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As all the pictures in my gallery, this is a FREE picture. You can download it and do whatever you want with it: share it, adapt it and/or combine it with other material and distribute the resulting works.
I’d very much appreciate if you give photo credits to “Carlos ZGZ” when you use this picture. This would help me find it and add it to my photoset “Used elsewhere”.
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Como todas las imágenes de mi galería, esta es una imagen LIBRE. Puedes descargarla y hacer lo que quieras con ella: compartirla tal cual, modificarla y/o combinarla con otro material y distribuir el resultado.
Por favor, si utilizas esta imagen, dale el crédito a “Carlos ZGZ”. De esta manera podré encontrarla fácilmente y añadirla a mi álbum “Used elsewhere”.
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This picture has been used here:
writeronfire.wordpress.com/2016/09/06/dashiell-hammett-a-...
Material Circulante: Medway 1903 + 14 Regmms
Hora: 13:53
Data: 28-12-2019
Local: Algeruz Gare (PK 40 - Linha do Sul)
Serviço: Comboio Especial n.º 96206/7 (Minas de Neves Corvo --» Praias-Sado)
Here are some more images from this morning's observations of the activity. Nesting material being brought in, feasting on breakfast, and repositioning on a branch.
La 319.240 es la encargada en hacer el traslado de material de obra entre Cáceres y Madrid. La composición se componía de locomotoras 308 y 313 de Ferrovial+contenedores de carga de arena para las pruebas de carga en puentes+Bateadora y perfiladora en cola. A la mañana siguiente partiría de Madrid para Medina con tracción de la 319.405 y ya sin la bateadora y perfiladora. Estación de Illescas. 24/08/2021.
Think of your camera's sensor (or film) as a projection screen. Direct a beam of light onto odd shaped transparent material such as plastic or glass so that the refracted pattern of light goes into your (lensless) camera.
Note - never aim a laser directly at the sensor!
Material Circulante: CP 1438 + 4 Schindler + 1 Sorefame
Hora: 16:00
Data: 10-09-2022
Local: Valeira (PK 148 - Linha do Douro)
Serviço: IR 21860 (Pocinho --» Porto - São Bento)
de atrás para adelante: gorro, gafas, tapabocas, líquido autopolimerizante, separador de yeso, modelo ideal, 2 juegos de dientes y mi nuevo bebé, el dremel.
De par ses principaux matériaux de construction, la cathédrale de Troyes est doté d'une blancheur pure. Pour autant, la pollution n'est vraiment pas un bon ami, la craie, la fameuse pierre, se noircit très très vite. C'est pour cela que depuis le développement de l'automobile, le développement des échafaudages a été de concert. La municipalité a transformé les routes et parking aux abords pour limiter au maximum les échappements de gaz. Dernièrement, ils ont supprimé le parking du parvis, et on fait la maxi place que vous avez vu précédemment.
Sinon au premier plan, ce sont des ailes du musée St-Loup de Troyes qui se dessinent. Ce grand ensemble fut l'Abbaye Royale de Saint Loup avant cela. Et fut nationalisée comme tout bâtiment religieux durant la révolution, mais elle fut en grande partie détruite. Il me reste que quelques ailes à cette vieille institution religieux qu'il y avait alors.
Sources : Wikipédia sur la cathédrale (Multi) && Site de l'ancien historien de la ville à propos de la cathédrale (FR) && Wikipédia sur le musée(Multi) && Wikipédia sur l'abbaye (Multi) && Musée par l'office du tourisme troyens (FR) && Site de l'ancien historien de la ville à propos de l'abbaye (FR) && Wikipédia sur Saint-Loup (Multi) && Wikipédia sur Troyes (Multi)
Material Circulante - USD 0367 [CP Regional]
Serviço - Regional nº 5623 [Entroncamento > Castelo Branco]
Local - Abrantes [PK 2,9 - Linha da Beira Baixa]
Data - 2 de Janeiro de 2010 [12h32]
Material Circulante - Locomotiva Diesel 1422 [CP Carga] + 4 Carruagens Sorefame Não Renovadas+ Locomotiva Diesel 1962 [CP Carga]
Serviço - Especial PTG nº 13811 [Porto-São Bento > Leixões]
Local - Estação de São Mamede de Infesta [PK 10,0 - Linha de Leixões]
Data - 31 de Janeiro de 2010 [09h51]
Material Circulante: CP 5617 + Talgo 4B12
Hora: 14:45
Data: 01-09-2021
Local: Castelo Mendo (PK 238 - Linha da Beira Alta)
Serviço: Marcha n.º 27532 (Vilar Formoso --» Lisboa - Santa Apolónia) [Connecting Europe Express]
The Science Museum in London commissioned Heatherwick Studio to design a Materials House, an exhibit to show “everything that anything can be made of” for the Challenge of Materials gallery.
Instead of prioritising any one material to make the House from, and then exhibiting small samples of all the other materials within it, the studio chose to make the House itself from all of the materials.
Six-metre high pieces of each material are bonded together into a single element of many strata, weighing some four tonnes. The edge of every layer is visible around the object, and each material shows its surface at one point as a protruding piece. The geometric pattern becomes increasingly complex as the layers accumulate.
The finished piece is an assembly of 213 materials, each material needing its own cutting and bonding technique, all together in over 2,000 individually shaped pieces sourced from more than 80 suppliers and sponsors. The Materials House was completed in 1999 and has remained a centrepiece of the gallery.
This image is looking at the upper half of the piece and is about 3m tall. The width is just under 2m, with the depth of the layers over 1m. The centre is hollow, with light coming in from the Museum's windows.
material girl magazine summer 2011
fashion hair and make up by christiane schwambach
models are charlotte@m4 and anne
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1700 Graffiti an einer Hauswand in Hamburg St. Pauli. ©www.bildarchiv-hamburg.de
Hamburgbilder aus den Stadtteilen und Bezirken - Fotografien aus dem Stadtteil ST. PAULI - Bezirk HAMBURG MITTE. Die früheste Besiedlung im Bereich des heutigen Stadtteils St. Pauli bestand aus einem Zisterzienserinnen-Kloster, das um 1247 in der Nähe des heutigen Fischmarkts; es bestand dort bis 1293. Zu Beginn des 17. Jahrhunderts wurden zahlreiche Hügel des Vorortes im Zuge der Errichtung der Neubefestigung der Stadt planiert, um Material für die Errichtung der Festungswälle zu gewinnen und zugleich freies Schussfeld („Glacis“) vor den Mauern am damaligen Millerntor zu haben. Wegen des freien Schussfeldes waren Ansiedlungen zunächst verboten, doch seit dem 17. Jahrhundert wurden Betriebe, die wegen Geruchsentwicklung, Wasserverschmutzung oder Lärm in der Stadt unerwünscht waren, in den Vorort verbannt. Etwa zur gleichen Zeit begann auch die Tradition des Amüsierbetriebs in diesem Gebiet. 1894 wurde St. Pauli zum Hamburger Stadtteil; jetzt leben in dem Stadtteil lauf 2,3 km² ca. 27500 Einwohner.
A paper boy hands up a newspaper to an engineer during a station stop. From a photo charter on the Everett Railroad by Chris Lantz Photography.
Material Circulante: Medway 1905 + Material de Via da Mota-Engil Railway + 8 Rs (Somafel)
Hora: 16:12
Data: 11-05-2023
Local: Alcaria (PK 154 - Linha da Beira Baixa)
Serviço: Comboio de Carril n.º 74341 (Entroncamento --» Guarda)
Material Circulante: Medway 1911 + 7 Zagkks (Ermewa) + 1 Zagkks (Tramesa)
Hora: 18:30
Data: 03-07-2023
Local: Tancos (PK 113 - Linha da Beira Baixa)
Serviço: Comboio de Amoníaco n.º 43838 (Badajoz --» Entroncamento)
Figurative ostrakon depicting a dancer in an acrobatic position (1292-1076 B.C.-New Kingdom -XIX-XX Dynasty) - material: stone/limestone, paint - dimensions 11.5 x 17 x 4 cm. Provenance Deir el-Medina - Egyptian Museum, Turin, Italy.
Gli ostraka sono manufatti realizzati sagomando schegge di pietra calcarea. Si possono quindi considerare come quaderni di appunti o taccuini da disegno. Infatti rispondevano all’esigenza di produrre immagini personali realizzate con il gusto proprio del decoratore e senza vincoli di soggetto. Nel caso dell’Ostrakon della ballerina si coglie l’intenzione di rappresentare un soggetto piacevole, destinato alla fruizione personale e intima.
Le maestranze di Deir el-Medina decoravano le tombe della valle con canoni rigidi, rispondenti alla tradizione. Invece, negli ostraka erano liberi di esprimersi con minori vincoli di ufficialità. Considerata la libertà di esecuzione, gli artisti egizi ottennero quindi figure di danzatrici armoniose e dinamiche. Inoltre i diversi soggetti dipinti documentano situazioni e persone del quotidiano e risultano quindi freschi e spontanei.
Ostrakas are artifacts made by shaping chips of limestone. They can therefore be considered as notebooks or sketchbooks. In fact, they responded to the need to produce personal images made with the decorator's own taste and without subject constraints. In the case of the Dancer's Ostrakon, the intention of depicting a pleasing subject, intended for personal and intimate enjoyment, is grasped.
The masters of Deir el-Medina decorated tombs in the valley with rigid canons, responsive to tradition. In contrast, in the ostrakas they were free to express themselves with fewer constraints of officialdom. Given the freedom of execution, Egyptian artists thus obtained harmonious and dynamic figures of female dancers. In addition, the various subjects painted document situations and people from everyday life and are therefore fresh and spontaneous.
Sphinx (1292-1250 B.C.) Material: Stone / sandstone - Dimensions: 142 x 89 x 302.5 cm cm. - Period: New Kingdom - 19th dynasty - Thebes, Karnak / temple of Amun - Acquisition: Bernardino Drovetti - Egyptian Museum of Turin
Durante il periodo ramesside (1292 – 1077 a.C.), le statue erano spesso riutilizzate. Quando erano inserite in un nuovo contesto, venivano modificate in modo da adattarsi alla nuova destinazione d’uso, alla diversa ideologia reale e al differente programma architettonico. Nuove iscrizioni si sovrapponevano alle antiche e i lineamenti del volto venivano modificati. In questa statua si riconoscono ancora tracce dello stile della tarda XVIII Dinastia: la curvatura pronunciata delle sopracciglia, gli occhi a mandorla, le labbra carnose dell’ampia bocca. Tipico invece dell’epoca ramesside è il naso aquilino. Le parti terminali del copricapo e la barba recano tracce evidenti di una rimodellatura non finita.
Statues were often reused, particularly in the Ramesside period (1292 – 1077 BC). Placed in new contexts, they were modified in order to be adapted to a new purpose, a new royal ideology, or a new architectural program. New inscriptions replaced the earlier ones and the facial features were often altered. In this statue, the accentuated curve of the eyebrows, the almond-shaped eyes, and the wide mouth with fleshy lips are still influenced by the style of the late 18th Dynasty. The long aquiline nose, however, is typically Ramesside. The lappets of the nemes headdress and the beard show clear traces of unfinished recarving.
Material Circulante: Medway 5033 + 14 Regmms
Hora: 08:57
Data: 07-09-2024
Local: Lousal (PK 126 - Linha do Sul)
Serviço: Comboio Especial n.º 91229/8 (Praias-Sado --» Minas de Neves Corvo)
Material Circulante: Takargo 1449 + 6 U (Mota-Engil)
Hora: 15:28
Data: 10-07-2018
Local: Fernando Pó (PK 35 - Linha do Alentejo)
Serviço: Comboio Especial n.º 96236 (Torre da Gadanha --» Poceirão)
Materials are a great way to add more detail and realism to your look but can have a bit of a learning curve to get the best out of them. If you're not sure where to start ALT3 have got you covered. They make fantastic makeup, skins and appliers for Genus, Lelutka, Kreep and much much more. Right now till October 20th you can use the code below (just copy and paste) to get 30% off the great stuff ALT3 makes. Make the most of your head and more at ALT3.
This season code: FUGAZI01
The code can be used as many times as you would like, valid at the Mainstore Only, expiring October 20th. Save a bundle and get the look you want!
And for the K9Weekend Sale, ALT3 have a fantastic material on sale - the Lusty 2K + 3D, an upgraded version of their beloved FX Shine.
ALT3 - Lusty FX 2K 3D Materials
- Sold by body brand
- Includes face appliers for: Lelutka EVOX, Genus SLUV + 4K, Akeruka ADVX
- Supports: eBody Reborn, Legacy M + F, Inithium Bodies, Maitreya Lara + X, Anatomy M and Belleza GenX
- MOD Support: V-Tech, Maze Arms + Thighs, Dios Puss
Note: This material uses 2K textures per body part and requires an updated PBR viewer for full resolution. Outdated viewers will see a compressed 1024 texture version. Genus 4K displays (2)1024px and (2) 512px (back of head textures) to stay in a responsible medium, Please wear responsibly, and be considerate of where you wear this material applier.
From Miss Black! available at SABBATH event
July 21 - Aug 11
"Obscure" Universal BoM tattoo
- Comes in 2 versions : Black, Matte Solid
- 3 Opacities : Fresh, Faded and Light
- Male and Female body versions
- Tintable with instructions
- Mod/copy
Miss Black! Mainstore
From ATROPHIA available at their Mainstore
"Lockne" Cyber earrings for Evox Human ears
- Supports male and female
- Includes HUD with multiple colours and textures for each piece
- Materials/Copy
ATROPHIA Mainstore
Stuff:
ADDON - Azriel Hairbase
VOLKSTONE - Klaus belly and pubic hair
TENEBRE - Hand Scuffs
THIS IS WRONG - The Leader, Restless tattoos
SIDIKA SAKA - I Don't Care! Dry Lips
IZZIE'S - Forehead Lines, Anger Wrinkles, Bunny Lines
TF - Body Hair, Body Veins
SAXO - Face VeinsBody Veins:: Subtle :: Medium (BoM)
PUMENS - Boris EvoX skin
VELOUR - "EROS" Body Skin
LELUTKA - LOGAN EvoX head
DERDIEB - Boxer with Harness
HOTDOG - Spaced teeth
RVN - cheroot cigar
MESHBODY - Legacy Athletic
DEADBOY - Morus Tongue
EUPHORIC - Yvette Eyes
Maryland Materials GP7 #73 was built for the Bangor and Aroostook in 1950. It also served as their bicentennial unit #1776 and wore a red/white/blue paint scheme during that period. After working for the BAR, the engine migrated here to Maryland Materials at Leslie MD along CSX's Philly Sub. The quarry loadout has seen sporadic trains over the years, but hasn't loaded a train since 2015 as far as I know. The engine is seen here outside of it's shed on July 17th 2003. Legend has it, they aren't too photo-friendly and shots of this engine are hard to find. I've never laid eyes on it. Hopefully it's being kept safe, even though the industry is currently being reclaimed by Mother Nature. Years ago, there was a job put on at Benning that took trains from Leslie. It's high mileage earned it the name "The Mortgage Lifter" by conductor LM Sullivan. I never worked it. Erick K Augatis photo, JL Sessa collection.
ANTES DE FASER LEIA TODO O PAP
Vamos ao material :
# miolo de papel
# papelão (paraná,cartolina,duplex) enfim um papelão que vc achar melhor !
No me caso eu tenho uma gráfica e tenho muita sobra de duplex (dica va em uma gráfica e peça sobre deste papelão poucas folhas já da pra faser varias capar !
# tecido
# papel sulfite (ñ ta na foto mas vai aparecer nas próximas )Outra dica da pra faser com papel sulfite usado de um lado mais na frente eu explico !
# cola branca (diluída com um pouco de água)
# pincel
# tesoura
Duvidas pode deixar aki na foto responderei a todas aki tb !
I first glimpsed this old house from the corner of my eye while driving along an adjacent street. It was one of a billion such scenes my eye takes in while traveling just about anywhere. In this case I just caught a quick glimpse as I passed. But it left a strong impression and planned to make my way back here for a closer look. I timed my return to coincide with awful weather, unreasonably cold, damp and windy. I wanted this as the visual backdrop. Also working in these conditions minimizes the chances of encountering people. The house simply looked lonely when I first noticed it. But up close the loneliness seemed intentional. The front window was boarded off with well weathered plywood. The first floor windows were covered not with curtains but bedsheets and towels. The upper floor windows were not covered at all. The absence of upper floor window treatments made the impromptu ones on the first floor even more nefarious...not there as a house warming touch but only to block prying eyes. The house and yard bore none of the trappings of family life. No decorations, birdhouses, lawn furniture, nothing at all. The old TV antenna was the only sign of easy living, and even that was a stretch. It's one of those places that you can't even be sure is vacant. I approached nervously, walking the road in front of the house, pausing now and then to look. All the while it felt like I was being observed. Perhaps by someone inside the house, lurking behind the bedsheet curtains. Quite likely someone not enamored with photography. I really just wanted to keep walking but resolved not to leave without getting the photos I came for. I shot from several angles, and continued even after I had moved past the house. This view is looking back uphill. The house actually has more presence from a distance. Perhaps the context of its location up on the hill added to the menacing effect. Felt good to finally get away from here. More like an escape than an orderly departure. I still had some distance to cover walking back to my car. Didn't begin to relax until I had driven away.