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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...
Where else can you show your style than the Delmar Loop... impromptu style snaps. Taken with Nikon D90 and Nikkor 105 f2.0.
The car in the left lane was one of those that camp out at about 1 mph below the speed limit and won't move over. I was in the center lane and slowly overtaking him and somebody else was in the far right lane but had been sitting about a half car length behind me for miles - which annoys the crap out of me because we're not in the freakin' Blue Angels. I realized an AZ State Trooper had rolled up behind the lane hog but the guy still wouldn't move over. I decided to force my flying partner to back off so I could move over and let the trooper pass and then life was all good again.
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.
The Soho Loop turns right off the Birmingham Mainline Canal. I take it regularly on my way to and from the city centre to home in Handsworth. The towpaths are good cycle tracks, improved by the Canal & River Trust. Oscar often runs beside me, safely off the road.
This is a 1x3min exposure of a widefield shot of Orion widefield trying for (Banards loop) taken at 70mm with Canon 60DA and Sky watcher Star Adventurer Mount on a camera tripod taken 24/11/14.
Not far from Sesto in Northern Italy.
Hasselblad 503cx / Hasselblad 50mm CF FLE f/4 T* Lens 50 mm Distagon f4 / Kodak Provia 400VC
upper kinnaur terrain with the koh loops, where it takes 30 hair-pin bends to climb 1800m to the top of this typical himlayan cold desert mountain.
see more TRANS-HIMALAYAN LANDSCAPEs here.
Now I have been to another Loop! It was a beautiful shop, and they forced me to take two skeins of Colinette Prism in Slate home with me. At the UK price, more than half off the price in the US, how could I resist?
This crossing point, between Berwyn and Glyndyfrdwy, was only used on summer Saturdays.
From a large album of high quality monochrome images from the 1950's and 1960's. Captioned as in the original album. see the others in my Flickr album, 'A Steam Album'.