glass. He knew well how enthusiasm, when it is bolstered with love and knowledge, can be one of the most satisfying of emotions.
The following afternoon, he sent me a brief e-mail postponing the Norfolk visit, because he was being rushed into hospital to have abdominal pains investigated. And there it was that he died, two days later, on Tuesday the 24th of March 2009. The last words of his final e-mail to me, expressing disappointment that he wouldn't be making it, were Damn! Damn! Damn! I was glad that he had seen those photos. Coming back now in February 2017 with my new Nikon D5300 DSLR, of course, I was glad all over again.
Finding this place in the middle of the pandemic summer made me cry with delight-- an emotion I hadn't felt in many months of isolation. Proving once again that art is life.
looking for what is behind.
it is often a question I ask myself when capturing a photograph. "If I turn around what opportunity is behind me?"
Looks like Steve Backshall's "show and tell" days could be over!
Deadly 60 figure from Character Options.
For the Toy Sunday group theme "Show and Tell"
As you can see my girl doesn't look quite as skinny and her huskyness is really coming out now that it's cold. ;D
Sun setting to the right the clouds started to turn pink and I thought looked great over the moor, slightly hazy but a beautiful evening on the moor. Thanks
Stencils and spray paint on 12" vinyl.
Size - 30cmx30cm (12"x12")
Edition - 3 (yellow/red)
Signed, dated and numbered on reverse.
email mail@t3art.co.uk if you would like to see more photos of this peice.
Available at www.t3art.co.uk/page2.htm
Mississippi State University researcher Jibonananda Sanyal (aka "Jibo") in the VERTEX working on a hurricane modeling application at the High Performance Computing Collaboratory (HPC2). The VERTEX is a reconfigurable CAVE(tm) virtual reality environment, and the glasses that he is wearing allow him to see the projected objects in 3-D.
Strobist: Canon S5 IS with a shutter of 1/6, f/2.7. 36mm (35mm equivalent). The onboard flash set at 1/4 power and deflected through a semi-transparent plastic cereal bowl. The subject was lit from behind using a Metz Mecablitz 28 CS-2 optical slave flash manually set for 1.0m and using the OEM wide-angle diffuser mounted on a tripod approximately chest high. This flash was pointed at the subject.
The purpose of all of the lighting contortions is to light the subject without overpowering the projected surfaces behind him. He was standing approximately 6 feet (2 meters) in front of the screens.
the gaps
sometimes you get to see glimpses
of the future or the past
wishes for what was
dreams of what will be
and once in a while
you see with absolute clarity
the way things really are
and then you smile
For some reason I think I look Japanese...Anyone got a better title btw? Or crop?
Comments are very much appreciated! =D
More blue/green! Looking Glass Rock supposedly ices over in the winter and is very reflective, never been up here in the winter.... but it looks good in the summer too!
Look Out Point, Hulu Langat, Malaysia.
this is where i took this photo...
took during outing with hilmy2007, wan husmi sseme and jeroe. i couldnt get any better photo of kuala lumpur because of heavy haze...so i decided to take the photo of this tower....^^
just some tweak with RAW...no further post processing.
All Rights Reserved. Please don't use my images on websites, blogs or other media without my explicit permission.
I've printed up a few of these tees. They are printed on American Apparel white shirts XL size. I only have a few and you can but them here, but if anyones done a T and would like to do a swap then let me know.
A first look at my new Belle Animator Doll.
Product information from the US Disney Store website:
Disney Animators' Collection Belle Doll - 16''
$24.95
Item No. 6070040580905P
Bonjour!
Belle from Disney's classic Beauty and the Beast is reimagined as a wide-eyed, avid reader in her younger years. This updated edition is gowned in a glittering costume anticipating the princess to-be.
Magic in the details...
Celebrating the heritage of classic Disney animation, our young renditions of your favorite Disney Princesses were originally created under the guidance of the Walt Disney Animation Studio's most renowned talents, bringing the characters to life in the most creative and authentic way possible. These newly updated editions are costumed in a beautiful new dress by Disney Store artists.
•Belle is costumed in a satin gown with puff sleeves and rosette detailing at the waist
•Glittering filigree print detail on skirt
•Delicate lace trim on collar, socks, cuffs, and dress hem
•Molded shoes
•Inspired by Disney's animated classic Beauty and the Beast
•Comes in collector's display box featuring character sketches by the animators
•Part of the Disney Animators' Collection, each doll sold separately
The bare necessities
•Ages 3+
•Plastic/polyester
•16'' H
•Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
My daughter makes one of her better looking butterfly swims during practice. She has a tendency to come up out of the water too high on her breath stroke. Her coach has been trying to get her to keep her chin just above the water on the breath stroke. Her chin still a bit too high above the water, but is better.
©2012, Ken Szok All rights reserved