View allAll Photos Tagged perishable
(2013)
The spices installation "Campo de Color" ("Colour Field") by Sonia Falcone spreads out like a landscape of sensations and provokes synesthetic perceptions. Sweet blue, fiery red and a bitter gold give off a swirl of fragrances; an intense irradiation of all the qualities of matter. As in its original meaning, aesthetics is in this installation, "Campo de Color", a sensation. Throughout history, spieces have motivated marine exploration and trading routes and here inspire the creation of a new landscape. Falcone covered the floor with hundreds of clay pots filled with cocoa, cayenne, chili, achiote, pepper, cinnamon, turmeric, thyme, mjustard, curry, paprika and more... a rich variety of spices to create a minimalist composition in the colour field style. Unlike the smooth cold, surfaces of North American minimalism, Falcone's visual feast displays reliefs composed of pulverised flavours, as hot as Latin American chinli or as sweet as Oriental cinnamon. While the routes of the spieces linked Asia to the ports of Venice in the Middle Ages, "Campo de Color" completes the cartographic picture by drawing in the palette of flavours from the New World. Landscape, banquet, market and altar; these earthbound elements trigger heady sensations and at the same time recall the body's perishable limitations, the ephemeral nature of sensory pleasure and - ultimately - the fleeting nature of life.
As yet another winter storm moves across the Sierra, bringing with it several additional inches of Sierra cement, Union Pacific's eastbound 'salad shooter' roars across Lower Cascade Trestle with California perishable loads from the San Joaquin Valley.
UP 7710 ~ ZDLSKP ~ Troy, California
Union Pacific's Roseville Subdivision
12.13.2015
Steam rice that is placed in bamboo craft asepan and then put on seeng, together with the form of a cover named boboko. After that, the rice is placed in a tray made of wood (Dulang) and stirred rice using pengari and then fanned using hihit.
The goal stirred the rice so that the rice is fluffier and fanned the smoke so it is not perishable. While cooking there is prohibition, which should not be talking or singing while cooking.
Taken @Cisungsang, Banten, West Java, Indonesia, Asia, South East Asia
Pillar Granary - part of the Farm Village at Brickendon Estate, Longford (Tasmania)
Built to store grain, flour and other perishables, this is the only building of its kind in the southern hemisphere. It was constructed on ‘staddle stones’ to keep vermin and water out, and to circulate air, preventing mould in the stored products. This particular form of construction, a timber framed building mounted on stones, is characteristic of southern England, the original home of the Archers and many of the convicts who laboured here. (brickendon.com.au/attractions/farm-village/#pillar-granary)
The theme this week (Nov 18, 2023) is 'Object with Legs'
~~~ Thank you all for viewing, kind comments, favs and awards - much appreciated! ~~~
A freshly painted UP AC4400CW, number 6745, pushes on the rear of the ZDLCYP (Delano, CA to Cheyenne, WY Perishables) at the top of Donner Summit. UP 6745 came from the GE factory in Erie, PA, in the spring of 1996. Over 21 years later, the 6745, and her other AC4400CW sisters, still pull thousands of trains a day, without breaking a sweat. Here, at the top of Donner, the 6745 still looks sharp.
Este collar de cuentas de mayólica es una versión duradera de los complejos collares perecederos de flores que usaban los invitados a un banquete. Dinastía 18, reinado de Akenatón, ca. 1353-1336 a.C.(Museo Metropolitano de Arte, New York).
This necklace of faience beads is a durable version of the elaborate perishable floral collars worn by banquet guests. Dynasty 18, reign of Akhenaten, ca. 1353-1336 B.C. (Metropolitan Museum of Art, New York).
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today we are in the very modern and up-to-date 1920s kitchen of Lettice’s flat: Edith her maid’s preserve, where she is taking possession of her latest order from Willison’s Grocers, delivered by Mr. Willison’s boy, Frank Leadbeater.
“Tinned apricots, tinned pears,” Edith marks off the items written on her list that she telephoned through to Mr. Willison’s on Thursday morning. “Plum jam, Bovril.” She places a tick next to each with a crisp mark from her pencil, the sound of it scratching across the page’s surface. “Tinned cherries. Where are the tinned cherries, Frank?” Edith asks anxiously.
“They’re right here, Miss Edith,” he remarks, delving noisly into the box of groceries between the flour and Lyon’s tea, withdrawing a small tin of My Lady tinned cherries. “Just as you ordered.”
“Oh thank goodness!” Edith sighs, placing a hand on her chest, from which she releases the breath she has been holding.
“Everything is just as you ordered and selected and packed with extra care by yours truly!” Frank pats himself with his cycling cap on the chest as he puffs it out proudly through his rust coloured knitted vest.
“Oh, get on with you, Frank!” Edith scoffs with a mild chuckle, glancing up at his charming, if slightly gormless grin before continuing her inventory of items.
“It’s true Miss Edith!” he replies, holding his cap against his heart rather melodramatically. “I swear. I packed them up myself. As his most trusted member of staff, Mr. Willison lets me do things like that as well as the deliveries.”
“I thought you were the only person he employed, Frank.” Edith remarks without looking up from her list ticking.
“Yes,” the delivery boy coughs and blusters, colouring a little at the remark. “Yes well, it is true that I am his only employee, but Mrs. Willison does do the books and his daughter helps out on Saturdays. But I am his most trusted employee, and I’m working my way up the rungs.”
“What rungs, Frank? You’re the delivery boy. What is there beyond that? Mr. Willison isn’t going to hand his family business to his delivery boy to run.”
“Well no, not yet he isn’t, but I’m doing more and more around the shop when I’m not out on my delivery round, so I’m learning about things over time.”
“Things! What things?”
“Well, Mr, Willison let me help display goods in his front window the other day. Soon I will be able to add visual merchandiser to my list of skills.”
“You’ll add what?” Edith laughs, her hand flying to her mouth as she does to try and muffle it.
“Hey, it’s not funny Miss Edith!” Frank looks forlorn and crestfallen across at the chuckling maid. “Visual merchandising. It’s just a fancy term we use for window dressing.”
“Oh, do we now?” Edith cocks an eyebrow at him. “Very fancy indeed.”
“You may laugh now, my girl,” Frank wags a finger in a playful way at Edith. “But one day you’ll say that you knew me when.”
“When you have your own grocers?” Edith sounds doubtful as she speaks.
“Well, I could do. Others have. Why shouldn’t I?”
“Oh I don’t mind you having dreams, Frank.” she assures him. “Miss Lettice tells me the same.”
The delivery boy’s ears pick up and leaning a little bit closer to Edith he asks, “So what’s your dream then, Miss Edith, since mine is so laughable?”
“My dream?” she put her hand to her chest, taken aback that anyone should be so forward, least of all the man who delivers groceries from the local up-market grocers. “My dream is to…” Then she glances up at the kitchen clock ticking solemnly away on the eau-de-nil painted wall. “Shouldn’t you be out delivering groceries to your next customer, Frank?”
“Old Lady Basting’s cook can wait for her delivery a little while longer,” Frank asserts. “She never has a kind word for me anyway. It’s always ‘stop cluttering up the area with your bike, Frank’. Anyway, she’s terrible at paying her bills. I don’t know why Mr. Willison keeps her as a customer when she always waits for reminders before paying.”
“Well, a customer is a customer, Frank, even a late paying one. Quite a lot of cooks of titled families around here do the same. It’s almost like it’s expected that they don’t have to pay on time.”
“Expected?”
“You know: their right. Their right not to pay on time because that would be acknowledging that money makes business revolve.”
“Well it does, Miss Edith.”
“I know that Frank, and you know that, but families like Miss Lettice’s, they never like talking about money. It’s almost as if it’s dirty.”
“I imagine when you have so much money you never have to worry about it, why would you talk about it?”
“I suppose so Frank. Well, that’s it.” She smiles and puts down her notepad with a satisfied sigh. “That’s everything.”
“Course it is, Miss Edith. I told you I packed it myself, and Frank Leadbetter won’t ever let you down.”
“Well, since you’re whiling away some time, Frank, do you fancy a cup of tea then?” Edith asks with a shy smile.
“Oh, thank you!” Replies the young man. “Only if it isn’t too much trouble, mind you.”
“Oh it’s no trouble. I’m going to have one myself before I pack all this away,” she waves her hand expansively at the piles of groceries. “I can fetch two cups as easily as I can one.”
“I shan’t say no then, Miss Edith.” Frank agrees readily. “Cycling groceries around Mayfair, Belgravia and Pimlico is thirsty work.”
Edith goes to the dresser and fetches out two Delftware cups and saucers, the sugar bowl and milk jug which she arranges on the end of the table not covered in grocery items. She places the kettle on the stovetop and lights it with one of the matches from the red and white Webb Matches box that Frank has just brought. Then she scuttles across the black and white linoleum floor with the jug to the food safe where she fills it with a splash of milk, before bringing it back to the table.
“One of those Huntly and Palmers* chocolate dessert biscuits wouldn’t go astray with it.” Frank says reaching down to the elegantly decorated buttercup yellow and bluish grey tin.
“Ah-ah!” Edith slaps Frank’s hand away before he can remove the lid. “Those aren’t for you Frank, any more than they are me! I’ve got some leftover Family Assorted in the biscuit barrel. You can settle for one of them, if you deign, Mr. Leadbetter, Greengrocer to the best families in Mayfair.” She giggles girlishly and her smile towards him is returned with a beaming smile of his own.
“So, Miss Edith,” Frank asks with a cheeky smile as he leans over the box. “What is it you’re making me for my tea?”
“You, Frank Leadbetter?” she laughs in amazement. “You have quite some cheek today, don’t you?”
“Alright then, if it isn’t for me, what and who are these groceries for?”
“What and for whom, Frank.” Edith corrects him kindly.
“Is that what your dream is? To teach people how to speak properly, like that chap in Pygmalion** then? What’s his name?”
“Higgins, Henry Higgins.” Edith replies. “And no, I don’t. And stop fishing for information not freely given.” She gives his nose a playful squeeze as she crosses her arms akimbo and waits for the kettle to boil. “No, most of this is for a special dinner party Miss Lettice is throwing for friends from Buenos Aires who have come to see the wedding of Princess Mary to Viscount Lascelles***. They want summer pudding,” She tuts scornfully. “In the middle of winter!”
“Thus, all the tinned fruits.”
“Since I cannot move the seasons to those of the southern hemisphere, yes.”
Edith hears the kettle on the stove boiling and pours hot water into the white teapot sitting on the server shelf attached to the right of the stove. Placing the knitted cosy over its top, she moves it to the table. She looks Frank Leadbetter up and down as she does. He stands there, leaning against the deal kitchen table, dressed in dark trousers, a white shirt that could do with a decent pressing, his rust coloured knitted vest and a Brunswick green tie****. She looks at his face. He’s quite handsome really, now she looks at him, with fresh rosy cheeks, wind tousled sandy blonde hair and sparkling blue eyes.
“You know what Mrs. Boothby said to me, Frank?” Edith chuckles, picking up the pot and swirling the tea in it before pouring some into both cups.
“No!” Frank replies, accepting one cup. “What?”
“She thought that I was sweet on you, and that we might be stepping out together.”
“Really?”
“Yes really! That’s what she thought. She let it slip a month or so ago.”
Frank adds a heaped teaspoon full of sugar to his tea and stirs it thoughtfully. “Is that such a terrible idea?”
“What?” Edith asks.
“Us,” He indicates with a wagging finger between Edith and himself. “You and me, I mean, stepping out.”
“Well,” Edith feels a blush rising up her throat and flooding her cheeks. “No. Not at all, Frank. I was just saying that Mrs. Boothby thought we were, when we aren’t.” She looks away from Frank’s expectant face and spoons sugar into her own tea. “I hadn’t really given it much thought.”
“Ahh, but you have given it some consideration, then?”
Edith keeps quiet a moment and thinks with eyes downcast. “A little bit, in passing I suppose.”
“And what if we were, Edith?” Surprised by the sudden dropping of her title in a very familiar address, Edith glances back at Frank who looks at her in earnest. “Walking out together, I mean. Would that be agreeable to you?”
“Are you asking me to walk out with you, Frank Leadbetter?” Edith gasps.
“Well, yes, I suppose I am.” Frank chuckles awkwardly, his face colouring with his own blush of embarrassment. “Only if you’re agreeable to it of course.”
“Yes,” Edith smiles. “Yes, I’m agreeable to that, Frank.”
“You are?” Frank’s eyes widen in disbelief as his mouth slackens slightly.
“For a man so sure of his prospects, you seem surprised, Frank.”
“Oh well,” he stumbles. “Its not… I mean… I mean I am. I… I just didn’t think you… well… you know being here and all…”
“It’s aright Frank. I was only teasing.” replies Edith kindly. “You don’t need to explain.”
“And Miss Chetwynd doesn’t…”
“Oh no, Frank! As long as my work isn’t interfered with, Miss Lettice won’t mind. She’s a very kind and modern thinking mistress, Unlike Mrs. Plaistow.”
“I remember that was where I first set eyes on you, Edith, at her terrace in Pimlico.”
“Do you Frank?”
“I do.” Frank smiles proudly.
The two chuckle and shyly keep glancing at one another before looking away and burying themselves in their cups of tea awkwardly.
“Your day off is Wednesday, isn’t it?” Frank asks eventually.
“It is, Frank, how observant of you to notice,”
“Well, it pays to take note of things in my profession. You just never know when it might come in handy.” He taps the side of his nose knowingly.
“Only, I go and help my Mum on my day off.” Edith explains.
“Oh,” Frank says defeatedly, then thinks for a moment and adds. “Well, I work Wednesday anyway.”
“What days don’t you work, Frank?”
“Well, I don’t work Sundays. So, I’m free after church services are over.”
Edith laughs, “Well that works rather well then, as I have Sundays free until four.”
Frank joins Edith’s laughter. “Sunday it is then!”
The pair fall into an awkward silence again.
“So, where would you like to go, Edith?” asks Frank eventually, shattering the quiet punctuated only by the swinging pendulum of the wall clock.
“Well,” Edith replies after a few moments. “Miss Lettice’s client, Wanetta Ward is starring in a new moving picture called ‘After the Ball is Over’ at the Premier in East Ham*****. We could go and see that.”
“Sounds brilliant, Edith!”
Edith smiles shyly and blushes again, a sparkle shining in her eyes. “Yes, it does rather.”
* Huntley and Palmers is a British firm of biscuit makers originally based in Reading, Berkshire. The company created one of the world’s first global brands and ran what was once the world’s largest biscuit factory. Over the years, the company was also known as J. Huntley and Son and Huntley and Palmer. Huntley and Palmer were renown for their ‘superior reading biscuits’ which they promoted in different varieties for different occasions, including at breakfast time, and as a dessert biscuit.
**Pygmalion is a play by George Bernard Shaw, named after the Greek mythological figure. Written in 1912, it premiered at the Hofburg Theatre in Vienna on the 16th of October 1913 and was first presented in English on stage to the public in 1913. Its English-language premiere took place at Her Majesty's Theatre in the West End in April 1914 and starred Herbert Beerbohm Tree as phonetics professor Henry Higgins and Mrs Patrick Campbell as Cockney flower girl Eliza Doolittle. Shaw's play has been adapted numerous times, most notably as the 1938 film Pygmalion starring Leslie Howard and Wendy Hiller, the 1956 musical My Fair Lady and its 1964 film version starring Rex Harrison and Audrey Hepburn.
***Mary, Princess Royal and Countess of Harewood (1897 – 1965), was the only daughter of King George V and Queen Mary. She was the sister of Kings Edward VIII and George VI, and aunt of Queen Elizabeth II. She married Viscount Lascelles on the 28th of February 1922 in a ceremony held at Westminster Abbey. The bride was only 24 years old, whilst the groom was 39. There is much conjecture that the marriage was an unhappy one, but their children dispute this and say it was a very happy marriage based upon mutual respect. The wedding was filmed by Pathé News and was the first royal wedding to be featured in fashion magazines, including Vogue.
****In pre World War II times, it was unusual for even the most low paid male workers like delivery men to dress in a shirt, jacket, vest and tie. It represented respectability and the drive for upward mobility in a class conscious society. It is where the term “white collar job” comes from.
*****The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
This domestic scene may not be all that it appears, for it is made up completely of items from my 1:12 miniatures collection.
Fun things to look for in this tableau include:
All of Edith’s groceries are 1:12 artisan miniatures with amazing attention to detail as regards the labels of different foods. Some are still household names today. So many of these tins of various foods would have been household staples in the 1920s when canning and preservation revolutinised domestic cookery. They come from various different suppliers including Shepherds Miniatures in the United Kingdom, Kathleen Knight’s Doll House in the United Kingdom, Beautifully Handmade Miniatures in Kettering and Little Things Dollhouse Miniatures in Lancashire. The cardboard box branded with the name Sunlight Soap and the paper shopping bag also come from Little Things Dollhouse Miniatures in Lancashire.
Bovril is the trademarked name of a thick and salty meat extract paste similar to a yeast extract, developed in the 1870s by John Lawson Johnston. It is sold in a distinctive bulbous jar, and as cubes and granules. Bovril is owned and distributed by Unilever UK. Its appearance is similar to Marmite and Vegemite. Bovril can be made into a drink ("beef tea") by diluting with hot water or, less commonly, with milk. It can be used as a flavouring for soups, broth, stews or porridge, or as a spread, especially on toast in a similar fashion to Marmite and Vegemite.
Bird’s were best known for making custard and Bird’s Custard is still a common household name, although they produced other desserts beyond custard, including the blancmange. They also made Bird’s Golden Raising Powder – their brand of baking powder. Bird’s Custard was first formulated and first cooked by Alfred Bird in 1837 at his chemist shop in Birmingham. He developed the recipe because his wife was allergic to eggs, the key ingredient used to thicken traditional custard. The Birds continued to serve real custard to dinner guests, until one evening when the egg-free custard was served instead, either by accident or design. The dessert was so well received by the other diners that Alfred Bird put the recipe into wider production. John Monkhouse (1862–1938) was a prosperous Methodist businessman who co-founded Monk and Glass, which made custard powder and jelly. Monk and Glass custard was made in Clerkenwell and sold in the home market, and exported to the Empire and to America. They acquired by its rival Bird’s Custard in the early Twentieth Century.
P.C. Flett and Company was established in Kirkwall in the Orkney Islands by Peter Copeland Flett. He had inherited a small family owned ironmongers in Albert Street Kirkwall, which he inherited from his maternal family. He had a shed in the back of the shop where he made ginger ale, lemonade, jams and preserves from local produce. By the 1920s they had an office in Liverpool, and travelling representatives selling jams and preserves around Great Britain. I am not sure when the business ceased trading.
S.P.C. is an Australian brand that still exists to this day. In 1917 a group of fruit growers in Victoria’s Goulburn Valley decided to form a cooperative which they named the Shepperton Fruit Preserving Company. The company began operations in February 1918, canning pears, peaches and nectarines under the brand name of S.P.C. On the 31st of January 1918 the manager of the Shepparton Fruit Preserving Company announced that canning would begin on the following Tuesday and that the operation would require one hundred and fifty girls or women and thirty men. In the wake of the Great War, it was hoped that “the launch of this new industry must revive drooping energies” and improve the economic circumstances of the region. The company began to pay annual bonuses to grower-shareholders by 1929, and the plant was updated and expanded. The success of S.P.C. was inextricably linked with the progress of the town and the wider Goulburn Valley region. In 1936 the company packed twelve million cans and was the largest fruit cannery in the British empire. Through the Second World War the company boomed. The product range was expanded to include additional fruits, jam, baked beans and tinned spaghetti and production reached more than forty-three million cans a year in the 1970s. From financial difficulties caused by the 1980s recession, SPC returned once more to profitability, merging with Ardmona and buying rival company Henry Jones IXL. S.P.C. was acquired by Coca Cola Amatil in 2005 and in 2019 sold to a private equity group known as Shepparton Partners Collective.
Peter Leech and Sons was a grocers that operated out of Lowther Street in Whitehaven from the 1880s. They had a large range of tinned goods that they sold including coffee, tea, tinned salmon and golden syrup. They were admired for their particularly attractive labelling. I do not know exactly when they ceased production, but I believe it may have happened just before the Second World War.
Sunlight Soap was first introduced in 1884. It was created by William Hesketh Lever (1st Viscount Leverhulme). It was produced at Port Sunlight in Wirrel, Merseyside, a model village built by Lever Brothers for the workers of their factories which produced the popular soap brands Lux, Lifebuoy and Sunlight.
Webb matches were manufactured by the match firm Bryant and May. Bryant and May was a British company created in the mid Nineteenth Century specifically to make matches. Their original Bryant and May Factory was located in Bow, London. They later opened other match factories in the United Kingdom and Australia, such as the Bryant and May Factory in Melbourne, and owned match factories in other parts of the world. Formed in 1843 by two Quakers, William Bryant and Francis May, Bryant and May survived as an independent company for over seventy years, but went through a series of mergers with other match companies and later with consumer products companies. The registered trade name Bryant amd May still exists and it is owned by the Swedish Match Company, as are many of the other registered trade names of the other, formerly independent, companies within the Bryant and May group.
Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in the UK, Ireland and around the world. In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England. Lyons Tea was a major advertiser in the early decades of RTÉ Television, featuring the "Lyons minstrels" and coupon-based prize competitions.
The Dry Fork Milling Company, which produced Dry Fork Flour was based in Dry Fork Virginia. They were well known for producing cornmeal. They were still producing cornmeal and flour into the 1950s. Today, part of the old mill buildings are used as a reception centre.
Edith’s Windsor chair is a hand-turned 1:12 artisan miniature which came from America. Unfortunately, the artist did not carve their name under the seat, but it is definitely an unmarked artisan piece.
To the left of the sink is the food safe with a mop leaning against it. In the days before refrigeration, or when refrigeration was expensive, perishable foods such as meat, butter, milk and eggs were kept in a food safe. Winter was easier than summer to keep food fresh and butter coolers and shallow bowls of cold water were early ways to keep things like milk and butter cool. A food safe was a wooden cupboard with doors and sides open to the air apart from a covering of fine galvinised wire mesh. This allowed the air to circulate while keeping insects out. There was usually an upper and a lower compartment, normally lined with what was known as American cloth, a fabric with a glazed or varnished wipe-clean surface. Refrigerators, like washing machines were American inventions and were not commonplace in even wealthy upper-class households until well after the Second World War.
The last two Krauss-Maffeis in one frame. Pure serendipity.
I was warned in advance by the signature bleaking horn what's coming on from the north into Athens. Plenty of time to arrange the frame with the waiting 23500.
A-420 arrived on the evening of June 26, 1997 with a work train while A-414 was trailing the A-324 on overnight 23500 which was carrying everything somewhat urgent such as mail&express plus perishables in white reefers.
Those days Athens Stathmos Larissis was such a nice station. Use full screen view to savour all the little details.
In the background you see Hotel Oscar and Hotel Nana, the railfan's favorites. I checked in at the Nana. A nice cool taverna downstairs just the next door.
UP heritage unit #1996, painted in honor of the fallen Southern Pacific Railroad, leads a hot UP train of cold perishables (figure that one out) east of Nelson, IL.
Impressively still on the road, I recall seeing both this and the next Carina parked in the same spot in 2012. I imagine this are a pinnacle of reliability, and probably cost very little to keep going, other than perishables.
Turner is located on the TS just east of Highway 99. In the summer of 1970, "new" power on the Tidewater, in the form of two RS-1's from the Spokane International, replaced aging 70 tonners and loaner WP switchers. The RS-1's expedited long perishable freights to the WP connection in Stockton. TS 746 is making a good 40 mph as it lugs a long train past Turner.
Copyright Susan Ogden
Today i partially conquered procrastination....mainly because there is some impending bad weather, which will probably miss me here, but....there is always that but!! i have been coaxed and cajoled to make my EMERGENCY BOX.
i had gift cards for Home Depot so i took a drive up island and got the Rubbermaid tub, and began the quest for things on the list for the box. A few packs of antibacterial wipes, hand sanitizer, batteries, flash lights, more batteries, a lantern, bottled water, toilet paper, first aide supplies...candles....a lighter, non perishable snacks....etc.
i went over the list and noted that i had to add things to a separate list because there are just some things you cannot get at Homer D! It was then that i noticed that there were key things missing from FEMA’s emergency list. Mainly, alcohol.
My thought was that if you are stuck on the island in a hurricane, depending on the size of said hurricane, you might need a coping mechanism to mellow you out....mild hurricane conditions, perhaps some Not Your Father’s Root Beer....a bit more intensity, perhaps a bottle or 2 of wine, or maybe some rum...and if things get to the point of “What ever made me think this was a good idea??” being screamed in a loud and terrified voice you might want to break out the Fireball Whiskey! i am thinking of rewriting this list for FEMA. Duct tape, FEMA, REALLLY!!!??? Duct tape!!!!!???? perhaps a boat and oars would be preferable!!!
They actually had “games” on the list!!! In a CAT 4 who the heck will be calmly sitting there playing a game!!!!!???? Is the duct tape reserved for a CAT 4/5 so you can tape yourself to the house???? if it is to put on windows, you are a little late...that needs to be on there BEFORE you need the emergency box!!!!
i am now in search of a NOAA battery operated radio...and maybe a small heater altho i am not sure how many hurricanes happen in January thru February....perhaps a portable stove would be a better option!
The part of procrastination that i did NOT conquer today was the “oil change” one...but to my credit, i tried. There are apparently a lot of people on the OBX that are oil change procrastinators just like me, because there were about 6 of them sitting in the waiting room ahead of me....i opted out. Tomorrow is another day.
My eyes are on the weather and i am hoping my friends all dodge the bullet. If you are one in the path of the storm...please stay safe...dry....warm....and have your emergency box ready! ;)
With three UP motors in charge, eastbound Q090 rolls out of Defiance and past Hire Cemetery in the golden light of a warm spring evening. This train originates on the west coast and hauls exclusively perishable items, making it the "hottest of the hot" around here.
#AbFav_HARBOURS
#AbFav_VIRTUAL_TRAVEL
The Port of Zeebrugge (also referred to as the Port of Bruges or Bruges Seaport) is a large container, bulk cargo, new vehicles and passenger ferry terminal port on the North Sea.
The port is located in the municipality of Bruges, West Flanders in the Flemish Region of Belgium, handling over 50 million tonnes of cargo annually.
The port employs directly over 11,000 people and handles over 10,000 ship moorings annually. Together with the indirect employees, the port creates over 28,000 jobs.
The most important functions of the port are:
Intense RoRo traffic between the Continent, Great Britain, Scandinavia and Southern Europe;
European hub port for the automotive industry;
Container port with a good nautical accessibility for + 19,000 TEU ships;
Import of Liquefied Natural Gas and energy products;
Handling, storage and distribution of perishables and other agricultural products;
Handling of conventional general cargo and 'high & heavy' cargoes;
Passenger transport;
Organisation of the European distribution via an intricate network of hinterland connections.
Here, I was on the Ferry in Zeebrugge, heading back home, when I spotted these powerful cranes in the evening sun, a last effort in the last of daylight.
They move containers.
Wishing you well and stay safe!
With love to you and thank you, M, (* _ *)
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Zeebrugge, Cranes, coast, harbour, industry, colour, horizontal, "no people", Nikon D7200, "magda indigo"
Carta (Sibiu County): Cistercian monastery
The city and monastery of Carta are located 43 km from Sibiu on the road to Brasov. Here are preserved the ruins of the Cistercian monastery, one of the oldest and most important monuments of the primitive Gothic church in Transylvania. The Cistercians are a monastic order originating in France and widespread in several countries.
The Carta Cistercian Abbey played a major role in the political, economic and cultural history of medieval Transylvania, as well as in the introduction but also in the dissemination of Gothic art in the inter-Carpathian space.
The monastery was founded in the years 1205-1206 by King Andrew II of Hungary.
The beginnings of the monastery are confirmed with the erection of its first buildings, used, as the Cistercians used it, from perishable materials, that is to say wood. These can be dated with relative certainty between the years 1205-1206.
The stone parts of the monastery will be erected between the years 1220 and the end of 1230. The construction of the monastery was carried out in two main phases of execution, chronologically interrupted by the great Tatar invasion of 1241.
In the first phase of construction, which has stylistic characteristics dependent on the late Romanesque, the general plan of the monastery was drawn, the walls delimiting its inner courtyard being raised to a height of 3-4m above the ground.
In 1260, after the assassination caused by the Mongol invasion in the spring of 1241, construction work will resume under the direction of a new architect, trained in the environment of mature Gothic, and with the contribution of a workshop of stone with an eclectic structure.
By 1300, the church and the eastern wing of the Charter Monastery were completed, with the completion and construction of the southern wing of the abbey continuing for approximately two decades.
The fierce struggles with the Ottomans from 1421 to 1432 and the decline of the order made the church and its monastery a ruin. This also led to its closure by King Mathias Corvin in 1474.
However, the west facade is still standing and above the Gothic portal is a large rose window. The tower attached to the facade was built later, in the middle of the 15th century, and its transformation into a bell tower took place later.
Currently, the monastery no longer has all the original buildings and annexes, many of which collapse. The vaults of the huge church have collapsed and there are only a few exterior walls and two interior beams (south and north). To the south, there is still a single Roman column, and the side ships, according to the Cistercian plan, end in a small square choir. The main ship no longer has a ceiling - in its place is a cemetery in memory of the German soldiers killed in the First World War.
The Reformed Church today occupies only the choir and the apse of the old basilica. The Gothic portal has probably been moved from a side entrance and its profile betrays Gothic influences.
Numerous examples of the tombs of the founders of Cistercian churches allow the existence of a royal necropolis under Carta.
San Miguel de Lillo s. IX, ciudad de Oviedo, Principado de Asturias.
Ascendiendo por la ladera del monte Naranco y a unos doscientos metros de Santa María se eleva San Miguel de Lillo. Formaba parte, junto con ésta, de un supuesto conjunto palatino en el que también se incluirían toda una serie de pabellones construídos en materiales perecederos y que hoy día no se conservan. Su advocación, constatada desde el año 908, vincula el templo con el culto al arcángel San Miguel que estaba presente en la Península Ibérica desde finales del siglo VII.
La estructura original estaba compuesta por una planta rectangular de tres naves, la central más ancha y alta que las laterales, una cabecera tripartita y a los pies del templo, un vestíbulo, la tribuna real, escaleras y varias dependencias. Se especula acerca de la posible existencia de dos estructuras a los lados simulando el aspecto de transepto pero todavía no esta demostrado.
Actualmente sólo se mantiene en pie una tercera parte del edificio original porque en fechas anteriores a 1115 sufrió un derrumbamiento que acabó con su triple ábside y tres tramos de la nave. Según las crónicas, las causantes de este hecho fueron sus elevadas bóvedas y las aguas de un arroyo cercano que socavaron los cimientos.
Tras el hundimiento, el ara fue trasladada al mirador oriental de Santa María y transcurrido un periodo indeterminado de tiempo, los restos que permanecieron en pie fueron cerrados con un muro bastante chapucero de materiales reaprovechados del derrumbe y se construye una capilla rectangular con una tosca bóveda de cañón para volver a dotar al edificio de uso litúrgico.
Las cubiertas de las naves que han llegado hasta nosotros adoptan una configuración peculiar. La bóveda que recubre la nave central sigue un eje oeste-este mientras que las laterales se colocan perpendiculares al mismo, es decir, de norte a sur. La gran altura a la que están dispuestas (11 metros la central y 8 las laterales) condiciona el uso de un material ligero para su construcción. Se recurre por ello a la piedra toba como ya se hizo en Santa María del Naranco.
La separación de las naves se lleva a cabo a través de gruesas columnas y no de pilares, caso insólito en la arquitectura asturiana. Sobre éstas se asientan unas arquerías de medio punto con roscas sogueadas y por encima, continúa la pared maciza hasta alcanzar la bóveda, que es reforzada con arcos fajones. Los capiteles son de forma cubicatroncocónica y las basas se caracterizan por estar decoradas con las figuras de los cuatro evangelistas y su símbolo zoomórfico.
Sin lugar a dudas, uno de los elementos más complejos de la construcción es su vestíbulo, sobre el que se emplaza la tribuna real. A diferencia de los realizados en el periodo de Alfonso II, éste introduce gran parte de su volumen dentro del edificio en vez de configurarse como una estructura saliente diferenciada. Se cubre con bóveda de cañón. Las jambas de la puerta son dos grandes piezas monolíticas de piedra cuyo mayor interés reside en los relieves con los que se decoran. Son reproducciones de un díptico de marfil tardorromano datado en el 506. En él se mostraba al cónsul Areobindus inaugurando unos juegos circenses. Con seguridad el monarca poseía una copia que hoy día no se conserva. Su uso como modelo se ha interpretado como signo del poder real.
La tribuna regia evoluciona con respecto a la vista en San Julián. No se coloca en uno de los lados del transepto sino en un nivel superior al vestíbulo y centrado sobre el eje longitudinal de la nave central. Se cubre con bóveda de cañón. Tiene dos puertas con arcos de medio punto a cada lado que la comunican con las escaleras de acceso y una estancia lateral. La ventana abierta en el muro para iluminar el recinto está cubierta con una celosía, realizada en una gran losa de piedra, que presenta un calado minucioso y preciosista.
El templo estaba decorado interiormente con pinturas al fresco. Los motivos son tanto geométricos (hexágonos y círculos, ya vistos también en Santullano) como humanos. Estos últimos revisten mayor interés porque no los volveremos a encontrar después de la etapa ramirense. Las figuras que aparecen son hieráticas, antinaturalistas y desproporcionadas. Dominan los colores rojo, amarillo y verde.
English
Up the side of Mount Naranco and about two hundred meters from Santa Maria San Miguel de Lillo rises. Part along with this , a palatal course set in which a series of pavilions built in perishable materials would also be included and are not preserved today . His dedication , observed since 908 links the temple to worship the Archangel Michael who was present in the Iberian Peninsula from the late seventh century .
The original structure consisted of a rectangular plan with three naves, the wider and taller than the side core , a tripartite head and foot of the temple , a hall , the royal gallery , stairs and several outbuildings . Speculation about the possible existence of two structures on the sides simulating the look of this transept but not yet proven .
Currently only a third of the original building is still standing because dates before 1115 suffered a collapse that ended his triple apse and three sections of the ship. According to the chronicles , the cause for this were its high vaults and the waters of a nearby stream that undermined the foundations .
After the collapse , the altar was moved to the eastern viewpoint of Santa Maria and after an undetermined period of time , the remnants that remained standing were closed with a rather sloppy wall reclaimed materials collapse and a rectangular chapel is built with a rough dome cannon to return to give the building liturgical use .
The decks of the ships that have reached us adopt a peculiar configuration . The dome that covers the nave follows a west-east axis while the side are placed perpendicular to it , ie , from north to south. The great height that are arranged (11 meters and eight central side ) conditions the use of a light construction material . It relies therefore on the tufa stone as was done in Saint Saviour Cathedral .
The separation of the ships is carried out through thick columns instead of pillars , unusual in the case Asturian architecture . Above them a semicircular arches sit with sogueadas threads and above the solid wall continues up to the vault, which is reinforced with arches . The capitals are so cubicatroncocónica and the stands are characterized by being decorated with the figures of the four evangelists and zoomorphic symbol.
Undoubtedly , one of the most complex elements of the building is the lobby , on which the royal gallery is located. Unlike those made in the period of Alfonso II , this introduces much of its volume within the building rather than as a distinct protrusion configured structure. It is covered with a barrel vault. The jambs of the door are two large monolithic pieces of stone whose major interest lies in the reliefs which decorate . They are reproductions of an ivory diptych dating from the late Roman 506. It showed the consul Areobindus inaugurating a circus games . Surely the monarch had a copy that is not preserved today . Its use as a pattern has been interpreted as a sign of royal power.
The royal grandstand evolves with respect to the view in San Julian. No standing on one side of the transept but superior to the lobby and centered on the longitudinal axis of the nave level . It is covered with a barrel vault. It has two doors with arches on each side that communicate with the access stairs and a side room. The open window on the wall to illuminate the enclosure is covered with a lattice , on a large stone slab , which presents a thorough and precious draft.
The temple was decorated inside with frescoes. The reasons are both geometric ( hexagons and circles , as also seen in Santullano ) as humans. The latter are of interest because they do not meet again after Ramirense stage. Figures shown are hieratic , anti-naturalistic and disproportionate . Dominate the red, yellow and green.
....I have truly struggled with writing this .... So here it goes ...
one thing I do not believe in bragging .. but on the other hand, I have never see the out pour, of man kind, love to one another ...
this is the help for HARVEY VICTIMS ... as well as IRMA....
this was on the church lawn, one Friday afternoon, before a ball game .. Prayer and a service of Worship was held ..
i saw folks a coming a carrying , everything from water to baby diapers, and a shovels and brooms .. non perishable goods, and these trucks, have been sent to Houston, already.
the youth pastor here, absolutely poured his heart out on love ..and I never have been blessed, in all my sweet life ..
the donations are still coming in ...
and that is about all I am a going to say ....
Except " HIS Love" Never has, and Never will fail ...
God Bless you Sweet Friends, and many prayers are still GOING UP on your behalf ... and many donations coming in ..
In the Love of the Lord ... Giving all the Thanks for the Cause of Calvary ....
Our Little County, is not but about 25,000 and that is all of us, at that ..
God Is Still on the Throne ... Blessings from TN ..
I am deleting comments, for I absolutely do not want any credits ... nor praise,,,, so glad I could help,
Giving all thanks and glory to the good Lord above ... Cindy
In Greenlandic Inuit religion, a tupilaq (tupilak, tupilait) was an avenging monster fabricated by a practitioner of witchcraft or shamanism by using various objects such as animal parts (bone, skin, hair, sinew, etc.) and even parts taken from the corpses of children. The creature was given life by ritualistic chants. It was then placed into the sea to seek and destroy a specific enemy.
The use of a tupilaq was risky, however, because if it was sent to destroy someone who had greater magical powers than the one who had formed it, it could be sent back to kill its maker instead, although the maker of tupilaq could escape by public confession of her or his own deed.
Because tupilaqs were made in secret, in isolated places and from perishable materials, none have been preserved. Early European visitors to Greenland, fascinated by the native legend, were eager to see what tupilaqs looked like so the Inuit began to carve representations of them out of sperm whale teeth.
Today, tupilaqs of many different shapes and sizes are carved from various materials such as narwhal and walrus tusk, wood and caribou antler. They are an important part of Greenlandic Inuit art and are highly prized as collectibles.
This tupilak has a height of 11 cm.
I wasn't expecting to upload a picture today because we were travelling to the boat. So, after a two hour drive we unpack the car. Where's the red bag?
Even more annoyingly, the red bag only contains food. Perishable food. Raw chicken. We could have just gone shopping again, but the thought of it sitting there... for a week... in the warm weather.... Not to mention another hellish trip to a supermarket on Bank Holiday weekend....
'ckit, we're going home to get it....
Looks like we're not setting sail first thing tomorrow morning then.
Simple Minds: (Don't You) Forget About Me (Prophetic by Pikespice I think)
We're Here: '80s songs
240/365
IMO: 9196424
MMSI: 357676000
Call Sign: 3FQG9
Flag: Panama [PA]
AIS Vessel Type: Cargo
Gross Tonnage: 7355
Deadweight: 8753 t
Length Overall x Breadth Extreme: 136.42m × 20m
Year Built: 1999
Status: Active
*A reefer ship is a refrigerated cargo ship; a type of ship typically used to transport perishable commodities which require temperature-controlled transportation, such as fruit, meat, fish, vegetables, dairy products and other foods.
Please use red/cyan anaglyph goggles, for anaglyph glasses ask your local optician.
Angkor Thom"Great City", located in present-day Cambodia, was the last and most enduring capital city of the Khmer empire. It was established in the late twelfth century by King Jayavarman VII.:378–382:170
It covers an area of 9 km², within which are located several monuments from earlier eras as well as those established by Jayavarman and his successors. At the centre of the city isJayavarman's state temple, the Bayon, with the other major sites clustered around the Victory Square immediately to the north.
Map of Central Angkor Thom
Angkor Thom was established as the capital of Jayavarman VII's empire, and was the centre of his massive building programme. One inscription found in the city refers to Jayavarman as the groom and the city as his bride.:121
Angkor Thom seems not to be the first Khmer capital on the site, however. Yasodharapura, dating from three centuries earlier, was centred slightly further northwest, and Angkor Thom overlapped parts of it. The most notable earlier temples within the city are the former state temple of Baphuon, and Phimeanakas, which was incorporated into the Royal Palace. The Khmers did not draw any clear distinctions between Angkor Thom and Yashodharapura: even in the fourteenth century an inscription used the earlier name.:138 The name of Angkor Thom—great city—was in use from the 16th century.
The last temple known to have been constructed in Angkor Thom was Mangalartha, which was dedicated in 1295. Thereafter the existing structures continued to be modified from time to time, but any new creations were in perishable materials and have not survived.
The Ayutthaya Kingdom, led by King Borommarachathirat II, sacked Angkor Thom, forcing the Khmers under Ponhea Yat to relocate their capital southeast.:29
Angkor Thom was abandoned some time prior to 1609, when an early western visitor wrote of an uninhabited city, "as fantastic as the Atlantis of Plato".:140 It is believed to have sustained a population of 80,000–150,000 people.
This Friday, Lieutenant Jean-Louis-Francis from St-Étienne goes to the Louisbrick Icehouse near the Bastion du Roy. The Icehouse allowed perishable foods to be kept cold almost all year round.
Related FB post:
A sunny Tuesday in March finds St. Paul & Pacific 1500 contending with motorists on Walker Street in Watsonville while engineer Kevin Hill keeps a light hand on the throttle of the GP15-1. A lone centerbeam released from Big Creek Lumber heads to the Union Pacific yard at Watsonville Junction.
Impaled by steel for decades, Walker Street hosted stubby spurs that fanned out from the main line to various packing sheds and canneries on either side of the roadway. Thousands of carloads of perishables were shipped annually from the Watsonville area as Southern Pacific reaped the benefits of its proximity to the fertile Pajaro and Salinas Valleys. Improved trucking practices sliced into SP's agricultural base beginning in the 1960s and the railroad never fully recovered. Now all that can be seen in the pavement on Walker Street are scars from the past.
Tuesday, March 23, 2021, 12:09 PM.
*
..."It is our task to imprint this temporary, perishable earth into ourselves so deeply, so painfully and passionately, that its essence can rise again “invisibly,” inside us. We are the bees of the invisible. We wildly collect the honey of the visible, to store it in the great golden hive of the invisible."..
Rainer Maria Rilke, Austrian poet (1875-1926) in "Letters Of Rainer Maria Rilke"
Wednesday was one of the slower days of my stay at home fall 'train-cation' and though it yielded only a few shots I do like the results.
I spent some time late morning on the east end of the old Boston and Albany and shot two trains at CP60 which I've already shared here. I had plans to meet up with two friends who were driving up from New Jersey to spend the night with me camped out in the Steaming Tender's Airbnb caboose in Palmer. On the way north they intercepted returning southbound New England Central Railroad train 608. So after wrapping up with CSXT I cut southwest into Connecticut to meet them here where they were set up and waiting at one of the signature shots between Palmer and Willimantic.
Leading the way is NECR 3317 a classic SD40T-2 'Tunnel Motor' blt. Apr. 1980 as SP 8526. The woods of Eastern Connecticut are a long way from Donner Pass, Pegra Pass, and the Siskiyous for which she was built to lug endless lumber and perishable drags east. Later this scarlet and grey beast burnished the rails of Soldier Summit and the mightiest grade of all...Tennessee Pass! As a lover of the Rio Grande just thinking of the places she's been in her more than four decade career brings a smile to my face.
But those legendary railroad locales aren't mentioned to dimish the beauty of this spot which is purely New England, a region second to none this time of year. This is about MP 36.3 on the New England Central's Palmer Sub, the ex Central Vermont, approaching the Stonehouse Road overpass. They are passing beside Eagleville Dam on the Willimantic River and according to a brochure for the town park: 'Cotton fabric was produced here from 1814 to 1931, and then shoe lasts were made until the mill was demolished in the 1950s.'
Sharp eyes will note that the trailing unit is NECR 3857 (EMD GP38AC blt. Apr. 1971 as Gulf, Mobile and Ohio 730) which is the last original blue and gold unit in service on the property dating from the road's 1995 startup.
Village of Eagleville
Mansfield, Connecticut
Wednesday October 19, 2022
in Angkor Wat, the outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m (1,150 ft) causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure
After meeting the MWCRVC 18, BNSF's Modesto to Barstow priority manifest train begins what would be one of the loudest and smokiest hill restarts I've ever seen and heard. As it begins it's pull out of Bealville during sunset. With BNSF 8179 on the point of this massive 7,000 foot train loaded down with boxcars filled with perishables from the Central Valley heading to Barstow for reclassification.
Astute tracing, planning and execution by Steven Welch provides this shot of the Z perishables descending the east slope of Donner Pass at Andover with Donner Lake in the background. Speedboats were already whizzing around the water even at this time of the morning and Truckee was a madhouse. But man is the weather better than winter!
Here's a broadside view of one of the famous "Van Swearingen Superpower Berkshire" locomotives running at track speed through the Michigan countryside as the sun sets on a cold January day. Pere Marquette Locomotive #1225 is a 1941 product of the Lima Locomotive Works and one of 11, N-1 Class Berkshires purchased by the Pere Marquette Railway. Characterized as some of the finest steam locomotives ever built, these state-of-the-art engines were designed to haul heavy freights, carrying perishable goods, at passenger train speeds. With 69" drivers, a 245 psi boiler pressure, and 69,350 lbs of tractive effort, the N-1s were more than up to the task. Sadly, there careers were pretty short, with most of them being scrapped by 1958. Just two examples of the Pere Marquette N-1 Class remain. The #1225 is not only the only operable example, but she's also the last remaining, operable Pere Marquette steamer.
The 1225 is pictured here just east of the North Smith Road Crossing, about 3 miles northwest of Owosso, MI, during a January, 2019 photo shoot on Michigan's Great Lakes Central Railroad.
Season of Photographic Eye - picture 8
Week 48, Saturday
As I have already stated I'm not interested in commercial photography (but I want to learn to create as 'professional quality' as possible, whatever it means) or photography as an art (but I want to develop my aesthetic eye to bring artistic quality in my photography). So what do I want then? Why have picked up a camera and have used so much time and effort to shoot with it? To answer to this, I'm going to break it into two different posts. As the family photography is the most important thing to me in photography (even though I don't share it as much) I'm going to start with that and to explain myself I'm going to borrow something from Roland Barthes who was a French literary theorist, philosopher, semiotician and also fascinated about photography.
In his book Camera Lucida Barthes has come up with a great term for a specific photographic quality that describes a certain ideal what I'm trying to capture with my family photography. This term is punctum and it could perhaps be translated to sting, stab or bite. In Barthes's thinking punctum relates to essence of photography and to describe this term, I'm going to offer a very similar kind of example which Barthes gives in his book – it's pure coincidence is that I too happen to have a similar kind of picture which Barthes uses in his book to explain the punctum.
In my parents' home there is an old B&W picture of my mother where she is just three years old little girl and sits next to well on a sunny day. It's an old picture taken at backyard, sun shines right into her face so she has to squint her eyes, and while I can't quite make sense of her face, it still looks like she is looking into my eyes from that picture. To me this picture is special because it reflects my mother as a small girl before I existed myself. The world of that picture is now, of course, gone and so is that little girl as well, but the light from that very moment still travels into my eyes through the photograph. Looking at that specific picture makes me realize that it was I who became dictate the life and fate of my mother. The savaging weight of the photograph makes this suddenly very clear to me. Experiencing this temporal distance, my life and the fulfilled fate of my mother's life is the punctum – a stab or sting that I feel when looking at this photograph and it makes me feel a bit melancholic. Barthes claims that the punctum and the photographs ability to bond past and presence together through a material process related to photosensitive materials is what, in the end, separates photography from all other art forms. Right or wrong, I find punctum to be very useful term for describing the feelings some photographs have in our hearts.
When I take family photographs and look them afterwards, I'm always searching if I have captured any marks of life, do the images have potential for punctum, or am I just repeating conventional visual motifs, rules of thirds, leading lines, etc. With camera I want to capture the perishableness of life before it slips through my fingers and disappears – and because of this motivation there is always a shadow of death behind my eyes and in the way I look through the viewfinder. I'm particularly fascinated by the idea that with camera I responsible for creating imagery of Aura's early childhood (and imagery of our family in general). In this work the photographic eye is a visual and psychological tool which I use (or at least try to use) to imprint interpretation of our mutual time and life into material photographs. Ultimately it's a way of loving and nurturing something I feel precious – and also a way of realizing it to myself. I can't, of course, know if I have captured the punctum with any of my pictures, because the future and what will happen hasn't happened yet, and punctum is about bonding the past and present. I can just hope that it's there, in one of those shots I've taken of our time together.
But there are also the other pictures I take (like these that I share with this season), which cannot be categorized as family pictures. With those I have different approach and different reasons as well. Luckily the Barthes also has another point of view into punctum, which I'm going to tell you more about in the next post.
Year of the Alpha – 52 Weeks of Sony Alpha Photography: www.yearofthealpha.com
Talking Byzantine times: the corridor on Nicholas island was there to lead the pilgrims to the 3rd church (Church of St. Nicholas???)
Wickham Place is the London home of Lord and Lady Southgate, their children and staff. Located in fashionable Belgravia it is a fine Georgian terrace house.
Today we are below stairs in the Wickham Place kitchen which is usually a place of happiness and harmony, but today Mrs. Bradley, known by most downstairs staff as Cook, is in a foul mood as she bangs her copper pots about on the kitchen range with a violence not often seen.
In the corridor outside the kitchen, Mr. Withers the Butler catches a couple of the Wickham Place housemaids skulking about doing nothing.
“What are you doing standing about here, cluttering the area?” he demands of them.
“We’re on a break, Mr. Withers, sir.” replies Sara unapologetically.
“Then why aren’t you in the servant’s hall, girl?” he asks sharply.
“Can’t get there, sir.” Sara replies with a shrug of her shoulders.
“Don’t be insolent girl!” Mr. Withers snaps. “What rubbish! Of course you can! It’s just on the other side of the kitchen.”
“I’m not game to go in there. Are you Tilly?” Sara asks her fellow housemaid.
“Not me, Sara!” she replies, shaking her head and putting up both her hands defensively.
It’s then that Mr. Withers hears for the first time the crash of metal against metal as pots and pans are bashed about with what appears to be some vehemence. Occasionally over the clattering noise, he thinks he hears the sob of a girl.
“Cook’s in a foul mood,” Tilly continues. “And we’ll not go in there, sir. Not for love, nor money!”
Sara nods in agreement.
“We’ll soon see about this.” Mr. Withers replies as he steels himself and marches through the kitchen door.
Cook is standing with her back to the room as she stirs something violently in a pot on the great black kitchen range, banging her wooden spoon angrily on its lip. Sitting as far from Cook as she can, Agnes the scullery maid is weeping over some big Seville oranges as she cuts them into thin slivers with a knife.
“Agnes.” Mr. Withers says when he sees her tears. “Whatever is wrong?”
“Oh,” she sobs. “Mrs. Bradley’s in a foul mood, and she set me to juicing and slicing oranges, and the juice is stinging my hands.” She holds out her careworn hands, the juice covering them and seeping into the cracks in the skin on her palms and fingers.
“Got time to gab have you, you ungrateful good-for-nothing?” Mrs. Bradly spins around with her hands on her hips, her ordinarily cheerful face as black as thunder as she glares at Agnes.
“Oh! Oh, I only meant…” but the words catch in her throat as Cook’s eyebrows arch ever so slightly higher over her angry eyes. “No, Mrs. Bradley.” She busies herself, head down, continuing to slice the oranges into thin slivers.
“Now! Now! What’s this Mrs. Bradley?” Mr. Withers asks. “This isn’t like you: upsetting a poor girl and banging the pots so loudly the Master and Mistress can hear you upstairs.”
“And a good thing too if Her High-and-Mightiness does hear me!”
“Mrs. Bradley!” Mr. Withers looks shocked.
“Well, here I am happily preparing the six course French dinner for His Lordship’s guests this evening when she summons me. ‘Just a small change, Cook’, she says all sweetness and light. ‘You’ll have to change the main course. Lord What’s-His-Face doesn’t eat red meat, but I’m sure you’ll come up with a suitable alternative in its place at such short notice. That will be all.’ And she dismisses me with a wave of her lily-white hand!”
“Well, you’re resourceful, Mrs. Bradley.”
“Have you looked at the time, Mr. Withers? His Lordship’s guests will be here in two hours, and I’ve been cooking bœuf à la Bourguignonne all afternoon!” She turns and opens the oven door and pulls out something from within its confines. “So we’ll be eating like kings for servant’s dinner shortly, and tonight they will be having chicken a l’orange instead!” She slams a partially cooked chicken on a tray on the deal table. “If I’d wanted to be a short-order cook, Mr. Withers, I’d have worked at the Café Royal! I’ve a right mind to hand in my notice!” She snatches up the jug of orange juice from in front of her, sloshing some on the table in her anger, and starts pouring it over the chicken.
“You aren’t going to though, are you Mrs. Bradley?” Mr. Withers asks with a worried look on his pale face.
“No, Mr. Withers. I’ve got too much respect for His Lordship than to walk out,” she assures him. “But her!” She raises her wooden spoon to the ceiling above her and shakes it.
“Shall I put the orange silvers on the chicken now, Mrs. Bradley?” Agnes asks meekly.
“Of course girl! I didn’t put it there for you to stare at! Get on with it, quick sticks, or His Lordship will be served a half cooked, inedible chicken, and you’ll be to blame!”
“Yes Mrs. Bradley!”
The Wickham Place kitchens are situated on the ground floor of Wickham Place, adjoining the Butler’s Pantry. It is dominated by big black leaded range, and next to it stands a heavy dark wood dresser that has been there for as long as anyone can remember. There is a white enamelled sink to one side with deep cupboards to house the necessary cleaning agents the scullery maid needs to keep the kitchen clean for the cook. In the middle of the kitchen stands Cook’s preserve, the pine deal table on which she does most of her preparation for both the meals served to the family upstairs and those for the downstairs staff.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fruit” was chosen by Gary, Gazman_AU. This tableaux is made up of part of my 1:12 size dollhouse miniatures collection. Some pieces come from my own childhood like the ladderback chair in the background. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Fun things to look for in this tableaux include:
On Cook’s deal table, the Seville oranges, the orange slices, and the roast chicken all 1:12 artisan miniatures with amazing attention to detail. All three come from Beautifully Handmade Miniatures in Kettering, England. The orange slices are so small and so fine. They are cut from long canes like some boiled sweets are but are much smaller in size!
Also, from Beautifully Handmade Miniatures in Kettering is the jug of orange juice which is also a 1:12 artisan miniature. The jug is made of very fine glass, and is half filled with glossy resin that looks exactly like orange juice.
Opposite the jug of orange juice is a Cornishware white and blue cannister. Cornishware is a striped kitchenware brand trademarked to and manufactured by T.G. Green & Co Ltd. Originally introduced in the 1920s and manufactured in Church Gresley, Derbyshire, it was a huge success for the company and in the succeeding 30 years it was exported around the world. The company ceased production in June 2007 when the factory closed under the ownership of parent company, The Tableshop Group. The range was revived in 2009 after T.G. Green was bought by a trio of British investors.
Behind the roast chicken is a jar of Gale’s Honey and a jar of Golden Shred Orange Marmalade. Gale’s Honey has been in existence as a brand in England since the early 1900s, and it still exists to this day. Golden Shred orange marmalade too still exists today and is a common household brand both in Britain and Australia. It is produced by Robertson’s. Robertson\'s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson\'s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.
The sink in the background is littered with interesting items. On the left stands an old fashioned draining board which could be removed so that the space could then be used for other purposes. It is stacked with copper pots and a blue pottery mixing bowl. Near the taps is a box of Sunlight soap and a can of Vim, both cleaning essentials in any Edwardian household. Vim scouring powder was created by William Hesketh Lever (1st Viscount Leverhulme) and introduced to the market in 1904. It was produced at Port Sunlight in Wirrel, Merseyside, a model village built by Lever Brothers for the workers of their factories which produced the popular soap brands Lux, Lifebuoy and Sunlight. Sunlight Soap was first introduced in 1884.
The ladderback chair I have had since I was around eight years old.
To the left of the sink is the food safe with a birchwood broom leaning against it. In the days before refrigeration, or when refrigeration was expensive, perishable foods such as meat, butter, milk and eggs were kept in a food safe. Winter was easier than summer to keep food fresh and butter coolers and shallow bowls of cold water were early ways to keep things like milk and butter cool. A food safe was a wooden cupboard with doors and sides open to the air apart from a covering of fine galvinised wire mesh. This allowed the air to circulate while keeping insects out. There was usually an upper and a lower compartment, normally lined with what was known as American cloth, a fabric with a glazed or varnished wipe-clean surface. Refrigerators, like washing machines were American inventions and were not commonplace in even wealthy upper-class households until well after the Second World War.
October 15, 1977. one of the Northern Pacific's "Conditionaire" covered hoppers. They were equipped with mechanical refrigeration and sprayed with insulation. They were used to keep perishable foods temperature controlled all year long
For you know that it was not with perishable things such as silver or gold that you were redeemed from the empty way of life handed down to you from your ancestors, but with the precious blood of Christ, a lamb without blemish or defect.
1 Peter 1:18-19
(Explore #35)
Despite my fascination with long exposure landscapes, once in a while I diverge into still life. It's an entirely different discipline altogether - yes, you are still bound by the dictates of light, composition and subject matter - as with any photography, but a whole new set of rules come into play. In many ways it's much easier than, for example, taking a shot on some forlorn and desolate beach - there is no travel involved, no weather or tide to consider, no frustration at the quality of the light. With still life you can shoot from the comfort of your own home or studio, where you have (more or less) complete governance over the conditions. This manufactured predictability allows you to focus more on the intricacies of how you portray your subject, whether that be a calla lilly, items of cutlery or, as in this case, three pears.
For me, many of the decisions involved are a moot point - I don't have access to studio kit with associated lighting, softboxes, rolled backdrops and other paraphernalia. In fact I don't even own a flash unit. This means there's only one true option for me in terms of lighting, it has to be natural window light. I have experimented with various improvised reflective surfaces in the past (I admit I don't own a proper reflector either!) to best maximise the potential of any light/shadow play, and as far as composition goes my decisions are probably at best... amateur, even though I do give them a great deal of consideration. I find subject matter the easiest of the three mantras to deal with, if only perhaps because I just dabble in this type of shot and therefore the 'classic' subjects are still fresh and exciting to my lens.
With a long exposure landscape, I am well versed in the necessary disciplines to achieve a satisfactory result. I can gauge a wide array of potential issues that may affect the outcome and (to the untrained eye at least!) probably appear as if I know what I'm doing. However, this shot involved me raiding our airing cupboard for a white sheet, before deciding the textures were unsuitable. A further forray into the smallest room of the house yielded a voile curtain (we are not generally a net-curtain household!) with some interesting gossamer details. Next came various set up attempts (firstly outdoors but quickly relocated to inside) to assess different light, and the crucial decision of how many pears to use. I'd originally decided on five, in line with my 'Tomatoes' image earlier in my photostream, but this was quickly reduced to three (odds are better than evens) after my wife ate one - apparently they are food items and not just props... I eventually settled on this arrangement which I'd imagine has been done before, but which appeals to my design aesthetics.
The hardest part of the shot? Something I never encounter during landscape work - trying desperately to find a way to make each pear stand up in the position I wanted! Each time I thought I had them right one would fall over, aided in no small part by one or other of our cats attacking my hands beneath the chair I used as a base. I eventually settled on supporting them with small stones. Well, it seemed a better option than cutting the bottoms off... I am of course referring to the pears and not the cats.
So, which other fields do I eventually wish to experiment with? Well, I haven't explored portraiture, and would like to address that once I have a decent 50mm or macro lens. Come to think of it, I might even be able to use my ND filters - did anyone read the article on long exposure portraiture (typically 8 seconds) using orthochromatic film in the May issue of Black + White Photography? Brilliant!
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
This is built over the original well of the icehouse built about 1720. Filled in winter from the pond nearby, the straw insulation kept ice and perishable foods during the summer. By Royal edict, the doorways faced north and were opened only after sunset.
Until the early 2000s the railways of the west country were served by a variety of mail (and perishable) trains.
By 2003 perishable traffic had disappeared and the writing was on the wall for the surviving mail trains. Doing the job for which it was designed, on 17th September 2003 67003 has just exited Parsons Tunnel at Dawlish while working 5C43,a Bristol to Plymouth empty mail train.
we must fight to seize 20%
of the so called civilized world in food spoils,
so that the world will not go hungry
join a non-perishable food per week
we have different products of a small basket,
so we save on our consumption,
Do not waste food.
there are thousands of hungry children die per day...
devemos lutar para aproveitar 20%
do que o mundo dito civilizado estraga em comida;
para que o mundo não passe fome
juntarmos um alimento não perecível por semana,
teremos produtos diferentes dum pequeno cabaz,
assim podemos poupar no nosso consumo,
Não desperdices bens alimentares.
milhares de crianças morrem há fome por dia...
LET'S SEE WHAT YOU CAN JOIN
peregrino27
It's almost an hour after sunset at Yuba Gap on Union Pacific's Roseville Subdivision. Faint rays of light still illuminate the western horizon. What little light remains still highlights the slopes of Signal Peak, in the distance.
Signals herald the approach of an eastbound train. The dull sound of traffic on Interstate 80 becomes punctuated by the roar of two GE locomotives, quickly approaching the scene. Beams of light begin to dance through the trees. The roar becomes louder and louder.....then whoosh!
In less than 30 seconds, the ZDLSKP (Delano, CA to Selkirk, NY perishable train) passes through the scene, bracketed by an AC4400CW at each end. One minute later, quiet returns to this location on the mountain....for now.
© 2015 Patrick Dirden Photography
All Rights Reserved
Chiesa di San Pietro di Ponte (1280 - 1300).
Facciata della chiesa.
Archetti pensili di varia forma con peducci, bifora con colonna centrale sproporzionata e nidi per contenere piatti in ceramica decorata.
La pietra arenaria locale, materiale estremamente deperibile.
Church of San Pietro di Ponte (1280 - 1300).
Facade of the church.
Hanging arches of various shapes with corbels, mullioned window with disproportionate central column and nests to hold decorated ceramic plates.
Local sandstone, an extremely perishable material.
_MG_4984m
December 14th 1967
Mirfield
This slighly blurred and grainy image shows a Peak on a perishables train - an unusual loco for this type of working at this time. D86 (later 45105) is seen heading for the Calder Valley mainline - the train may have been heading for Bradford. Holbeck Class 24s and 25s were the more usual power for these workings.
Re-scanned July 2020.
Ref B2-73
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The concept translates into the archetypical lighthouse conical shape, reduced to its simplest expression and conformed to the lifeguard stand proportions and wrapped in aged wood. The Beacon will act as a temporary drop-off location for non-perishable items such as canned food or clothes.
Building upon last year’s participation from OCAD, Ryerson University and Laurentian University, 2017 sees teams from three schools submitting design concepts; University of Waterloo, University of Toronto and Humber College School of Media Studies & IT, School of Applied Technology. Source:https://www.canadianarchitect.com/exhibitions-installations/winter-stations-2017/1003737469/