View allAll Photos Tagged loop
The 3rd and 4th Inversion of the ride, just before the second lift hill
To see more American Adventure Photo's, click this link www.flickr.com/photos/coastermadmatt/sets/72157623890734458/
Photo Stats
1,000 Views on 14th January 2014
37409 and 37259 take a breather in Abington Down Loop with an extremely late running (due to loco failure, hence the class 37 substitution) 4S53 Daventry-Coatbridge, to allow 350406 to pass on a Manchester Airport-Glasgow Central service to pass. 7th November 2014.
Froot Loops Kids Cereal, Disney Parks free Character Spoon Inside! 1/2015 by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Froot Loops Bloopers, Kellogg's Kids Cereal, 1/2015, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Loop
Canon EOS 50e with EF 3.5-4.5/28-105 USM II
Ilford HP5, expired 9/92, exposed and developed in 11/25
exposed like ISO 50
developed in Caffenol-C-H (with iodized salt)
I inherited some rolls of expired HP5, which I want to develop in Caffenol myself. The first roll was for testing and for that I chose a comfortable Canon EOS 50e, because it can do auto exposure bracketing. I took 3 pictures of every subject with 50/100/200 ISO, it turned out, that the truth is somewhere between 50 and 100 ISO.
Yes, another view of the perhaps most photographed item in Duisburg, Tiger & Turtle. It's a rollercoaster with neither rollers nor coasters, you'll have to move on yourself by using those stairs. That loop is closed BTW, because you're certainly not fast enough to run through it without accident.
Where else can you show your style than the Delmar Loop... impromptu style snaps. Taken with Nikon D90 and Nikkor 105 f2.0.
Four BNSF engines headed by 5250 with a long freight negociate the Tehachapi loop with the help of two BNSF-units (1017 + 4602) at the rear end of the train.
Walong, Tehachapi (CA).
M14323
Nach Bildern stricken, man lernt nie aus.
Diese Bilderserie von einem Loop ist mir "im Internetz" über den Weg gelaufen und ich habe seither versucht, die Anleitung zu finden.
Leider ohne Erfolg.
Also hin und her versucht und eine eigene Version entwickelt. :D
Das Bild stammt übrigens anscheinend von hier: www.etsy.com/de/listing/59726830/hand-stricken-weste-cros...
This 50-acre natural wetlands adjoins the Ohio River in New Albany, Indiana, and is directly across the river from Louisville, Kentucky.
Froot Loops Bloopers, Kellogg's Kids Cereal, 1/2015, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Video here: www.youtube.com/watch?v=L5PbZnMNoyQ
The Wicks Looper is a small hand held device that allows you the create real-time noisy loops and sound effects.
78 E. Washington (Chicago Cultural Center)
"There’s a funny little spoon on view at the Cultural Center. It’s one of those souvenir items you could purchase at the Chicago World’s Fair in 1893, and it features a very fine two-sided carving of a woman at the end of its handle. The bowl of the spoon is engraved with the image of the Woman’s Building, the only one of the exposition’s many temporary neo-classical structures to have been designed by a female architect and the one that owed its existence in great part to the lady depicted on the spoon: Bertha Mathilda Honoré Palmer, a Chicago socialite, millionaire, and president of the fair’s Board of Lady Managers.
This footnote of feminist architectural history — which we definitely could complicate with a postcolonial read of an event held in celebration of the so-called discovery of the new world by Christopher Columbus, but which I’m not going to do here because it’ll get us too far off topic — is one of many told through two unrelated solo shows currently up in Chicago, must-sees for anyone who cares about feminism and how it intersects with modernist architecture, urban planning, and design. It helps, too, to have a preference for mischievous over pedantic historical revisionism. At the Cultural Center is Nelly Agassi: No Limestone, No Marble, containing that weird woman-spoon, enormous new sculptures and wall works, plus three series of witty and illuminating collages.
The Israeli-born Agassi, who settled in Chicago in 2011, has an exquisite sense of scale and drama. It’s an apt skillset when dealing with design, craft, and bodies, as she has done for the past two decades, from the room-sized dresses she performed in in the early 2000s in Tel Aviv to her 2019 show at the Graham Foundation, where she installed curtains that flowed, like golden tresses, across an entire gallery. It comes especially in handy in the Chicago Rooms, a trio of galleries on the second floor of the Cultural Center linked by narrow archways that rise nearly to the top of the 32-foot ceilings, with floor-to-ceiling windows overlooking Millennium Park. The grandeur has proved challenging to artists in the past, but not Agassi, who appears to have been electrified rather than cowed. She occupies the first room with a dozen and a half enormous white tubes of flexible ductwork, cascading out of the wall and spilling over the floor while emitting eerie rumbling sounds from within. The effect is of a frothy waterfall, a futuristic musical instrument, a monster’s sickly pale intestinal tract, or some beastly combination thereof. I felt a bit cheated to realize that the piping didn’t actually penetrate the building, exposing rather than merely evoking its inner workings and noises, but I guess that’s in keeping with being theatrical as opposed to interventionist.
The three galleries of No Limestone, No Marble — a reference to the hefty materials used to construct the Cultural Center and so many of Chicago’s most important buildings — fit together like segments of a body. At the bottom are those white guts. In the middle is the torso, an installation of enormous rounded and rectangular mirrored plexiglass that playfully rearranges the shapes of the windows that line the walls, reflecting the world outside and the art inside. At the top is the head, or rather dozens of heads large and small: cut-outs of ladies’ hairstyles from vintage fashion magazines, collaged with pictures of Tiffany lamps and other home furnishings of the era, which turn out to make excellent proxies for women’s bodies and fashions. The queen of them all, blown up to billboard size, takes as her dress an image of the Cultural Center’s famed Tiffany dome, the largest in the US and perfectly elegant when worn with a twisty up-do. Much to ponder about the strictures faced by women at the turn of the 19th century as related to the aesthetics of the time? Oh yes, not least the recent discovery, related in an adjacent wall text, that Louis Comfort Tiffany did not design everything personally but actually depended on many talented women known as the “Tiffany girls,” designers and craftspeople forced to resign once married, and forbidden to unionize. Agassi offers her lamp-lady collages in their memory." -- Lori Waxman, 1/16/2023 @ hyperallergic.com.