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i'm sick in bed today.
it's a gorgeous, sunny day outside and i have tons i should be doing, but instead, here i lie.
posting photos and feeling like crap.
ugh.
i was just going to post a short quote with this photo, but this bird so gave me the creeps yesterday ( it was the size of a cat and never stopped watching me out of the corner of his eye ), that i felt he deserved the whole poem.
i don't know, maybe it's just my fevered brain...
it's a long piece, but fun if you have the time. ;)
______________________________________________________________________
The Raven. By, Edgar Allan Poe
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
Invictus
Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever Gods may be
For my unconquerable soul.
In the fell clutch of circumstance,
I have not winced nor cried aloud.
Under the bludgeonings of chance,
My head is bloodied but unbowed.
Beyond this place of wrath and tears
Looms but the horror of the shade.
And yet the menace of the years
Finds and shall find me unafraid.
It matters not how straight the gate,
Nor how charged with punishments the scroll.
I am the master of my fate,
I am the captain of my soul.
-- William Ernest Henley
At the age of 12 Henley became a victim of tuberculosis of the bone. In spite of this, in 1867 he successfully passed the Oxford local examination as a senior student. His diseased foot had to be amputated directly below the knee; physicians announced the only way to save his life was to amputate the other. Henley persevered and survived with one foot intact. He was discharged in 1875, and was able to lead an active life for nearly 30 years despite his disability. With an artificial foot, he lived until the age of 54. "Invictus" was written from a hospital bed.
Hilo de la Fotohistoria en Pullip .es: THE DATE (1 of 1) /
LA CITA (1 de 1)
(Read in order, this is: SHOT/FOTO 31 of 36) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36.
FOTOHISTORY: In English / En Español
Shin: … O_O
/
Shin: … O_O
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
View On Black------------------------------------------- Clika aquí para ver Mejor
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Datura stramonium es una especie botánica de planta del género Datura, de la familia de las SolanaceaeGeneralidades
El estramonio es una planta venenosa cosmopolita, de la familia de las solanáceas naturalizada en zonas templadas de todo el mundo. El género datura contiene varias especies parecidas y polimorfas, todas ellas tóxicas de las cuales esta es la más extendida. Crece en zonas eutrofizadas como orillas de ríos, establos, estercoleros, escombreras y vertederos de basuras. Es indiferente al tipo de suelo, siendo más vigorosa en los húmedos con nitratos abundantes. No es consumida por el ganado, quizá por su desagradable olor. Popularmente se conoce como burladora, chamico, toloache, estramonio, revientavacas, hierba del diablo, hierba hedionda, higuera del infierno, higuera loca o manzana espinosa1 Suele confundirse con el toloatzin o toloache mexicano (Datura innoxia) y con el floripondio o floripón (Brugmansia arborea). Entre las sustancias constituyentes se encuentran alcaloides tropánicos, que en pequeñas cantidades son tóxicos o estupefacientes, como atropina, hiosciamina y escopolamina, caracterizados por provocar reacciones anticolinérgicas y en cantidades mayores, causan síndrome atropínico o la muerte.
Ecología
Es una planta anual que alcanza alturas de 1,5 metros, caracteristica del género datura de la familia de las solanaceas. su aspecto recuerda a una pimentera (capsicum) ya que tiene un vago parecido en el porte y en el fruto, sobre todo en la disposición de las semillas en el fruto.
Tiene flores blancas a veces tirando a amarillentas o verdosas en forma conica o de trompeta, bastante grandes en relación a la planta. La planta florece en verano y comienzos de otoño. Las hojas son lobuladas y de color verde oscuro. Presenta una raíz blanquecina y numerosas raicillas. El tallo y las ramas son redondos, lisos y verdes matizandose el verde a tonos más claros. Toda la planta es lampiña. La planta desprende un olor fuerte y es llamativa. Facilmente reconocible por sus flores y el fruto espinoso. El fruto es al principio bilocular, pero cuando madura se forma un falso tabique, excepto en las inmediaciones del ápice, con lo que el fruto maduro consta, casi por completo, de cuatro cavidades. El fruto maduro es una cápsula espinosa de unos 3-4 cm de longitud. Las semillas de estramonio son de color pardo oscuro o negruzcas de contorno reniforme y de unos 3 mm de largo.
Es especie de hábitat terrestre y en México crece en bosques de encino, pino, pino-encino y otras coníferas, a una altitud de 1900 a 2500 msnm, ruderal, arvense. En España y otras zonas de clima templado se dá desde el nivel del mar.
Se puede encontrar también a menor altitud, especialmente en terrenos que han sufrido perturbaciones y tienen altos contenidos en nitrógeno como huertas recién labradas y terrenos removidos para construcción, entre otros.
Aunque es planta nativa en Sudamérica y la India, en la actualidad es cosmopolita y muy común en Europa, donde se usa en jardinería.Historia
venenoso
El estramonio fue cultivado en Inglaterra por John Gerard, hacia el final del siglo XVI, a partir de semillas obtenidas en Constantinopla (Turquía). El uso de la droga se debe, en gran parte, a las experiencias de Störck.
La denominación genérica Datura deriva del nombre del veneno dhât, que se prepara a partir de especies indias y fue utilizado por los miembros de la letal secta thag.
Es una planta psicoactiva y sus alcaloides a partir de determinadas dosis presentan efectos neurotóxicos. De todas las partes de este vegetal, las semillas son las más tóxicas, ya que más de 30 pueden constituir una dosis letal. Cinco gramos de la planta causan envenenamiento. Contiene los alcaloides: hiosciamina, escopolamina y atropina. La actividad anticolinérgica de estos alcaloides produce un delirio alucinatorio incontrolable de numerosas horas, cuando no la muerte2 , puesto que es la más venenosa de todas las solanáceas, potencialmente peligrosa incluso en su uso chamánico, aunque ha sido empleada para prácticas adivinatorias desde la antigüedad. A partir de Datura stramonium el químico alemán Albert Ladenburg aisló en 1881 la escopolamina.
Su uso está restringido a algunas poblaciones nativas de América, sobre todo las hojas que las usan en altares, los chamanes la fumaban junto con el tabaco para entrar en trance. Evidencias arqueológicas y arqueobotánicas indican su presencia en contextos funerarios en el período alfarero temprano del centro de Chile (Planella et al. 2006). En la cultura mapuche existe la práctica de suministrar a los niños una vez en su vida esta planta, llamada «miyaye» en idioma mapudungun, para predecir su futuro de acuerdo con el comportamiento que tengan al estar bajo sus efectos.
Muy pequeñas cantidades bastan para inducir una intoxicación grave o mortal y la ingestión de cuatro o cinco gramos de hojas basta para matar a un niño.2 Se ha documentado un caso de intoxicación colectiva ocurrido en Jamestown, Estados Unidos, en 1616, cuando con ocasión de una rebelión el capitán John Smith dio a sus soldados una ensalada que contenía unas pocas hojas de datura.
En caso de envenenamiento, conviene hospitalización de urgencia. Normalmente se tratará de manera sintomática: lavado de estómago, sedación por inyección de benzodiazepinas y rehidratación. Se reproduce fácilmente por semilla. No recibe manejo especial. Para reproducirla hay que dejar remojando sus semillas una noche en agua tibia, a la mañana siguiente hay que sembrarlas.
An early morning mist rises off Beardy Waters just north of Glen Innes as the suns rays start to find their way through the trees and light up the countryside.
Taken during the 1200kms for Kids Charity Bike Ride... as the riders braved the icy air, I stopped to grab some of the pretty countryside in this part of the world.
The Beardy Waters is a river, which is about 70 kilometres (43 mi) in length, in the Northern Tablelands region of New South Wales, Australia.
The Beardy Waters rises near Ben Lomond Mountain south of Glen Innes in the New England region. It flows north to the east of Glen Innes, New South Wales and then north-west to where it joins the Severn River (New South Wales) below Rangers Road.
The name of the river derives from two bearded stockmen who were among the first European settlers of the district through which the river flows. The river was previously known as: Maybole Creek, The Beardy Water, Beardy River and The Beardy Waters.
A weir construction across the Beardy Waters was commenced in October 1930 after a grant of ₤5,500 was made available for the work. This money was granted to pay men working on unemployment relief. Completed in July 1932 at a cost of ₤10,847 it has a capacity of 100 million imperial gallons (450,000 m3) with the flood gates closed.
Sant Romà de Sau, Girona (Spain).
Title thanks to / Título gracias a carolinabalmes (Karol).
ENGLISH
The reservoir of Sau, constructed between 1949 and 1962, covered the town of Sant Romà de Sau, the rest of which, specially of the bell tower of the romnesque church of 11th century, they are visible when the level of the dammed water is low and at times of drought prolonged the town is in the open and even it is possible to visit.
The origins of Sau go back to year 917, and the parochial church to 11th century. The present population formed in 1962 when finalizing the construction of the dam and the waters had to cover the old town of Sant Romà de Sau. Although he was enough uninhabited (in the nomenclator of 1860 the parish appeared like “uninhabited”), counted with some masias, a Romanesque bridge and a Romanesque church of 11th century of Lombard style.
At the moment of the photos the reservoir is approximately at 10% of its capacity, its historical minimum, mainly because the long run drought that has been undergoing this part of Catalunya for years. The proliferation of nonnative fish introduced by practisers of sport fishing, the low water level and the high insolation of the zone cause a high level of plancton and microscopic seaweed that contaminates the water, reason why in autumn of the 2005 began a draining of this dam in the one of Susqueda to improve the quality of the drinking water, and the collection of fish before they die by lack of oxygen and gets worse still more the quality of the water. Rains of October 2005 temporarily interrupted the draining, that has become to reactivate at beginning of 2008.
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CASTELLANO
El pantano de Sau, construido entre 1949 y 1962, cubrió el pueblo de Sant Romà de Sau, los restos del cual, especialmente del campanario de la iglesia románica del siglo XI, son visibles cuando el nivel del agua embalsada es bajo e incluso en épocas de sequia prolongada el pueblo queda al descubierto y es posible visitarlo.
Los orígenes de Sau se remontan al año 917, y la iglesia parroquial al siglo XI. La población actual se formó cuando en 1962 al finalizar la construcción del embalse y las aguas debían cubrir el antiguo pueblo de Sant Romà de Sau. Aunque estaba bastante despoblado (en el nomenclátor de 1860 la parroquia figuraba como "deshabitada"), contaba con algunas masías, un puente románico y una iglesia de estilo románico lombardo del siglo XI.
En el momento de las fotos el embalse está aproximadamente al 10% de su capacidad, su mínimo histórico, debido principalmente a la larga sequía que sufre esta parte de Catalunya desde hace años. La proliferación de peces no autóctonos introducidos por practicantes de pesca deportiva, el bajo nivel de agua y la alta insolación de la zona provocan un alto nivel de plancton y algas microscópicas que contaminan el agua, por lo que en otoño del 2005 se inició un vaciado de este embalse en el de Susqueda para mejorar la calidad del agua potable, y la recogida de peces antes de que mueran por falta de oxígeno y empeore aún más la calidad del agua. Las lluvias de octubre del 2005 interrumpieron temporalmente el vaciado, que se ha vuelto a reactivar a primeros del 2008.
Zuki really wants a duck. He still loves his seal, "Club", but he's not getting along with whale or pig that much. He hasn't even bothered to name them.
I wanted to put that in illustration tonight with duck boots, which were promised at my last Bench Monday, but he threw a hissy fit.
"NOT DUCKS, MUM! THESE ARE NOT DUCKS!"
So he's back in the closet. I'm hoping he comes out for tomorrow's shot which will be a face down tuesday, but includes a bed. Unfortunately, that will disqualify the shot as a "Face Down Tuesday", but I also said on Wednesday that I would explain why I couldn't sleep until 3AM.
So much catching up to do. I feel that I've neglected my contacts horribly. They started making me actually do work at work. It's 10:20 and I'm just uploading, and I swore I'd try to sleep like a semi-normal person this week.
www.youtube.com/watch?v=qswm7lHp7oY
Listen, children, to a story
that was written long ago,
'Bout a kingdom on a mountain
and the valley-folk below.
On the mountain was a treasure
buried deep beneath the stone,
and the valley-people swore
they’d have it for their very own.
Go ahead and hate your neighbor,
Go ahead and cheat a friend.
Do it in the name of Heaven,
You can justify it in the end.
There won't be any trumpets blowing
come the judgment day,
on the bloody morning after....
One tin soldier rides away.
So the people of the valley
sent a message up the hill,
asking for the buried treasure,
Tons of gold for which they'd kill.
Came an answer from the kingdom,
"With our brothers we will share
all the secrets of our mountain,
all the riches buried there."
Now the valley cried with anger,
"Mount your horses! Draw your sword!"
And they killed the mountain-people,
so they won their just reward.
Now they stood beside the treasure,
on the mountain, dark and red.
Turned the stone and looked beneath it...
"Peace on Earth" was all it said.
Go ahead and hate your neighbor,
Go ahead and cheat a friend.
Do it in the name of Heaven,
You can justify it in the end.
There won't be any trumpets blowing
come the judgment day,
on the bloody morning after....
One tin soldier rides away.
This year we had so much rain in the North East, it rained all but two days in June.
As a result, it had a negative impact on honey bee gathering.
In our temperate climate if the bees run out of honey in the winter, they all could starve to death.
If the hive believes their isn’t enough honey reserves, a number of bees will leave the hive and freeze to death to save to hive….
Although this is a sad sight, we wouldn’t want to lose the hive……..
This is a wild hive I rescued and relocated it at the Boy Scout Pouch Camp, with the help from my good friend and Ranger, Gil
Oh………..
I can say all of this now……
……………..WE WON THE FIGHT MY LOVELYS…………..
Bee Keeping is legal in New York City as of last Friday……….YEAH!!!!!!!
I had to hide all our hives and all our rescue work was a secret as well…
After the snow storm about thirty bees were cast out of the hive, I found them dead at the base of the entrance.
I found one still holding on to life…..
My One Tin Soldier……. had an extra moment of life with me
I held him in my warm hand then placed him in the hive, a few seconds later he dropped out and landed next to his mates.
A tear came to my eye………..
But I knew it has to be this way……..
Sliced strawberries with yogurt dip.
INFORMATION ON THE STRAWBERRY:
The Garden strawberry (Fragaria × ananassa and related cultivars) is the most common variety of strawberry cultivated worldwide. Like other species of Fragaria (strawberries), it belongs to the family Rosaceae. Technically, its fruit is known as an accessory fruit, in that the fleshy part is derived not from the plant's ovaries (achenes) but from the peg at the bottom of the bowl-shaped hypanthium that holds the ovaries.
The Garden Strawberry was first bred in Europe in the early 18th century, and represents the accidental cross of Fragaria virginiana from eastern North America, which was noted for its flavor, and Fragaria chiloensis from Chile, which was noted for its large size.
Cultivars of Fragaria × ananassa have replaced in commercial production the Woodland Strawberry, which was the first strawberry species cultivated in the early 17th century.
Several theories exist in popular etymology as to the origin of the English name "straw" berry:
It could come from gardeners' practice of mulching strawberries with straw to protect the fruits from rot (a pseudoetymology that can be found in non-linguistic sources such as the Old Farmer's Almanac 2005).
It might derive from the Anglo-Saxon verb for "strew" (meaning to spread around) which was streabergen (Strea means "strew" and Bergen means "berry" or "fruit") and thence to streberie, straiberie, strauberie, straubery, strauberry, and finally, "strawberry," the word which we use today. The name might have come from the fact that the fruit and various runners appear "strewn" along the ground.
Source: Wikipedia
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I had this song stuck in my head during this shoot.
"Bruised" - Jack's Mannequin
"I've got my things, I'm good to go
You met me at the terminal
Just one more plane ride and it's done
"We stood like statues at the gate
Vacation's come and gone too late
There's so much sun where I'm from
I had to give it away, had to give you away
"And we spent four days on an
Island at your family's old hotel
Sometimes perfection can be
It can be perfect hell, perfect...
"Hours pass, and she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
And don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised
"I lace my Chucks, I walk the aisle
I take my pills, the babies cry
All I hear is what's playing through
The in-flight radio
Now every word of every song
I ever heard that made me wanna stay
Is what's playing through
The in-flight radio, and I
And I am, finally waking up
"Hours pass, and she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
Don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised, yeah
"So read your books, but stay out late
Some nights, some nights, and don't think
That you can't stop by the bar
You haven't shown your face here since the bad news
Well I'm here till close, with fingers crossed
Each night cause your place isn't far
"And hours pass, and hours pass, yeah, yeah...
"Yeah, yeah, she still counts the minutes
That I am not there, I swear I didn't mean
For it to feel like this
Like every inch of me is bruised, bruised
And don't fly fast. Oh, pilot can you help me?
Can you make this last? This plane is all I got
So keep it steady, now
Cause every inch you see is bruised, bruised, bruised"
-
Nikon D90
18-105mm VR
SB-900 w/ shoot through umbrella, camera left
South of Jenner, CA at the mouth of the Russian River
©2008 David S. Nadal. This photo may not be used in any form without prior permission. All rights reserved.
The story of the cow that was in a place no cow had any business being.
I wanted to be in Ft. Bragg before 11:30 that night. After driving up from Monterey, I survived the fun and joy of damn near running out of gas between SF and Bodega Bay (there were 18,000 effing people at Stinson Beach...not one gas station? I scored half a tank at Pt. Reyes Station, and then topped off at Bodega Bay...at which point I relaxed, toddling alongside Tomales Bay, taking a little side trip to see St. Theresa de Avila Church in Bodega (Ansel shot it, and the classroom in back was the one you see in Hitchcock's The Birds), and then wandering up the Sonoma Coast. Loved it; have to go back.
I found this place called Goat Rock State Beach, and it was beautiful...the sign up the road from the park entrance said 30 mi. to Ft. Bragg, so I figured I was golden for the sunset. I pulled over on the headland overlooking the beach, and a stream of hippies trundled past on their way down to do who knows what. I set up, pulled the folding chair out of the truck and kicked out until the light show started. Well worth staying, don't you think?
After the show ended, there were other things going on on the hillside behind me, so I was shooting some loooong exposures of the leftover light when the hippies began their exodus. I was timing the 20" exposures between cars...and dust. All of a sudden, one of them pulls over in a big cloud of dust, and a serious hemp-wearing modern-day pagan woman with essential oils in her dreadlocked hair sticks her head out the window and says, "Duuuude! Did you catch the green flash, man? Tell me you caught the green flash...ever so righteous!" Uh, no, and you're getting dust on my gear. Head retreats into vehicle, "Oh, dude is too harsh." Zip, up goes the window and off they go. More dust.
I hope all that doesn't make me sound like some kind of crew-cut reactionary, it's just that any kind of large group with similar interests tends to reinforce the worst aspects of its particular obsession...hippies, gun people, photographers, whatever...and these folks were living up to every NorCal/Lost Coast stereotype you could imagine.
Anyway, they fled...to the nearest spirit lodge, I don't know, and I dusted off the gear and packed up. I get back out there on the 101---or is it the 1 by then?---and, as I'm driving past, I notice that the sign that I thought said 30 miles to Bragg had been amended by the local nonhippies: in reality, I had 80 miles to go. And I had no idea what those 80 miles were like!
We've established that I'm not a fan of edges, particularly when I'm behind the wheel. The Pacific Coast Highway may not be the hairiest road ever, but damn! it has its moments, and the section north of Jenner is right up there on the hairy scale. I tootle northward, when all of a sudden, in the twilight, Satan's Rollercoaster begins. At every hairpin, 220° corner, there's just enough light to see the 500,000-foot drops to the ocean below. And my brakes were not feeling their freshest (they were wearing, but not worn out, and the wear wasn't precisely even, so odd noises and pulling ensued). I'm managing 15 to 25 miles an hour, when an early 70s, avocado-green, Cadillac Coupe deVille convertible arrives on my back bumper. You know, those enormous things you could sleep stretched out in either front or back seat, or play ping-pong on the hood. Obviously a local: knows the road blindfolded and drunk, and begins to try to push me faster.
The dance goes on for four or five miles: no passing zones, no pullovers. Finally, we hit a spot that runs maybe 150 yards straight, and he roars by, saluting...evidently not on his way to the spirit lodge. I am quite pleased by this turn of events, and return the salute with equal vigor. We both feel better, and I settle back in to the 15-25 mph routine I'd established.
Then, I come upon it. Downhill, outside hairpin, 245° degrees, those shitty CCC/WPA rock 'guardrails'...the ones that look like headstones. This one is subsiding so bad that CalTrans has preset materials and equipment and a jobshack so they can get right to work every time it fails. The brakes are groaning, my innards are turning to whatever Clif Bars turn into when that's all you've eaten since breakfast, and I am cursing the Governator roundly. I'm gritting my teeth, and watching the edge, when I look to the inside of this curve from hell, and there is a lone cow, standing there, looking back at me, chewing its cud.
The drop off to the ocean side is sheer; the cliff on the inside of the curve is just as steep...and it's been that way all the way through the curve, and it continued on that way for quite a while after. Me and the cow, we made a connection, and shared a moment: I'm wondering, how the hell did you get out here? Cow is thinking, "Dunno, but the grazing is killer-diller, dude." At which point, I redirect my attention to the rapidly approaching EDGE, and drag my vehicle back from impending doom and into its assigned lane.
After that, a strange, bovine placidity infused me; the curves and edges, they were still there, and they were still hairy, but it was OK. My friend the cow managed to pass along that deep, deep cow-tao-like wisdom, bordering on catatonia, and I was going to make it. And I did. After cell service resumed somewhere around Pt. Arenas, I was able to call ahead to the Super 8 and let 'em know I was late. They left the keycard under the mat for me. I arrived at 11:30 on the dot. But that was OK. Moo, moo, buckaroo.
This ran in shorter, more readable form on Seattlest.
This is Red Mill Burgers, in Seattle's Interbay neighborhood at 1613 West Dravus.
This store opened in 1998. The first store was a bit north in the Phinney Ridge, and opened a few years earlier.
The old photo at the Seattle Municipal Archives shows the same building in 1960, with "Interbay Pharmacy" painted on the side. Needless to say there was no Starbucks in the background.
Whenever I look at photos taken by government employees, I think "why?" More than 9 times out of 10 there was a good reason to take the photo and then subsequently archive it -- it wasn't a random photo like you or I take. Sometimes you can tell by the file that it's in, or the assession number. Other times it's the story of the building or business that clear it up. It takes a bit of digging to find that.
A quick web search shows that Interbay Pharmacy is older than 1960. Google Books has several trade magazines like a 1907 edition of "The Pharmaceutical Era" which mention Interbay Pharmacy. This first mention is worth quoting:
"W. S. Pierce, proprietor of the Interbay Pharmacy, Seattle, Wash., was blown by a gas explosion from the rear end of his store almost to the front door the other day. When he opened his store, Pierce started a fire in the gas stove, but he had no sooner applied the match to the jet than he felt himself propelled toward the door. The explosion had driven out the glass, thus making a clear path into the street."
A 1916 issue of "The Era Druggist's Directory of the United States..." lists Interbay Pharmacy, but gives a different address: 1500 Grand Boulevard. I've looked at enough engouh old plat maps of Magnolia to know that Dravus used to be known as Grand Boulevard. So the pharmacy used to be over at 15th.
But we're still missing the story here. I'm going to switch to tutorial mode to show you how I found out the "why" and at the same time learned an important part of this neighborhood's history.
When I'm dealing with a property, after a quick web search the next thing I like to do is open King County's Property Viewer or iMap to check it out. I'll cheat for you. Here's 15th and Dravus. Down in the bottom right, expand "Imagery" and choose "1936 B/W Aerial Photos". After the map refreshes, it shows that 15th Avenue used to look quite a bit different. It was just a small local road like 14th or 16th. 1500 Dravus, which would be the northwest corner, is right in the middle of the blank space. (The square are property, and long lines are roads; blank space is public property, usually streets.)
The assessor's report for 1613 Dravus, meanwhile, tells us that the Red Mill building was constructed in 1959.
The scenario is beginning to play out... a city employee photographs the new home of Interbay Pharmacy in 1960. The old home at some point became a city street.
The next step is to hit the Seattle Times archives and see what it says. These archives are one of the greatest and most frustratingly hidden secrets in local history. 1900-1923 are currently only available through a database called World Newspaper Archive, available locally through the University of Washington. From 1923-1980 are also covered in a database called America's GenealogyBank, which you can get at from home with your library card, click the link here.
I narrowed the search to newspapers, in Washington, and just for the kewords "15th widening" in 1952-1960. Result #4, 1959-06-02 page 20, is perfect:
"The city began condemnation proceedings in Superior Court... yesterday for widening 15th Avenue West form West Garfield Street to the Ballard Bridge.
"Twenty-two feet will be taken on much of the west side of the avenue. The east side will not be affected.
...
"A six-lane depressed roadway will go beneath Dravus Street, whish will remain at its present grade.
...
"Wilcox said 98 pieces of real estate are involved. He said settlements are being arranged with all but five owners."
So there's our story. Interbay Pharmacy, as well as all of the other pioneer businesses at the intersection of 15th and "Grand Boulevard" -- and all of the well-established homes on the main street between Seattle and Ballard -- were destroyed in 1959 to widen 15th to add six lanes of traffic.
It's odd that such a big deal is made about Interstate 5 and the other freeways, but no one talks about major widening projects like this. The monorail project which was supposed to be built to Ballard would have run on 15th. I remember an editorial in the Times or PI which railed that 15th was inhospitable to people, it was a car street that wasn't built for mass transit. There were so many editorials arguing that we couldn't afford to transform our city, which was built for car travel. But when you really look back, you find that our city was, of course NOT built for cars, but built for streetcars and people. We spent truckloads of money to rebuild it for cars.
Strips like 15th are still recovering from the economic hammer that was dropped.
BTW, Red Mill has great burgers. Get some onion rings while you're at it! There's bus service on 15th if you can afford the time and money.
Cubelles, Barcelona (Spain).
Effects of the East storms. / Efectos de los temporales de levante.
ENGLISH
The reclaimed wetlands of the river Foix estuary have made this area into one of the main attractions of the town. The River Foix, which is dry during most of the year due to construction of the Foix Resservoir is another of the most emblematic places in Cubelles. At the Foix estuary, you can spend the day enjoying nature and birthwatching, or at one of the picnic areas. This zone is also intended for school visits, as it is a place where children can study the ecosystem of a Mediterranean river such as the Foix.
The estuary is separated from the sea by a sand barrier which has accumulated over time, due to sea currents and rainwater sediments, forming freshwater laguens behind the barrier. The natural area of the Foix Delta has a branch of land that sticks out into the sea. This was formed during the floods of 1994 and joins onto another branch, leaving an island in the middle. Tourists can visit the island by crossing a wooden footbridge.
Source: www.cubelles.net/docs/20050211004068.htm
----------------------------------
CASTELLANO
La recuperación de los espacios húmedos de la desembocadura del río Foix ha convertido la zona en una de las de mayor atractivo del municipio. El río Foix -que desde la construcción del pantano del Foix está la mayor parte del año seco- es otro de los elementos más emblemáticos de los cubellenses. En la desembocadura del Foix, además de poder pasar un día rodeado de la Naturaleza, se puede observar el comportamiento de las aves autóctonas de esta zona o disfrutar de las áreas de picnic. El espacio también está dirigido a las escuelas, que pueden visitar y estudiar el ecosistema de un río mediterráneo, como es el del Foix.
Su desembocadura está separada del mar por una barrera de arena acumulada por las corrientes marítimas y los depósitos pluviales, formando lagunas de agua dulce en su interior. El Espacio Natural del Delta del Foix, mantiene el brazo de salida al mar que se formó por las riadas de 1994, a la que se ha añadido un segundo brazo dejando una isla en el medio, conectada con la zona de entretenimiento a través de unas pasarelas de madera. Otra pasarela de madera sobre uno de los brazos del río, sirve de punto de observación del desarrollo natural de la desembocadura del Foix.
Hilo de la Fotohistoria en Pullip .es: SHIN VISITS NOIREL (1 of 1) /
SHIN VISITA A NOIREL (1 de 1)
(Read in order, this is: SHOT/FOTO 36 of 55) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55.
FOTOHISTORY: In English / En Español
Noirel: Hahahaha, XD What are you doing?? ^_^u
/
Noirel: Jajajajaja, XD Pero que haces?? ^_^u
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
© Brian Callahan 2009 All rights reserved.
The Trump International Hotel and Tower, also known as Trump Tower Chicago and locally as the Trump Tower, is a skyscraper condo-hotel in downtown Chicago, Illinois. The building, named after real estate developer Donald Trump, was designed by architect Adrian Smith of Skidmore, Owings and Merrill. Bovis Lend Lease built the 96-story structure, which reached a height of 1,362 feet (415 m) including its spire, its roof topping out at 1,170 feet (360 m). It is adjacent to the main branch of the Chicago River, with a view of the entry to Lake Michigan beyond a series of bridges over the river. The building received publicity when the winner of the first season of The Apprentice television show, Bill Rancic, chose to manage the construction of the tower.
Trump announced in 2001 that the skyscraper would become the tallest building in the world, but after the September 11, 2001 attacks, the building plans were scaled back, and its design has undergone several revisions. When topped out in 2009 it became the second-tallest building in the United States after Chicago's Willis (Formerly known as "Sears") Tower It is expected to be surpassed by the Freedom Tower in New York City in the middle of 2013, and by the currently on-hold Chicago Spire if completed. Trump Tower surpassed Chicago's John Hancock Center as the building with the world's highest residence above ground-level and will hold this title until the Burj Dubai claims it.
The design of the building includes, from the ground up, retail space, a parking garage, a hotel, and condominiums. The 339-room hotel opened for business with limited accommodations and services on January 30, 2008. April 28, 2008 marked the grand opening with full accommodation and services. A restaurant on the 16th floor, called Sixteen, opened in early 2008 to favorable reviews for its cuisine, decor, location, architecture, and view.
The building topped out in late 2008 and construction was completed in 2009.
For Christmas '08, my wife got me a nice shaving kit which included a Gillette Mach 3 razor. (featured here) I used it for a year, and was about to buy another pack of M3s when I realized how freaking expensive they were. I decided to give a Double Edge razor a shot. My per razor cost went from $2.25 to ¢10 (¢25 if I splurge and get the really nice ones.) The dirty little secret that Gillette doesn't want you to know: disposable cartridges with multiple blades do not necessarily give you a better shave. They're simply a matter of convenience, but that convenience comes at a price. If you'd rather not do the DE razor, go with something like a trac II, Atra, or Sensor... anything else is just more expensive, not better. Eventually, using the DE is just second nature.
I used that for a few months and decided to give a straight raozr a shot. Some say it's the closest shave you'll ever have, but I'm not quite there yet. I haven't got the nerve to go against the grain. One thing though... it feels kind of bad ass to shave with a straight. It takes me probably an extra 5-10 minutes to shave this way than it would with a regular razor, but it's worth it. No more wasting of plastic cartridges... and my use of DE razors is greatly reduced.
For this shot, I used a cross processing technique. Here's the tutorial I used. It's specific to GIMP. Mr. Sharp referred me to one for photoshop... I couldn't quite get it to work, which I think is the result of not having 'effect layers' in gimp. I probably could have adapted it to work in GIMP, but the other one seems to work on a similar premise, and required no translation on my part.
I also did the orton effect, in conjunction with the "smart sharpen" (see previous) The smart sharpen is quite a few steps, but worth it.
Question for those that might know: this cross processing technique is very similar to what I've seen for lomo effect. The end result is somewhat similar too. Makes sense because the distinctive use that lomos became famous for was because the film was developed with a cross process technique. So, my question is, what distinguishes digital lomo edits from other types of cross processing?
Eve Strange - Model Mayhem #103520
Coogan Photo - Model Mayhem #518290
Model: Eve Strange - The Three Faces of Eve
Location: Shhhhhhh... it's a secret.
Lighting:
• Main light on model left: 4x6 Chimera with SB800 @ 1/4 -1/3 power.
• Back right side light: SB26 @ 1/2 power with 6.5" snoot
Photoshop: minimal
Many thanks to the seven photo assistants for helping me with the shoot.
John Groseclose - iaincaradoc, Geoff Reed, Lou Mangino, Steven Goldstein (keyholeprod), James Alan - Jim (Jimynd), Terry Hogan, Jeremy.
Learn how to light at Strobist.
A friend of mine restores classic cars for a hobby/side-job and asked me to come over and shoot one of his cars. This is actually the '65 Mustang that he built for his mother. This classic started out as a coupe, but he changed it to a convertible. He also customized the front end and back end. The engine is also not original. He replaced it with a 302 from a late 80's Mustang. The car is really beautiful. He does nice work.
This was my first attempt at shooting a car and it definitely presented some challenges. I used my two speedlights to light it and ended up compositing several shots in Photoshop to get the right lighting and look I wanted. I was shooting the speedlights at full power and sometimes 1/2 power since I had the aperture tighted up to f10. Could have really used some Alien Bees or something here. Anyway, I think I did a pretty good job and the end result is pretty cool. I showed this final shot to my friend and he was really happy with it, which is what really matters here.
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Equipment: Canon 40D, EF-S 17-55mm f2.8 IS USM
Strobist: main image and base image for background: 580EX II, camera left, bounced in 45" umbrella, LP120, camera right, bare aimed at side of vehicle.
layer: LP120, camera right, bare, aimed at front fender and wheel.
layer: 580EX II, camera right, handheld over the back end of the car, through umbrella to light up the convertible top cover a bit more.
Im going to be very nervous this wednesday as i get to meet Sebastian Boyesen.
www.bbc.co.uk/iplayer/episode/b00szzhv/Angel_of_the_Valleys/
While i was at The Miner today was talking to a local who's Husbands father and his brother died in the disaster
Sorry for the poor quality low resolution uploads as you may have gathered this is my first commission for a book on the mining disaster.
This image is copyrighted to David Smith; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at daismiff39@hotmail.com for express permission to use any of my photographs.
Tragedy at Six Bells
By David John Withers, Brynmawr
My father worked in the colliery all his life and I sort of followed him into the pit. I went to work in Six Bells Colliery at 17 years of age.
When I first went on the 0.18 coal face as a collier's helper I was introduced to my 'batty' Reggie Poe who showed me the tools we were using and two chalk marks 15 yards apart on the coal face. This was our working place, 15 yards long by 4-foot-6 deep by 5 feet high. I thought 'bloody hell' - it seemed a huge amount of coal to shift.
Although the other coal faces in our district were more modern with hydraulic roof supports, we were still using the older friction posts and linked bars. I've still got the scars where one of the bars came down on me!
We had quite a few problems with gas on the 0.18 coal face and the dust was killing. At times the conveyor would start up and you couldn't see each other until the dust settled down.
As boys we often refused to go onto the face because of the amounts of dust there - being youngsters we stuck together even when the officials threatened to send us home. It wasn't much of a threat as I was only earning about £6 odd!
I had been working about two years when the explosion happened. I was working on the 0.18 face at Six Bells on the 'turning shift' and arrived at the colliery on the bus to see the place in turmoil and heard that an explosion had happened. As the explosion had occurred at our place of work, we offered to go down and help as we knew the place, but the Rescue Brigade had it under control and wouldn't let us go down.
It's hard to say my feelings about it all. We knew there was gas there and they said a spark had set it off. I had mostly enjoyed the colliery up to then. I remember four of the men who died - I used to give them snuff with powdered bark mixed in as a joke - there was a good spirit amongst the men at the pit.
Once the explosion had happened it put me off. I finished and I put my notice in soon after. I was too young to lose my life in the colliery. If I had been working the day shift that week it would have been me. The explosion opened my eyes to the dangers and I went into the construction industry instead - I was always good with my hands. The pit made me grow up.
The deaths of 45 men killed 50 years ago in a colliery explosion have been remembered with a service at the site.
A gas explosion ripped through the Six Bells colliery near Abertillery, Blaenau Gwent at 10.45am on 28 June 1960.
The Archbishop of Canterbury, Dr Rowan Williams, led a service of remembrance at the site.
He also unveiled a memorial to the tragedy, a 20m high sculpture of a miner by Sebastian Boyesen.
Opened in 1829, the ESP was the first modern prison in the world; it pioneered the idea that if prisoners were given quiet time to reflect rather than being tortured, they would feel penitent (this is the root of the word "penitentiary") and could rejoin society as productive members. Thus, for many decades the prisoners here were kept in their own cells and were prohibited from interacting with their fellow inmates. They exercised in individual, walled outdoor areas that were attached to their cells. It was only much later that "solitary confinement" came to acquire a negative connotation, as a special punishment for infractions committed while already in prison.
Among the ESP's more illustrious inmates in its 142 years of operation were Al Capone (who spent a year here), and the bank robber Willie Sutton. But perhaps its most unusual inmate was a dog, Pep (a black Labrador retriever). Said canine reportedly killed a cat belonging to Pennsylvania governor Gifford Pinchot; the governor retaliated by sentencing the dog to life in prison. I even saw a picture of the dog's admittance papers (he was admitted in 1924). But then the Governor got a lot of bad press over this, so he changed his story and said that the dog was his, and that he had donated it to the prison for the betterment of the inmates. Yeah, right.
In the mid-19th century, the ESP was quite the tourist attraction. Its distinguished visitors in that era included Alexis de Tocqueville and a young Charles Dickens. Before embarking on his first trip to the U.S. in 1842, Dickens said that the two places in this nation that he most wanted to see were Niagara Falls, and the Eastern State Penitentiary.
consigliato View On Black
Vigolo Marchese é la più importante frazione di Castell'Arquato, conta di una basilica romanica sormontata da una torre militare riadattata a campanile, risalente al 1008, voluta dal Marchese Umberto d'Orta, e un battistero a pianta circolare, di epoca antecedente la chiesa, simile alle costruzioni bizantine..
.
Entrambi furono fatti costruire nel 1008 dal marchese toscano Uberto d’Orta, ma la basilica fu ricostruita in seguito a un terremoto dopo il 1117, e il suo orientamento mutato verso est nel 1579. il pronotaro apostolico Antonio Lusardi introdusse altre modifiche strutturali. È testimoniata l’esistenza di un attiguo monastero..
Il battistero a pianta circolare è senz’altro più antico. Sorse probabilmente come tempietto pagano in età romana, diventa poi cappella dedicata a Santo Stefano e infine Battistero..
La chiesa è in pietra e laterizio, all’interno presenta pianta basilicale a tre navate. L’interno è intonacato e ha perso l’essenzialità e le prerogative originarie. L’abside semicircolare e rialzata dal livello della chiesa ricorda lo schema della Collegiata di Castell’Arquato anche per come le si accosta il campanile a pianta quadrata, diviso in tre livelli.
before we got inside the mission inn, we had heard that they did not allow photography inside by people who weren't guests of the hotel or customers of their restaurants. we assumed that they would have security posted and that our group, albeit a small one, of photographers would easily be spotted and we would not get shots inside. however, that wasn't the case at all. it was so busy in the main lobby that it was esay for us to walk by the hotel employees into the areas that were designated for hotel guests only and walk around and take shots as much as we wanted. now i'm not sure if this is the case all the time... maybe at other times of the year it might not be possible. i don't want to give others the impression that this place is completely open for exploration and photography if you aren't a paying customer. it all depends i guess. i really wanted this shot of the rotunda having seen other people's shots... i think i might have been distracted by the supposed rules that i had mentioned earlier but i wasn't too happy with most of my shots inside the hotel. ehhh... at least i got this one i guess.
www.nvr.org.uk/history/5485.php
The Loco
This engine is a beast. If it were a lorry it would be an earth mover, built for shifting massive loads over short distances, with big cylinders and very small wheels. It is rated at 800h.p., a tractive effort of 28,000lb, a weight of 66tons and wheels of only 3' 6" diameter. This compares with the STD class 5 at 26,120 lbs tractive effort, and a weight of 76 tons.
Polish engineering is not known for it's high quality, and the engine is no exception. For example, the cylinder bore on engines should line up with the axle centre - not here, the cylinder centreline is clearly inches above the axle centreline. General construction is simple, for example the smoke box door is made from flat plate welded together, where most engines have a rounded door made from pressings / castings. Many of the steam valves are made from steel / iron, which can corrode, where other loco's would use brass or bronze which doesn't corrode. Oddly, for a simple machine, it has the complexity of superheaters; more superheaters than an LMS Jubilee. On a machine that is for shunting and not designed for speed this is unusual, as superheaters are thought to be effective only when an engine is working for long periods and has time to warm through.
It has been said that we are asking too much of this engine, with its small wheels at 25MPH. An A4 Pacific has 6'8" wheels, and at 75MPH (Network Rail's max speed limit for steam) this equates to 315RPM. 5485, with 3' 6" wheels, at 25MPH is only running at 200 RPM. Indeed, the engine's stated maximum speed is 40km/h, and it has proven itself capable of easily keeping to time.
For the crew it is an easy engine to fire, with a large boiler that has plenty of steam generating capacity, and a medium size firebox where the first time fireman won't have trouble getting coal to the far end of the fire. There is also a drop grate in the firebox and a hopper ashpan, making the disposal of fire and ash simpler. The injectors have been proven to be reliable, after fettling work. For the driver, the controls are well placed and all reachable from the cab window. However, the regulator is difficult, steam can be admitted on a little or lots basis, there's not much in between. If you see the engine starting a train and it slips frequently, you know the driver is battling with the regulator. The engine has the luxury of very bright electric lights, in the cab and above the wheels as well as front and back. Some crew like working in the dark with this loco as you have the rare luxury of being able to see where you are going. Due to the long wheel base, two of the axles have a large amount of side-play. This lets the engine go around curves, but it means that there is a lot of side - side waddle, especially on straight track, and there is a lot of that at Nene Valley!
History
This engine is fairly modern as steam engines go, being built by Fablok of Chrzanow, Poland in 1959, as one of a large class of 406 loco's, built from 1950 - 1963. 90 of the class were exported to China. Visit hobby.ien.com.pl/kolej/Freight Tank Locomotives/TKp.htm for further info. It worked for 36 years in the Coalfields in Bytom, southern Poland and was withdrawn in 1995, when the mine closed.
The engine was bought by it's current owner in 1996, in working order with a current boiler ticket. It came complete with it's entire service history, all in Polish, from when it was built, on the 14th of Maja 1959! Many of these documents still have their wax seal from the works. The documents show that the engine had a heavy overhaul in 1990, with a new firebox, a new front tubeplate and new portions of the boiler barrel fitted at Olesnica, Poland. The resulting good condition of the boiler is why it was preserved.
The loco was moved to Belgium by rail through Holland and Germany, in a convoy of loco's devoid of their rods, at a cost of £2,500 for each loco; 900 miles at 25mph. One of the loco owners videoed the convoy and saw sparks from the axlebox of loco. A hurried conversation with the driver (in German) followed! The damaged loco went on to be preserved in Northampton.
5485 Came to England in 1997 and was stripped and overhauled at Llangollen. All the steel pipework was replaced with copper, the smokebox was replaced and a new cab and cladding, was fitted. The boiler is now in very good condition; when in steam it is as dry as a bone. Whilst at Nene Valley, the loco has spent much time out of traffic for repairs to badly worn bearings and bushes on the coupling rods and connecting rods, and a failed main steam pipe. The loco is now back in traffic, but further repairs may soon be required. The valves and pistons have always been blowing-by; the leakage of steam can be heard as a whoosh from the chimney when starting away. On occasion, the blow-by is so bad that the loco will move backwards when starting off in forward gear!
(Incidentally, put 'Slask' into your spell checker and it will suggest 'slack' - Bill Gates is well informed!)
Recent Mechanical Group Reports
Recent reports by the Mechanical Group on 5485 can be found by clicking here
ISTANBUL PHOTO CONTEST 2008 WINNERS
MIS MEJORES DESEOS PARA TODOS!!! MUCHAS FELICIDADES Y PROSPERIDAD PARA EL PRÓXIMO 2010!!!
Y con este abrazo simbólico, me despido hasta dentro de unos pocos días...
FRAGILIDAD
Ismael Serrano
Todo es frágil:
tu costumbre de amarme,
mi fe,
el silencio y la vida que duerme
en un vagón de tren.
Tu contrato fugaz,
la memoria,
este hilo de voz,
las quimeras que surcan estrechos
y este corazón
que persigue tu rastro
en la alfombra de la habitación.
No es tan frágil
el trueno del fúsil,
el temor
a perderme tus dulces mañanas,
tanto dolor.
La memoria del banco,
el aroma de aceite en el mar,
las fronteras de acero para hombres,
humo para el capital
que regula espejismos
y ordena tu necesidad.
Yo soy frágil como un cristal
si falta usted a esta cita, mi amor,
si el canto se llena de olvido,
si el recuerdo se va
y ya no ríe conmigo.
Quizá no seamos héroes
pero aún seguimos vivos
y en la crisálida su voz estallará.
Y no se quedará inmóvil al borde del camino
y hará futuro su fuerte fragilidad.
Es tan frágil el abrazo del mundo y su paz,
la promesa desde la tribuna
y su empeño por perdurar.
Soberbio y resistente
es el grito del miedo anunciando el final
y la noche que escupen al cielo
tantas chimeneas,
los disparos de nieve,
el rugido de las bayonetas.
Quizá no sea tan frágil
tu costumbre de amarme,
mi fe,
tu voz y tu memoria.
¿Sabes?, quizá me equivoqué.
Quizá no sea indestructible
el trueno del fusil, tanto dolor,
la burbuja que encierra este grito
y este temor
a saberme perdido,
a perderte y perder la razón.
Yo soy frágil como un cristal
si falta usted a esta cita, mi amor,
si el canto se llena de olvido,
si el recuerdo se va
y ya no ríe conmigo.
Quizá no seamos héroes
pero aún seguimos vivos
y en la crisálida su voz estallará.
Y no se quedará inmóvil al borde del camino
y hará futuro su fuerte fragilidad.
(2004)
Y una sugerencia para escuchar... Ismael Serrano: Fragilidad...
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¡TENGAN TODOS UN EXCELENTE DÍA!!!
¡HASTA EL 2O10!!!
¡UN BESOTE INMENSO PARA TODOS!!!
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Anne
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Why not View Large On Black?
Si apre il sipario sulla 69esima Mostra del Cinema di Venezia
Pochi ritocchi ancora e poi si aprirà il sipario su questa nuova edizione
della Mostra del Cinema di Venezia. Gli ultimi allestimenti da sistemare, le
ultime disposizioni impartite alle manovalanze e poi il cinema prenderà il
sopravvento sulla tangibilità. La scenografia sostituirà i cantieri. Le persone,
anche quelle più comuni, reciteranno le loro imprescindibili parti.
La commistione tra finzione e realtà è palpabile. Basta fare due passi sulla
spiaggia antistante l’Hotel Excelsior per averne sentore. All’alba quando
ancora in molti riposano i propri pensieri, sono solo le impronte di piedi scalzi
a lasciare traccia. Un veritiero passaggio che lascia il proprio calco su una
sabbia ancora umida. Un battito d’ali di un gabbiano che prende il volo.
Una struttura d’acciaio che prende forma davanti alle mura di uno storico
albergo. All’orizzonte un responsabile della sicurezza sorveglia l’area che
ha in custodia, mentre una squadra di operai sopraggiunge con il passo di
protagonisti durante la sfilata su il red carpet.
E’ un’illusione. O forse no. Intanto anche la luce del sole che si alza dal mare
sembra provare la sua l’intensità filtrando la presenza tra le nuvole. Non
sembra mancare proprio nulla. Anche i suoni del risveglio sono una perfetta
colonna sonora. In lontananza pure un fotografo nell’attesa d’immortalare il
nuovo giorno, sposta il suo obiettivo verso ciò che sta per avere inizio.
Se proprio qualcosa deve essere assente è una voce. Quella di un regista
che in tono solenne gridi “… and…action!”. Ma è solo questione d’istanti.
Con un pizzico di attenzione si potrà sentire pure quella.
Perché anche questo, è la Mostra del Cinema di Venezia.
(testo di Andrea Bettini)
Adam and I went with our friends Jesse and Natalie down to the Hal & Mal's St. Patty's Day Parade today. This parade is one of my favorite holiday traditions. The fun to be had is endless. And our parade is ranked one of the best in the country. So, with that being said, i had a complete blast! I got hella sunburned, drank way to much beer, and ate a waaaay yummy mexican meal at 3 in the afternoon! Ahhh, what a glorious day. More parade pics coming...Right now, I am off to bed. I'm exhausted!!!
Oh, and in case you want to know more about our little parade, here are some facts from a little Q&A session that I found:
Q: Who is Mal, anyway?
A: "Mal" is Malcolm White...Jackson's resident club owner/restauranteur/promoter/head of the Mississippi Arts Commission,
writer/publisher/piano-playing blues-ologist/philanthropist/philosopher, and most importantly, "Leprechaun-at-Large."
Q: Why a St. Paddy's Parade?
A: Because Jackson didn't have one! It all started way back in late '70's when a young(er) Mal lived and worked in New Orleans' French Quarter. Mal was fascinated and excited by the concept of parades. There were Mardi Gras Parades, Jazz Funeral Marches, and small street parades happening all the time, and Mal became a "Parade Man" for life.
Q: When was the first parade?
A: The first one was in 1982 (or was it '83?).
Q: How about a little parade history?
A: The original idea was to have a "pub crawl" from CS's to George Street Grocery. But when the inspiration for a parade struck him, Mal figured "We might as well take a dip through downtown." What ensued made headlines in the Clarion Ledger: "PARADE STOPS RUSH HOUR TRAFFIC!" It was quite a news story and all that was needed to capture the attention and imagination of Irishmen (both real and imagined) across the state. This first parade was an amazing assortment of enthusiastic participants and was, in retrospect, a surreal sight to see. Highlights included the first Grand Marshal, the late ARTHUR MAHONEY, a true Irishman and ex-boxer in his 90's waving to onlookers from a convertible...the debut of the venerable and voluptuous "SWEET POTATO QUEENS' ...the inaugural appearance of the "RUDE BOYS", a "frat party on wheels' ...the great blues legend "SWEET" SAM MYERS standing in the sunroof of "BROTHER PETE'S BLUES VAN" waving an Irish flag ... the fondly remembered KENDALL WILSON on roller skates being pulled by a motorcycle ... the newly-formed "BLUZ BOYS" band playing loudly on a flat-bed
trailer with the assistance of a generator ... neighborhood kids on bicycles ...parade co-conspirators MARSHALL, JOEY, and PAT surely wondering "What the BLARNEY-hell have we let Malcolm talk us into?!?" ... SERGIO FERNANDEZ recording the whole thing for posterity while perched atop a beer truck driven by DINK ... and of course, leading the procession, MAL himself decked out in green (what else?) Army pants, his beard spray-painted red, carrying an Irish walking stick and flanked by his beloved Dalmation "PEARL" ...
What a "MAL-function"!!!
Q: How about the parade today?
A: It's gotten bigger and better than ever. You still have the "SWEET POTATO QUEENS",
"RUDE BOYS" and other annual favorites plus more recent traditions like the "O'TUX SOCIETY", "KREWE of KAZOO", "GREEN LADIES", and a real New Orleans brass marching band. And new
entries are lining up every year! 2009 Grand Marshal Leland Speed will be joining an illustrious list of luminaries which includes the late, great TINY TIM, musician MAC McANALLY, THALIA MARA, MAESTRO COLMAN PEARCE, O.C. McDAVID, "Toons til Two" radio personality DAVID ADCOCK, "COUSIN" CLETA ELLINGTON, DEUCE McALLISTER, CAT CORA, and BERT CASE, and many others.
Q: Where does all that money from the entry fees go?
A: There is a function to all this frivolity. In recent years, the parade has raised over $250,000 for the Blair E. Batson Hospital for Children.
Por todo el país, el gobierno federal llevará a cabo en los próximos 4 años más de 740 proyectos de significativa infraestructura. Autopistas, gasoductos, centrales eólicas, presas hidroeléctricas que, además de significar una inversión pública y privada por más de 7 billones 750 mil millones de pesos, implicarían el desplazamiento y despojo de comunidades enteras, desabasto de agua y pérdida de cosechas y ganado, advierten defensores de derechos humanos y ambientales.
contralinea.info/archivo-revista/index.php/2014/09/23/pro...
Olintla, Sierra Norte de Puebla. Con más de 7 billones 750 mil millones de pesos de procedencia pública y privada que se prevé se inviertan en 4 años, el gobierno federal pretende desarrollar 743 proyectos de infraestructura que ponen en alerta a las organizaciones sociales. A través de los mensajes oficiales difundidos por el presidente Enrique Peña Nieto se ha dado el anuncio de carreteras, obras hidráulicas, mineras, hospitales, proyectos rurales y urbanos bajo el eslogan “Mover a México”. Esto no podría estar equivocado, pues con algunos de los megaproyectos podrían desplazarse comunidades enteras de sus tierras.
Tal es el caso de la construcción de la presa El Zapotillo, de la que se ha ordenado la suspensión definitiva de la obra, dictada por el juez primero de Distrito en Materia Administrativa de Jalisco. La obra, iniciada desde la administración de Felipe Calderón, aparece en el Programa Nacional de Infraestructura del actual gobierno, con una inversión estimada de 16 mil 161 millones 700 mil pesos. Con esta construcción, los habitantes de las comunidades Temacapulín, Acasico y Palmarejo podrían ser desplazados.
La presa El Zapotillo es uno de los más de 700 proyectos que se encuentran enlistados en el Programa Nacional de Infraestructura 2014-2018, presentado por el Poder Ejecutivo federal. Este Programa también contempla la construcción de tramos carreteros, túneles, obras para procesos de extracción, además de hospitales y centros recreativos.
Las principales dependencias encargadas de llevar a cabo la misión gubernamental serán las secretarías de Comunicaciones y Transportes; Salud, y Turismo; además de las empresas productivas del Estado Petróleos Mexicanos y Comisión Federal de Electricidad, así como la Comisión Nacional del Agua.
Los estados en los que se pretenden realizar más obras son: Veracruz, con 50 proyectos; Estado de México, 39; Tamaulipas, 36; Michoacán, 32, y Oaxaca, 32, indica el Programa. Según la propia información oficial, se estima un monto total de inversión de 7 billones 750 mil 549 millones 700 mil pesos.
Alerta por megaproyectos
Organizaciones defensoras de derechos humanos han advertido que los megaproyectos –como carreteras, hidroeléctricas y los relacionados con procesos extractivos– tienen un impacto desfavorable en el medio ambiente, por la destrucción que hay a sus alrededores, así como por el uso de materiales dañinos.
Si bien mediante un discurso oficial se dice que “estos proyectos de desarrollo se llevan a cabo para beneficio de la población, los megaproyectos pueden tener consecuencias devastadoras para las comunidades locales más empobrecidas, rurales e indígenas, así como en el medio ambiente.
“Al llevarse a cabo estos proyectos es común que el gobierno vulnere los derechos de las comunidades locales a participar en el proceso de planificación del proyecto y a obtener información acerca de éste y de su impacto.
“Debido a la destrucción ambiental y social que pueden causar los megaproyectos, es también común que los residentes de las áreas donde se planea llevarlos a cabo se organicen para resistir ante las iniciativas del gobierno por imponer los proyectos sin contar con su consentimiento ni consultarlos previamente”, indica el informe Han destruido la vida en este lugar. Megaproyectos, violaciones a derechos humanos y daños ambientales en México, elaborado por el Centro de Derechos Humanos Miguel Agustín Pro Juárez.
Presas y centrales hidroeléctricas
El capítulo hídrico es uno de los que más llaman la atención de las organizaciones sociales, ya que el impacto que ha tenido la construcción de acueductos y presas e hidroeléctricas está dejando a comunidades enteras sin acceso al agua; en consecuencia, la pérdida de sus cosechas y ganado.
En este rubro se ha contemplado la inversión de 417 mil 756 millones pesos mediante 84 proyectos. Su estrategia indica que se pretende construir infraestructura para incrementar la oferta de agua potable y la capacidad de drenaje y saneamiento. Además de “modernizar y construir infraestructura para incrementar la oferta de agua destinada a la agricultura y construir infraestructura para protección contra inundaciones”.
Romina Martínez Velarde, integrante del Instituto Mexicano para el Desarrollo Comunitario (Imdec) e integrante del Movimiento de Afectados por las Presas y en Defensa de los Ríos (Mapder) comenta en entrevista con Contralínea que entre las organizaciones sociales y defensoras de los derechos humanos hay varias preocupaciones: “Es un panorama a mediano y largo plazo el de los proyectos. Una de las preocupaciones es la cantidad que hay de éstos. Enseguida, está la cantidad de dinero invertido en cada uno de ellos. Eso nos habla de que es una de las prioridades del gobierno de [Enrique] Peña Nieto. Obviamente, este Programa también habla de una injerencia cada vez mayor del capital trasnacional en nuestro país y de todo lo que ya hemos escuchado en cuanto a despojo de territorio: de cómo el Estado es un instrumento para facilitar este paso”.
El apartado especial para el Sureste llama mucho la atención, dice la ambientalista. En el Mapder “estamos preocupados porque ahí están concentrados los bienes naturales. Es un poco perversa la manera en como justifican ahí los proyectos: por ser los estados con menores recursos, con mayor índice de pobreza o de analfabetismo. No hablan de la riqueza de los bienes naturales. Hay estados como en Puebla en donde se junta todo: proyectos mineros asociados con hidroeléctricas y el fracking [extracción de gas natural mediante la técnica de fractura hidráulica] en las ciudades rurales. Entonces es un bombardeo muy fuerte no sólo a Puebla, también a Veracruz, Chiapas, Oaxaca y otros estados del Sureste mexicano”.
Y es que de acuerdo con el Programa Nacional de Infraestructura, la Estrategia Sur Sureste contempla 181 proyectos en Campeche, Chiapas, Guerrero, Oaxaca, Puebla, Quintana Roo, Tabasco, Veracruz y Yucatán. En ellos se llevarán a cabo obras como la construcción de la presa La Laja, en la Zona Conurbada de Ixtapa-Zihuatanejo, la Central Hidroeléctrica Chicoasén II, las Centrales Eólicas Sureste I, II, III y IV.
“Con ello podemos ver que en estos estados habrá más conflictos sociales, tensiones, resistencia, movilizaciones, también criminalización de la protesta social y de la defensoría de los territorios. Esto nos lleva a que no se vea un panorama positivo para las luchas sociales”, dice Romina Martínez, de Imdec.
Extractivismo, “atractivo de inversión”
Al igual que la minería, la extracción de hidrocarburos se ha convertido en un fuerte atractivo de inversión para las empresas trasnacionales y de capital mexicano. Sin embargo, este proceso de extracción de la riqueza se vuelve amenazante para los pueblos en los que se lleva a cabo este trabajo.
Contralínea ha documentado en varias ocasiones los conflictos sociales por los que han pasado comunidades indígenas con la presencia de la minería en sus territorios. Los resultados de esto han sido desde la confrontación y división social, hasta la muerte. Con la extracción de hidrocarburos el panorama no es nada halagüeño.
Ejemplo de estos proyectos: Ku-Ma-loob-Zaap, en Campeche, con el que se pretende llevar a cabo la operación y mantenimiento de pozos productores, perforación de pozos de desarrollo, construcción de infraestructura complementaria para el manejo de la producción de nuevos campos, con una inversión de 247 mil 945 millones 500 mil pesos, según indica el Programa Nacional de Infraestructura.
Gustavo Castro, director de la organización ambientalista Otros Mundos, dice en entrevista que la ley minera fue el parámetro para meter todos los proyectos extractivos bajo el mismo esquema. “Lo que hace Peña Nieto es trasladar ese nuevo principio al tema del petróleo y el gas y luego a la geotermia, todos los proyectos extractivos por encima de preferencia de uso de suelo para cualquier actividad”.
Redondeo de la reforma energética
Francisco Cravioto, investigador y monitor de políticas públicas relacionadas con industrias extractivas de Fundar, Centro de Análisis e Investigación, e integrante de la Alianza Mexicana contra el Fracking comenta que el problema es que en el Programa Nacional de Infraestructura aparecen todos los acueductos, gasoductos, carreteras, tendidos de cable que precisamente van a redondear la reforma energética.
“Nos preocupa que hay dos proyectos ligados directamente a la explotación de hidrocarburos: el primero es un gasoducto que baja desde Tuxpan hacia la Sierra Norte de Puebla, pasa por Hidalgo y se introduce en el Valle de México. Otro de los que ya se están comenzando a construir está en Tlaxcala y baja por la zona Poniente del estado de Puebla, se introduce en la zona de los volcanes en Morelos”, dice el investigador de Fundar.
El Programa indica que la Terminal de Almacenamiento y Distribución Tuxpan “consiste en aumentar 500 megabytes (MB) de capacidad nominal el almacenamiento de gasolinas y aditivos (oxigenantes) en el Puerto de Tuxpan, a fin de satisfacer la demanda de productos en el Centro del país en el corto, mediano y largo plazo”. La inversión se estima en 178 millones 200 mil pesos, en Veracruz.
—¿Cuál será la problemática con el agua en estos proyectos extractivistas?
—El agua es fundamental. A veces se dice que somos una población que aguanta muchísimos agravios: la gente puede vivir con un poder adquisitivo de una fracción de lo que era hace 30 años, paga las rentas más exorbitantes, intereses sobre deudas que antes no manejaba, abuso tras abuso, pero cuando se toca lo fundamental, como es un derecho de acceso al agua, ese ya es el límite; la gente dice: “¡Hasta aquí, no más!”
Hay ciertos proyectos que a la Alianza Mexicana contra el Fracking le preocupan. Uno de ellos es el acueducto denominado Monterrey VI, que trasvasará la cuenca del Pánuco y dirigirá el agua hacia la capital de Nuevo León. Se contempla que con este proyecto se podía dar una explotación masiva de fracking en el estado.
El Compromiso de Gobierno-034 describe que se pretende construir, en coordinación con el gobierno de Nuevo León, el proyecto Monterrey VI, con una inversión estimada de 18 mil 283 millones 200 mil pesos.
Carreteras, degradación del medio ambiente
Mediante 223 proyectos del Programa Nacional de Infraestructura, relacionados con la construcción de tramos carreteros, túneles, ampliaciones, el gobierno federal suministrará poco más de 1 billón 320 mil 109 millones 100 mil pesos, el más alto monto de inversión en la infraestructura que se pretende desarrollar en el país en los siguientes 4 años.
El listado del programa menciona entre sus obras la construcción del segundo piso autopista México-Toluca, tramo La Marquesa-Lerma (Estado de México); de la Autopista Tuxpan-Tampico (Veracruz); Autopista Jala-Compostela-Bahía de Banderas (Nayarit); así como llevar a cabo la primera etapa de la carretera que conecte a Jiquilpan y Sahuayo, en Michoacán, con la autopista México-Guadalajara.
“Los proyectos de autopistas causan degradación al medio ambiente mientras se construyen, pero también cuando se utilizan. Para la construcción se utilizan materiales tóxicos como pinturas, solventes de limpieza, combustibles y compuestos de coloración. Estos compuestos pueden ser trasladados fuera del emplazamiento por aguas pluviales, y así contaminar el suelo y las aguas subterráneas. También incrementa la erosión del suelo, lo cual puede destruir hábitats, afectar la vegetación y degradar cursos de agua corriente abajo”, indica el documento del Centro de Derechos Humanos Miguel Agustín Pro Juárez.
Hipólito Rodríguez, integrante de la organización La Vida, Asamblea Veracruzana de Iniciativa y Defensa Ambiental, comenta en entrevista con Contralínea que la programación de estos megaproyectos, de la mano de la reforma energética, plantea un escenario muy preocupante para las organizaciones sociales, “porque lo que acaba de hacer el gobierno con la reforma energética es legalizar un conjunto de procesos que rompen todo un conjunto de acuerdos históricos, construidos en la década de 1930 en el país. Por un lado, están permitiendo que iniciativas muy destructivas como el fracking, presas o hidroeléctricas puedan tener prioridad sobre otros usos de suelo. Ése es el primer escenario preocupante.
“Acaban de darle carta legal a una serie de procedimientos que son de naturaleza expropiatoria, vienen a despojar a las organizaciones campesinas e indígenas de un suelo que habían conquistado con la reforma agraria. Con esto expulsan los últimos bolsones de suelo en manos de organizaciones campesinas. Expulsar a estas poblaciones y generar una nueva ola de empobrecimiento es echar la moneda al aire, y está por verse que la población se deje.”
Para conocer los detalles de la instrumentación de los proyectos, Contralínea solicitó entrevistas con Gerardo Ruiz Esparza, secretario de Comunicaciones y Transportes; Emilio Lozoya Austin, director de Petróleos Mexicanos, y David Korenfeld Federman, titular de la Comisión Nacional del Agua. Hasta el cierre de edición, no se obtuvo respuesta.
México, un país “en duelo”
“A más de 100 años de la Revolución, volvió el porfiriato: las privatizaciones, la apertura del país a las trasnacionales, el petróleo lo vamos a entregar de nuevo a las petroleras trasnacionales…”, el recuento es del filósofo, economista y antropólogo social Armando Bartra. El investigador adscrito a la División de Ciencias Sociales y Humanidades de la Universidad Autónoma Xochimilco abunda: “pareciera que volvió el porfiriato, en cierto sentido, porque el grupo político en el poder y los asesores que lo acompañan tienen el espíritu que tenía Porfirio Díaz”.
Señala que la Revolución Mexicana “no fue en balde; en México, la mayor parte de las tierras agrícolas están en manos de ejidatarios y comunidades. Si agregamos a los pequeños productores reales –aún en propiedad privada– la mayor parte del país (un 25 por ciento, aproximadamente) es tierra de campesinos. Ciertamente muchos la han abandonado, rentado o vendido, pero no hay que exagerar con ello. Cuando defendemos algo no defendemos las migajas o las sobras de lo que nos quedó hace 100 años, sino una propiedad social, el núcleo del campo mexicano”.
Explica que en ningún otro país de América Latina, “ni siquiera en aquellos que se hicieron transformaciones políticas muy radicales como Bolivia, Ecuador, Venezuela o Brasil”, ha habido un vuelco agrario tan radical como el que se logró en este país hace 100 años. “En México los campesinos tienen una cultura de que la tierra es de quien la trabaja, de que los pueblos son dueños de la tierra y de que no pueden ser avasallados. Esa herencia no la hemos perdido”.
Reconoce, sin embargo, que ahora la propiedad social de la tierra se encuentra “ante una ofensiva terrible, probablemente de un tamaño que no habíamos tenido antes. En efecto, las trasnacionales y los capitales nacionales muy poderosos están en una ofensiva sobre los recursos, sobre todo del petróleo y del gas. El otro asunto es el de las minas: hoy son cráteres, agujeros en el suelo que pueden tener un diámetro de 1 kilómetro o 1 kilómetro y medio… cráteres lunares en verdad. Ve uno la tierra destruida y sacan de ahí toneladas de oro, que finalmente no sirve para nada, cuesta poder obtenerlo millones de toneladas de tierra, miles de millones de litros de agua y contaminantes. Ésta es una amenaza que antes no existía; estamos enfrentando una amenaza muy severa… del mismo tamaño es la resistencia”.
Considera que la lucha campesina que se avecina también será histórica. “Se trata de conservar las tierras conquistadas por una Revolución y que nos están siendo arrebatadas”.
Contralínea entrevistó al investigador a raíz de su participación en la defensa de los territorios en el municipio de Olintla, Sierra Norte de Puebla. Allí Grupo México intentó iniciar trabajos extractivistas, pero fue expulsado de la zona por la propia comunidad.
Entre las líneas de investigación de Bartra Vergés se encuentran estudios regionales y sociopolíticos del movimiento campesino y contradicciones tecnológicas del capital.
—¿En qué momento fueron aprobadas 11 reformas sin un movimiento social que detuviera esta avalancha de cambios?
—La más emblemática es la reforma a la Ley Federal del Trabajo, es una reforma que se hace en la transición del gobierno de [Felipe] Calderón al gobierno de [Enrique] Peña Nieto.
“Nos colaron las reformas aprovechando al máximo las dificultades para movilizarse de manera unitaria, y eso es muy preocupante. La reforma energética se veía venir, la privatización del petróleo se veía venir. Hubo manifestaciones masivas oponiéndose a la privatización del petróleo y aun así pasaron.
“Sí hay movilización, hay opinión pública, lo que ocurre es que son gobiernos a los que ya no les interesa la legitimidad social. Peña Nieto está desmantelando al Estado mexicano, desarticula todas las herramientas con las que el Estado había tratado de cumplir las misiones que le encarga la Constitución [Política de los Estados Unidos Mexicanos]: conducir la economía del país, buscar el bienestar de los mexicanos, trabajar por la salud, educación o vivienda.
“Estamos en la etapa de un fenómeno estudiado por los sicólogos y padecido por muchos: el duelo. A fines de sexenio pasado y en el periodo de la campaña electoral, muchos mexicanos sentíamos que el país estaba enfermo, grave, buscábamos el remedio o tratamiento para curar esa enfermedad; una enfermedad política, económica, social y hasta moral. Había movimiento, creíamos que se podía cambiar el rumbo. Ahora, estamos en el duelo, este país ya se murió.”
Ataja de manera inmediata: “Sin embargo, esta situación no durará para siempre, no es absoluto. Hay personas buscando una alternativa de salida para el país”.
—¿Las luchas sociales que se llevarán a cabo por los megaproyectos y reformas podrían reencausar el rumbo del país?
—La esperanza la mantienen viva los más conscientes. Las enormes mayorías, descontentas, sin esperanza en el régimen de Peña Nieto. Estas mayorías están en duelo y van a salir del duelo porque así debe ser. Es importante que no bajemos la guardia quienes estamos activos.
“El movimiento social es por oleadas, estamos en un momento de reflujo, es natural. El PRI [Partido Revolucionario Institucional] ganó, aunque sea comprando los votos, pero ganaron. Esto deprime, desgasta, desmoviliza. Luego, meten una y otra reforma, cuando uno suponía que quizá habría oposiciones en el Congreso de la Unión.
“Ahora, plan con maña tienen, como representante, el grupo del Pacto por México, que jugó con el PAN (Partido Acción Nacional) y el PRD (Partido de la Revolución Democrática) para lograr lo que quería [la aprobación de las reformas]. Esto, para el ciudadano común y corriente, es deprimente, desgastante.
—¿Qué pasa con la soberanía nacional, queda algo de ella?
—Hemos estado perdiendo soberanía en los últimos 35 años, renunciando a ella. Llegó el momento en que el Estado mexicano tenía un poder enorme sobre la economía, por la capacidad que tenía de operar empresas paraestatales, porque controló la banca, los servicios de comunicaciones y transportes, líneas aéreas. El Estado mexicano era la conducción económica de este país, pero lo desfundaron, desde Carlos Salinas en adelante.
“Previo a ello, el Estado mexicano asumió por políticas históricas la política energética de este país, Petróleos Mexicanos, la Comisión Federal de Electricidad y la Compañía de Luz y Fuerza del Centro, no sólo porque el petróleo es nuestro, sino por la exclusividad que tenían estas empresas.
“Hoy, la soberanía nacional, delegada en el gobierno mexicano se ha abandonado. Qué soberanía nos queda: la soberanía popular, es decir, es el pueblo el que quita o pone al gobierno.”
Érika Ramírez, @erika_contra/enviada
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A menos que se señale otra condición, todos Las imagenes en este Photostream estan bajo la licencia de Atribución-NoComercial-CompartirIgual 2.0 Genérica (CC BY-NC-SA 2.0)
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| No está permitido vender o hacer uso comercial de las publicaciones de este Photostream.
Si deseas hace uso de los contenidos
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classic goofy Elizabeth face seen HERE
Dudes. I made it to 300! (this photo is a nod to day 137, which is my favourite number)
This whole 365 project has been a crazy ride. I plan on doing a huge look back, a "Retrospective" if you like, when I am finished but I have to say 300 is a huge milestone! I'm pretty proud of myself for actually sticking with it. I'm a fairly determined and ambitious person, but I'm honestly surprised I've lasted this long!
Starting this project is weird though... I don't think many people realise just what they're getting into. A whole YEAR of your life is devoted to this (if you stick with it) and if you're as diligent as I have been, you are committed to not only taking a photo everyday but loading it, editing it, writing your little description, putting it into groups so people actually see your efforts... for me it's about two hours of work a day, at least!
I do think I'm a bit obsessive compulsive about my project... I strive to create something above average everyday. I'm not one of those half-ass people! Sure, some of my photos are kind of shitty, but I have grown so much in the past 300 days and some of my stuff is actually (in my opinion) quite remarkable. It's remarkable to me because I know me. I'm not as cool/ put together/ pretty in real life as I appear in my photos. Needless to say, I never knew I was capable of coming up with some of the cooler stuff I've come up with.
I do think I give a lot of myself in this project, but it definitely doesn't always show who I truly and completely am. For example, it would be REALLY hard for me to do a photo without any make up on. (And infact I spent about 45 minutes editing my skin in this photo... my skin is probably my most hated feature... but I wont go on about it)
ANYWAYS, what I'm trying to say is that I'm kind of a perfectionist. These photos are kind of an idealised version of myself. In real life I'm actually just a really goofy, down-to-earth, overly kind, and completely sincere girl who is just trying her hand at photography.
I'm going to shut up now.
I LOVE YOU FLICKR :-)
Song of the Day - Deftones - Change
You really need to View On Black
This marks the 52nd shot of my 52 weeks of self portraits. It was the toughest one to do (although there were some about 3/4 the way through that seemed impossible to do as well). I have to say I'm sick of seeing myself and sick of doing self portraits. I honestly don't know how all the 365 'ers manage to do it. 52 is nothing in comparison. Still, I'm going to take a break from selfies for a while. [insert applause track here] I'm not sure for how long. Just long enough to be motivated. This may occur sooner than later since the pressure to take a weekly shot is off. I say pressure because after you've taken about 15 weekly portraits, you start to run out of original ideas. Not that original ideas won't surface, it's just that they take time to develop. I noticed that even after I had taken this photo, the creativity started seeping back in. Anyway, I chose this tunnel for the final shot. I'd had it in mind for over a month because I felt it symbolized both beginning and end in that you can see the light, yet I also have the choice to turn around and go the opposite way, not towards the end, but to the entry. There's light there too. I think there are certain times when you want to see the light at the end but often, the journey needs to continue. So you either wander around in the tunnel or proceed back to the entry. Me? I'm headed back to the entry. It also seemed fitting since this is New Year's Eve -- another end and beginning. With that, I wish everyone a very happy and safe New Year. Cheers!
[side note: the tunnel was quite busy with people passing by. I waited for quite a bit before I setup my equipment. Once others saw the tripod and camera bag, and that this might be a cool place to photograph, it was like a feeding frenzy -- people started snapping photos all over the tunnel (not of me, but of the tunnel). One guy even set his tripod up about 10 feet behind me. I had to check to make sure there wasn't one of those 'Kodak Picture Spot' signs nearby.]
Montblanc, Tarragona (Spain).
Spinning at 33 rpm in the show window of a store.
Dando vueltas a 33 rpm en el escaparate de un tienda.
ENGLISH
The phonograph, or gramophone, was the most common device for playing recorded sound from the 1870s through the 1980s.
The famous phonograph was the fourth device for recording and replaying sound. The term phonograph ("sound writer") is derived from the Greek words φωνή (meaning "sound" or "voice" and transliterated as phoné) and γραφή (meaning "writing" and transliterated as graphé). Similar related terms gramophone and graphophone have similar root meanings. The coinage, particularly the use of the -graph root, may have been influenced by the then-existing words phonographic and phonography, which referred to a system of phonetic shorthand; in 1852 The New York Times carried an advertisement for "Professor Webster's phonographic class", and in 1859 the New York State Teachers' Association tabled a motion to "employ a phonographic recorder" to record its meetings.
F. B. Fenby was the original author of the word. An inventor in Worcester, Massachusetts, he was granted a patent in 1863 for an unsuccessful device called the "Electro-Magnetic Phonograph". His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. Although no model or workable device was ever made, it is often seen as a link to the concept of punched paper for player piano rolls (1880s), as well as Herman Hollerith's punch card tabulator (used in the 1890 United States census), a distant precursor of the modern computer.
Arguably, any device used to record sound or reproduce recorded sound could be called a type of "phonograph", but in common practice it has come to mean historic technologies of sound recording.
In the late 19th and early 20th century, the alternative term talking machine was sometimes used. This term was more in line with Thomas Edison's early view that his invention was better suited for spoken recordings such as dictation than for musical recordings.
More info: en.wikipedia.org/wiki/Phonograph
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CASTELLANO
Un tocadiscos es un sistema de reproducción del sonido hijo del fonógrafo ya que usa el mismo tipo de tecnologia, sustituyendo el cilindro por un Disco de vinilo. El tocadiscos también ha sido conocido como platina de discos, giradiscos, tornamesa, fonochasis o pickup. Ninguna de estas cuatro últimas nomenclaturas tiene demasiada aceptación.
El fonógrafo, fue el dispositivo más común para reproducir sonido grabado desde la década de 1870 hasta la década de 1980.
La primera invención conocida de un dispositivo capaz de grabar sonido fue el "autofonógrafo", inventado por el francés Édouard-Léon Scott de Martinville y patentado el 25 de marzo de 1857. Podía transcribir sonido a un medio visible, pero no tenía un modo de ser reproducido después. El aparato consistía de un cuerno o un barril que recogía las ondas hacia una membrana a la que estaba atado una cerda. Cuando llegaba el sonido, ésta vibraba y se movía y el sonido podía grabarse en un medio visible. Inicialmente, el fonoautógrafo grababa en un cristal ahumado. Una versión posterior usaba un papel también ahumado en un tambor o cilindro. Otra versión dibujaba una línea representando el sonido en un rollo de papel. El fonoautógrafo era una curiosidad de laboratorio para el estudio de la acústica. Era usado para determinar la frecuencia de un tono musical y para estudiar el sonido y el habla. No se entendió hasta después del desarrollo del fonógrafo que la onda grabada por el fonoautógrafo era de hecho una grabación del sonido que sólo necesitaba un medio de reproducción adecuado para sonar.
El fonógrafo fue el que, hasta 1876, se creyó el primer aparato capaz de grabar sonido, aunque sí fue el primero que pudo reproducirlo después. Thomas Alva Edison anunció la invención de su primer fonógrafo, el 21 de noviembre de 1877, mostró el dispositivo por primera vez el 29 de noviembre de ese mismo año y lo patentó el 19 de febrero de 1878.
El fonógrafo utiliza un sistema de grabación mecánica analógica en el cual las ondas sonoras son transformadas en vibraciones mecánicas mediante un transductor acústico-mecánico. Estas vibraciones mueven un estilete que labra un surco helicoidal sobre un cilindro de fonógrafo. Para reproducir el sonido se invierte el proceso.
Al principio se utilizaron cilindros de cartón recubiertos de estaño, más tarde de cartón parafinado y, finalmente, de cera sólida. El cilindro de cera, de mayor calidad y durabilidad, se comercializó desde 1889, un año después de que apareciera el gramófono.
El 2 de diciembre de 1889 un representante de la casa Edison, Theo Wangeman, grabó una interpretación del celebérrimo compositor Johannes Brahms. Se trataba de un segmento de las Danzas Húngaras en una versión para piano solo. Esta grabación aún se conserva, pero su calidad es pésima.
Más info: es.wikipedia.org/wiki/Tocadiscos, es.wikipedia.org/wiki/Fon%c3%b3grafo
José Honorato Lozano
Albun de M L
1850 - 51
Carruage de alquiler
1851
20.2 x 29.7 cm (8 x 11 ½ in)
A lot of 12 watercolors
Estimate: PHP 5,500,000 - 7,000,000
Lot 143 of the Salcedo Auctions auction on 17-18 September 2016. Please see <a href="http://www.salcedoauctions.com"
The painter José Honorato Lozano (1821-1885) is known today as the visual chronicler and ethnographic painter par excellence of life in the Philippines in the second and third quarters of the 19th Century. He is also renowned as the father of the art form known as Letras y Figuras - literally ‘Letters and Figures.’ Mostly watercolors on Manila paper, these artworks depict views of quotidian Philippine life in the 19th century, wherein the artist ingeniously and meticulously painted what on close scrutiny appear as human figures and their environs (houses, flora, fauna, work tools, produce, etc.), but when seen from a distance spell out names or words (e.g. Edward A. Westley, Views of Manila).
In his book José Honorato Lozano, Filipinas 1847, art historian Ambassador Jose María A. Cariño states “The origins of Lozano’s Letras y Figuras can be traced to the Middle Ages in Europe when calligraphers embellished the first letter of each chapter (Capitulares) of the Bible or Psalm or Prayer Book. . . Lozano may have seen copies of these and considered adapting this style and Filipinizing it through over-decorating and illuminating not just the first letter but every letter in the word. Thus, letras y figuras was born”.
It was only in the last twenty years - after several albums painted by Lozano were sold at auctions in London, Madrid, Singapore and Hong Kong - that Filipinos realized the important role of José Honorato Lozano in Philippine art history. His meticulous depiction of Tipos Filipinos (Philippine Types), costumes, customs, traditions, flora, fauna, buildings, houses, fruits, shells, tribes, uniforms (military, school, religious orders, militia), weapons, reptiles, sheet music, views, modes of land transportation, marine vessels, etc. are a treasure trove of visual information about the Philippines in the 19th century.
One of the most famous albums limned by Lozano is the Ayala Karuth Album. Since the watercolors contained therein were unsigned, for many years the works were mistakenly attributed to Carl Johann Karuth, a German employee of Jacobo Zóbel Hinsch (Botica Zóbel), as Karuth’s name was engraved in the leather cover of the album.
The Philippine art market went wild when the Nyssens Flebus Album containing twenty-five watercolors measuring approximately 13 ½ by 9 ¾ inches was auctioned at Christie’s London on in July 1995, with the hammer price reaching GBP 265,000. Emile Nyssens who commissioned the album was a Belgian tobacco trader.
Two other famous albums by Lozano were commissioned by Spanish military officials, namely: 1) The Gervasio Gironella Album; and 2) The José de la Gándara Album. Gervasio Gironella was the Superintendente y Intendente del Ejercito y de la Hacienda (Superintendent of the Armed Forces and Quarter Master General of the Treasury), making him the second most important official in the Philippines during the Spanish period. On the other hand, José de la Gándara y Navarro was Governor General of the Philippines from 1866 to 1867. He also served as Governor General in Cuba. Due to his achievements during his stint in the Philippines including beautification projects and the construction of new roads and the widening of narrow streets in Manila, Gándara Street was named after him. The Gándara Album contains twenty-seven spectacular watercolors.
THE ML ALBUM
The ML Album is the first album by José Honorato Lozano to be auctioned in the artist’s country of birth. All the recently discovered albums by the artist were either bought privately or sold at auctions in Singapore and Hong Kong, and in Europe.
More importantly, the ML Album’s provenance can be traced to one of the Grandees of Spain. ML was an important businessman based in Andalucia who traded in sugar and textiles. Due to his business successes and charitable works, ML was conferred the title of marquis by Queen Isabella II in the 1860’s. The family was also involved in railways, financing and in the olive oil and soap industries. One of the descendants made a fortune in the liquor industry. Today, the descendants of the family are gentlemen farmers dabbling in the fruit and real estate businesses. ML never set foot in the Philippines and therefore did not commission the album. It was a gift from a Philippine sugar producer and business partner. The marquis died during a business trip in France in 1873.
The heir who inherited the album informed Salcedo Auctions that the paintings were never bound into an album and were never framed or displayed as the family had so many Spanish artworks that there was no space in the marquis’ palace to hang them. Throughout its existence, the twelve watercolors of the album were stashed away and all but forgotten in an antique chest containing other gifts and exotic artworks that were gifted to the marquis. As the watercolors were never displayed, today the colors are vibrant and there are no signs of water damage or foxing. This is one of the best preserved albums by Lozano.
For Philippine collectors, one of the important features of this album is the existence of an ‘ML’ letras y figuras as the first page of the album, featuring fishermen holding a fish net forming the letter ‘M’ and two Igorrotes conversing beside a cooking pot forming the letter ‘L’. The Puente Colgante de Manila serves as a backdrop, and on top an angel carries the flag of Spain. The old Spanish word ‘Albun’ identifies this as the frontispiece of a set of pictures – an ‘album’ as it is now known owing to the influence of the English language.
Another interesting feature of the album is that, with the exception of one sheet, all the works are either signed or signed and dated. The signature of the last watercolor appears to have been torn off accidentally, and was not restored. Four of the works feature Tipos Filipinos in their colorful attire while another four are typical views of the Philippines. Two of the most outstanding paintings in the set are the Carruaje de Alquiler (Carriage for Hire) and the Entierro de un Parbulo (Funeral for a School Child), where a band in colorful attire is featured playing lively music while the child is dressed like a bishop or a saint and paraded on the way to the cemetery. This particular scene is borne out of the idea that when a child passes, he goes straight to heaven, thus a cause for celebration rather than sadness.
The return of the ML Album to the Philippines is a cause for joy, especially since there are very few surviving mid 19th century Philippine art works in the country and even less works by this artist whom Rafael Díaz Arenas praised in his book Memorias Históricas y Estadísticas de Filipinas (published in Manila in 1850): “There is a landscape painter using distemper, who is also a watercolorist without rival in the country… I speak of Lozano.” The recent discovery of three oil on canvas paintings by Lozano, namely Vista de la Casa de Campo de Malacañan and two studies of Philippine fruits, flowers and vegetables also confirm Rafael Diaz Arena’s words that “Lozano was a virtuoso in oil and watercolor.”
The provenance of the album and the identity of ML will be provided to the buyer.
Hilo de la Fotohistoria en Pullip .es: Naruto VS Sasuke
(Read in order, this is: SHOT/FOTO 01 of 23) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23.
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
- Hilo de Naruto en Grupo en el Foro: miPullip
- See more photos at: Renske‘s Flickr
As promised.. here goes the "faces" collection from my Day 1 at Times square.. got about 40+ "good" photos of different people in 2 hours .. What a place.. totally loved the time..
most of the images are at 300mm.
I will be putting up all the individual photos in a slide-show sometime later.
This is definitely better large.
I'd love to say which band this was, but I can't remember the name--just that they played really decent music for an opening act. Nathan and I went to San Francisco a few months back to see our good friends finally get married, and we stopped off at Kimo's to see Nathan's old roommate. I'd just purchased my 10-22mm lens, and I had so much fun shooting in the upstairs stage section of the bar. So wide. So cool. I love how the lead singer looks like a doppelganger, and how all the band-related gear is piled everywhere (some of it belonging to bands who played later, like ShockBox).
15-second exposure at 10mm
© Luxgnos Photography / Brian Callahan 2012 All rights reserved.
Please Press "L" Or Click To View On Black
This is a vertorama made of 2 sets of images taken with a wide angle lens. Much distortion correction was required. I was trying to get a less distorted view that still showed the entire arc and the buildings behind. It ended up in square format.
I love the "Labor Legacy Landmark". In my humble(?) opinion, it is the finest piece of public art in Michigan.
The Labor Legacy Landmark
With its shining arch rising 63 feet above the ground, the Labor Legacy Landmark, "Transcending," draws attention to itself as one of the newest additions to the Detroit skyline. The piece, commissioned by the Michigan Labor Legacy Project and funded solely through donations from union members without the aid of public or corporate money, is designed to celebrate the history and contributions of labor. The only such monument in the United States, the Labor Legacy Landmark is the work of local sculptors David Barr and Sergio De Giusti.
Barr, a teacher of sculpture and an internationally acclaimed artist, created the "Four Corners Project," in which he placed four carved marble tetrahedrons at equidistant sites around the globe, in effect creating the largest sculpture ever made. The Italian-born De Giusti is best known for his representative relief works, on display at public institutions throughout the state and around the world. One of De Giusti's works,a nine-foot bronze freestanding relief, is prominently displayed at the main plaza of the Blue Cross Blue Shield Building.
Barr, whose work is primarily abstract and symbolic, sought out the collaboration with De Giusti in order to add a more intimate dimension to the project. Both men envisioned something other than the funereal, European tradition of famous leaders commemorated by solemn statues. Instead, they set out to create a space - an environment where viewers can enjoy art as they come to understand and appreciate the struggles of labor.
From afar, (the piece can be seen from Canada) the work's great stainless steel arch is its most visible aspect. The notched, rounded arch resembles the ubiquitous symbol of labor - the gear and serves as a testament to labor's spirit of exuberance and defiance.
"Transcending's" circular form also stands in contrast to the city's grid-like design as a symbol of inclusion. The bottom of the gear appears to merge into the earth. Barr says, "The world drives industry and labor, and industry and labor drive the world."
The arch rests on a circular, raised dais, and is partially encircled by seven granite boulders all split symmetrically in two. According to De Giusti "Stones have a great presence and have always been used to commemorate events. They are markers of a people and a generation." Brought from Vermont, the stones suggest a strong linkage to the past and their permanence creates a link towards our future.
The boulders' polished surfaces are adorned with De Giusti's bronze reliefs which depict the sacrifices and achievements of labor. His method of presenting objects pushing through and receding into the flat surface of the relief, suggests the embedding of fossils in stone. In direct sunlight, the bronze shines like a geode from within the split rock.
The piece also includes a twisting marble path. A tile at the beginning of the path is engraved with the words, "Labor's achievements are America's strength," and subsequent tiles enumerate those achievements - "Free public education," "Human rights," "Equality for women." Other tiles feature historical labor-related quotes such as "Without struggle there is no progress" (attributed to Frederick Douglas), and Martin Luther King's words, "The arc of history bends toward justice."
De Giusti's reliefs line the path at it spirals inward. At the spiral's center are two boulders - one displaying chains and the other displaying hands - directly below the apex of Barr's arch. A look straight upwards reveals that the arch is divided by a narrow gap at the top. This separation symbolizes how far labor has come and how far it still has to go. At night the arch is made whole by lights projecting from the two disconnected ends.
When the piece was still in the proposal stage, then-Mayor Dennis Archer told the Detroit Free Press, "What the labor movement is doing is reminding everybody who builds buildings that public art also has a place in the betterment of a city." In "Transcending" Barr and De Giusti have created not only an important piece of art but also a significant historical and educational setting designed to connect viewers to the past and inspire them to affect their future. - Nick Sousanis
Remember my previous post about stairs and little hill? This is to the left of it but still closed to the public with barricades on top and bottom of the stairs. I'll go back to find out what they had in mind for this. The view on Lower Manhattan, Statue of Liberty and Governor's Island is just beautiful!! Love the textures and tones here that almost matches the texture of the Majestic Brooklyn Bridge in the background!!
3 shots HDR
Of course when I was there for sunrise shot, Kenny and I didn't really care about the barricades on the top and just move them a little and parked our gears in front of those flimsy things, LOL!! The rangers making their tours saw us, and couple other photographers, didn't mind knowing well we'll be there for few minutes only!!
Have a great week, it is gloomy and raining here!! :((
Thanks for stopping by and commenting!!
This is my friend Marclino you have all seen him
before but you probably dont recognize him maby
its because he has shaved his head bald lol i was with him
today and when i saw him i just burst out laughing he just looked
so different i said marcilino what have you done so he said
have a guess english oh and by the way thats what they call me
out here in the north of portugal they never ask me what my name is
all they no is that i am from england so they call me english i no its
very strange but thats how it is out here.again this was taken with the wifes
P+S but as a contact friend of mine macro marcie has pointed out
to me the most important thing is catching the essence.....and that can be done with any camera.again thankyou so much for your time and your comments
and kind regards to you all.