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multiexposure, bronca rf 645, 45mm/f4, rollei pan 25, rodinal 1:49, 11min, 20°c, 30sec-agitation, epson v750, victorymouth.com/
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
(CC) Phillip Jeffrey. www.fadetoplay.com. Feel free to use this photo. I request that you link back to the original picture on Flickr and credit as shown above.
Camera: Canon XSi
Lens: 50mm f/1.4
Exp: ISO 100, f/8, 1/8
I have multiple myeloma (blood cancer) and I am on my 4th chemo treatment. Weekly I take 13 Cyclophosphamide (chemo) pills and 10 dexamethasone (steroid) pills in addition to in-hospital Velcade chemo injections.
This is my 25th week of treatment (each cycle is 5 weeks) so I have placed my pills as a 25.
My 5th cycle is complete. One more to go.
Double Exposure, or Multiple Exposure, is a photographic technique that combines 2 different images into a single image.
Reading | Samiya Bashir collaborates with Cumbersome Multiples
Samiya Bashir and Cumbersome Multiples share a mutual admiration for folk hero John Henry. In a sense, he introduced them. Bashir’s Pushcart Prize nominated poem, Coronagraphy, delivers on its promise to illuminate the interior voices of Polly Ann and her husband John Henry. The text move from the page into the dimension of performance. And yet, it is a compelling, intimate poem that requires reading and rereading.
Cumbersome Multiples will engage with the text in two distinct ways: first, through a real-time print response to the poem’s call during a performance held here in the Lab; and second, by continuing to produce limited-edition broadsides throughout the month of January as part of an accompanying Gallery Storefront Residency in MoCC’s Gallery Store. The two print elements will develop alongside the Coronagraphy performance — taking into account the rhythm of the text through typography.
Samiya Bashir is a poet and educator based in Portand, Oregon. She is the author of Gospel, finalist for the Hurston/Wright Legacy Award and the 2009 Lambda Literary Award, and Where the Apple Falls, a Poetry Foundation bestseller and finalist for the 2005 Lambda Literary Award. Bashir is editor of Black Women’s Erotica 2 and co-editor, with Tony Medina and Quraysh Ali Lansana, of Role Call: A Generational Anthology of Social & Political Black Literature & Art.
Bashir’s poetry, stories, articles and editorial work have been featured in numerous publications including, most recently and forthcoming, in POETRY, Poet Lore, Michigan Quarterly Review, Crab Orchard Review, Cura, The Rumpus, Hubbub, Callaloo, and Encyclopedia Vol. 2 F-K.
She is the recipient of two Hopwood Awards from the University of Michigan, as well as awards, grants, fellowships, and residencies from the Virginia Center for Creative Arts, where she was a recent NEA writer-in-residence, the University of California, where she served as Poet Laureate, the Astraea Foundation, the National Association of Pen Women, Community of Writers at Squaw Valley, Soul Mountain Writers Colony, The Austin Project, Alma de Mujer, the James Dick Foundation for the Performing Arts, and Cave Canem, among others. Her long poem, Coronagraphy, was nominated for a 2013 Pushcart Prize.
A long-time communications professional focused on editorial, arts, and social justice movement building, Bashir is a founding organizer of Fire & Ink, an advocacy organization and writer’s festival for LGBT writers of African descent and a recipient of the 2011 Aquarius Press Legacy Award, given annually in recognition of women writers of color who actively provide creative opportunities for other writers. Currently, Bashir is on the faculty of Reed College.
Photographs by Mario Gallucci
Whenever two people meet, there are really six people present.
Each person as they see themselves. Each person as the other person sees them.
And each person as they really are.
— William James
Typeface: Salzburg
(1 in a multiple-picture set)
Randsburg is my favorite ghost town in the west. It sprang up after gold was discovered there in 1895, and began to empty out in the 1940s. As you can see from this set of pictures, taken over a span of 10 years, it does not change much with time. A few people still live there, but most of the buildings are abandoned. Some of the commercial buildings are open to sell antiques and refreshments to travelers who venture off Hwy 395 northwest of Barstow. This is the road into town showing the remains of the huge Yellow Astor gold mining operation above.
One of my latest builds is a model of a Denver and Rio Grande Western 01400-series steel caboose. This may seem a bit outside my typical New England prototype area and that's because it is a gift for Bricknerd as part of the Railyard Telegraph Game, to go with his incredible "Queen of the Rio Grande" SD40. That particular build and others of his inspired me as I came into the hobby, so I wanted to build something to go with it. (Also to make sure he couldn't ever tear it apart! :-D )
The caboose is 7-wide, which was a challenge, and features a bunch of SNOT in the cupola, but otherwise is mostly hollow. This was on purpose in case it's ever desired to add an interior. I was also able to take advantage of multiple new parts, such as the 2x3 tiles (26603), 1x3 jumpers (34103), and the Technic pin with pin hole (15100). The trucks also feature roller bearings that actually roll! The stickers are from OKBrickWorks, who did an amazing job especially with matching the Bright Light Orange for the windows. The color scheme was certainly a fun obstacle, since I don't often build in either BLO or Light Bluish Grey and there's a limited number of parts that come in the former.
Now that it has cleared customs this build is at home in Germany!
(1 in a multiple picture set)
One of the many gazebos available at Edwards Chapel in Redlands, CA which await a young couple to take their vows. It's hard to think of a lovlier setting.
A Virgin Trains class 390 'Pendolino' electric multiple unit is pictured as it speeds through Carnforth with a northbound service on August 22nd, 2014.
mamiya c330 + shanghai 100 (crappy film)
a bit out of focus (super nice bokeh)
this is my first attempt taking multiple exposure ( not great )
- super hard on film :
+ no light meter
+ TLRs are super hard to focus
( but the second time will be the charm, wait for it )
For AIS3 multiple award winning artist Mary Jane Mansfield created an outdoor sculpture to animate a vacant lot at Stevens and Nicollet Avenue. MJ is getting her BFA at the University of MN currently.
Her statement reads:
Artist Mary Jane Mansfield's creative identity comes out of a rich history of
performance art from DaDa to the 70's and early 80's performance art era
where life/art was a prevalent theme. Ms. Mansfield studied under Mike
Kelley in the early 80's. She is best
known for her work with water and electricity. Light bulbs underwater in
buckets and jars and pouring cold water over them have long been a thread
that runs through her work in sculpture, performance and installation.
For round 3 of the Whittier neighborhood Artists in Storefronts projects she
has been commissioned to create an installation in an empty lot at 26th and
Stevens. For this project she created a house with no walls and a picket fence
filled with summers warm and lively colors. The remainder of the lot will host
community snowman building events as weather permits.
Keep your eyes peeled on the artist in storefronts website for
dates and times whenever you see it snow!!
Ms. Mansfield is a recent recipient of an NEA grant
from Franconia sculpture park and an Artists initiative
grant from the MN State Arts Board.
Photo by Steven Lang
Kodak 35mm 400 Pentax K1000, SMC Pentax FA 320mm Zoom lens
Arista C-41 color process ©2013auxiliofaux
The retouched cross-view image shows in 3D the location of partial reflections of a ceiling light in spectacle lenses. Whether the images are above or below the table depends in the curvature if the partially reflecting lens surfaces. The two reflections in this case are above the lenses. If you have never done cross-view be patient. Look at the two images and cross your eyes until you see three blurred square images in a line. Pay attention to the square in the centre and wait. Ten or twenty seconds might be need at first. One you are good at this it takes no time at all. Give your brain time to refocus your eyes so that it pops into sharp 3D. Be sure to use both eyes and wait for your brain to catch on. Notice that the two lenses are not quite the same. The images float at slightly different heights on the left and the right.
March has been proclaimed Mental Retardation and Developmental Disabilities (MRDD) Month and Multiple Sclerosis Awareness Month by Carroll County Commissioners.
Commissioners Larry Garner, Doyle Hawk and Thomas Wheaton signed the proclamation declaring March 2009 as MRDD Month. The Carroll Hills Workshop and School is Carroll County’s program which serves infants, pre-schoolers, school age students and adults who have mental retardation and other developmental disabilities. The Carroll Hills program has adopted the theme “Just Like You” for its month-long celebration.
Ed Hale, a county resident stricken with Multiple Sclerosis (MS), presented a proclamation to commissioners declaring March as Multiple Sclerosis Awareness Month. MS is a chronic often disabling disease that attacks the central nervous system affecting young to middle-aged adults. Most people are diagnosed with MS between the ages of 20-50.
To the Editor:
I live in Carrollton and I am raising awareness for Multiple Sclerosis. No one has chosen to live with MS, it has chosen us and we do choose to fight it. I am asking you to join me in the fight against MS during MS Awareness Month and throughout the year to make sure the voices of everyone connected to MS are being heard.
On March 2, I took the initiative to attend the Carroll County Commissioners meeting and made them aware of this. In return, they have chosen to accept the proclamation I constructed and recognized Carroll County, being one of the 88 counties, that March is MS Awareness Month in the state of Ohio as signed into law by former Governor Robert Taft March 2, 2006.
Our bodies are in constant motion, moving information from the brain to the body. MS stops people from moving by attacking the myelin that protects normal nerve tissue. The damage keeps people from moving smoothly, both inside and out. Many have trouble imagining what their lives would be without the ability to move, but I know the effects of MS and I have MS.
If you have multiple sclerosis, if you know someone who has MS, or if you want to help the 18,000 Ohioans who battle the disease every day, I ask for your help in raising awareness. We fight MS because this is one battle we can and should win. We fight MS right now so that future generations won’t have to. If you know someone who has MS, call them on the phone or just stop in for a visit to see how they are doing and show your support. To borrow a famous company slogan from AT&T “Reach out and touch someone.” You may just make a difference in their life.
Information on MS and awareness events can be located at the National Multiple Sclerosis, Ohio Chapter, website at www.nationalmssociety.org/chapters/OH.
Edward L. Hale
Carrollton, Ohio
(Photo from News Leader, Editor Kim Lewis)