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Another shot from my Bodmin Moor adventure, this time focusing on The Hurlers, which are ancient stone circles in Minions, Cornwall.
The light was flat and I’d never been there so deciding what to shoot was a challenge.
With wellies on, once the visitors got out of the way I decided to focus on the interesting angles of the stones and to try and get a good depth to the shot without trying to take in the whole circle (which would have been a challenge!)
While not on the same scale as Stonehenge, they are very interesting and a nice change from seascapes. It’s an interesting place to be, with disused mines and Neolithic monuments on a pretty barren landscape.
I decided to use my GND 8 as the difference between sky and ground was technically best suited for a GND 4, but that filter did not give the desired contrast/dramatic effect for the sky. I just about managed to restrain myself from using an ND filter too, although I’m glad I did.
Fully fuelled on energy drinks, cookies and crisps, I came away with this.
I’m pleased with the result, hope you like it too.
Canon 500D
Sigma 10-20mm
Lee GND 8
16mm
f/22
0.6 secs
ISO 100
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Nuevas galerías en breve en Biodiversidad virtual
Aunque Spongomonas es un alga, no lo parece, su palidez hace que se oculte su identidad, Spongomonas pertenece al grupo de las algas haptofitas, que al igual que las algas doradas, crisofíceas, tiñen sus cloroplastos de colores amarillos, en las haptofitas tan desvaídos que apenas se dejan ver.
Las haptofitas son siempre muy pequeñas y unicelulares y están provistas de dos flagelos ligeramente desiguales. En ocasiones, como ocurre con Spongomas se asocian formando colonias globulares o irregulares constituidas por una masa gelatinosa de la que asoman los flagelos y a la que se adhieren también partículas globulares, posiblemente de origen bacteriano ▷.
A veces alrededor de la base de los flagelos se dispone un pequeño collar casi plano y por eso apenas perceptible y en el extremo opuesto, pero en el interior de la célula se marca la pequeña huella de una vacuola contráctil.
Aunque Spongomonas no es en absoluto un flagelado común, otras haptofitas hermanas y solitarias, constituyen, sin duda, las formas planctónicas más abundantes en todos los océanos, son los cocolitóforos, que tienen un esqueleto formado por placas calcáreas esculpidas en formas inimaginables que pueden formar con el tiempo grandes depósitos de estos microfósiles.
Aunque Spongomonas pertenece a este grupo de abundantes y minúsculas algas oceánicas vive en aguas dulces y se alimenta filtrando las partículas que atrae con las corrientes de sus flagelos
Algunas especies de Spongomonas tienen aspecto acintado y parecen culebrear en el agua, la de hoy irregular y de aspecto esponjoso procedede unas muestras recogidas en una charca próxima a Ricobayo, entre granitos, en la comarca zamorana de Aliste y han sido fotografiadas a 400 aumentos utilizando la técnica de contraste de interferencia.
Muy probablemente sea la primera cita que se hace de este género en nuestro país.
Gracias a Santiago Ortiz por incorporar nuestro proyecto a su magnífico Bestiario.
Con nuestra gratitud también para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
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Artículo LA BIODIVERSIDAD OCULTA
Entre las algas libres y numerosas que como las diatomeas crecen en la fuente de Arbolí también se encuentran otras ancladas y filamentosas como en finos hilos de seda verde que se mueven ondulando con la corriente. Son filamentos del alga Zygnema.
Zygnema es alga relativamente común que habita casi en cualquier lugar en el que el agua dulce está remansada o se mueva en suave corriente. Su principal característica es la presencia de dos cloroplastos de contornos estrellado en cada una de las células y entre los cuales se dispone el núcleo que les da la vida.
Zygnema es prima de Spirogyra y de Mougeotia un alga del grupo de las “conjugadas” en las que la reproducción sexual se produce cuando las células de dos filamentos paralelos se unen, una a una, construyendo así una escalera en la que dos a dos se funden los núcleos y cloroplastos para formar unas esporas de resistencia que pueden sobrevivir en muy duras condiciones para germinar finalmente cuando éstas se vuelven favorables.
Los filamentos de Zygnema se agrupan formando enmarañadas y suaves selvas , entre las que viven gran cantidad de organismos que encuentran en ellas o entre ellas su alimento.
Para poder determinar cada una de las numerosas especies de este género de algas filamentosas es preciso conocer la morfología de las esporas de resistencia, las zigosporas, que hasta dentro de unos meses no se formarán.
La fotografía se ha tomado a 400 aumentos con la técnica de contraste de interferencia y procede, como las de días anteriores, del agua recogida por África en la bonita fuente de Arbolí en Tarragona ¡¡ Gracias, África !!
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☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.
ISTANBUL PHOTO CONTEST 2014 WINNERS
textura Bombas Gens
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www.notodo.com/keepwalkingprojectphoto/index.php
Gracias por participar.
Tu serie se ha enviado correctamente
volver.
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En esta imagen se aprecia la belleza resultante de ganar la batalla la humedad frente al lucido y la pintura en una pared de una de las naves. Un interruptor y enchufe completan el cuadro.
Imagenes tomadas en la fabrica abandonada de BOMBAS GENS en Benicalap (Valencia). Actualmente esta ocupadas por un gran numero de personas, al igual que ocurriera tiempo atras con las NAVES DE MACOSA. Tiene un nivel bajo de vandalizacion, apenas unas pintadas en fachada y algo en el interior. Es más la poca estanquiidad del interior, la acumulacion de desperdicios que se producen desde dentro y la gran cantidad de basura y restos acumulados en las naves.
Images taken in the factory left of BOMBS GENS in Benicalap (Valencia). Nowadays this one occupied by a great number of persons, as it happened time behind with MACOSA's SHIPS. It has a low level of vandalizacion, you upset some identical with front and something in the interior. There is more few estanquiidad of the interior, the accumulation of wastes that take place are produced from inside and the great quantity of garbage and remains accumulated in the ships.
Des images prises dans la fabrique abandonnée de BOMBES GENS dans Benicalap (Valence). On est actuellement occupé par un grand nombre de personnes, aussi comme il arrivait le temps derrière avec les VAISSEAUX de MACOSA. Il(elle) a un bas niveau de vandalizacion, tu peines les unes peintes une façade et quelque chose dans l'intérieur. C'est plus peu d'estanquiidad de l'intérieur, l'accumulation de gaspillages qui se produisent de l'intérieur et la grande quantité d'ordures et de restes accumulés dans les vaisseaux.
Foto tomada en la visita efectuada al interior de este edificio el dia 24 de marzo de 2009.
enlace a varios videos cortos en Youtube:
www.youtube.com/watch?v=fLjCiYTsc3Q
www.youtube.com/watch?v=0uNKTNxD_4U
www.youtube.com/watch?v=m6rQfvlWUm8
www.youtube.com/watch?v=94vHP5nao-w
www.youtube.com/watch?v=o143LtNL12M
foto presentada a concurso en FOTOACTITUD
DIAGEO ESPAÑA. S.A y Notodo.com convocan el concurso FOTOACTITUD dentro de KEEP WALKING PROJECT PHOTO, un proyecto colectivo de fotografía de largo recorrido que quiere construir un gran mosaico que refleje el espíritu de KEEP WALKING PROJECT: tu actitud te hace grande.
Por eso la temática del concurso es libre, pero siempre con el telón de fondo de Los Retos. Queremos ver trabajos con actitud, que emocionen; imágenes que inmortalicen ese momento que para ti supuso un reto a fotografiar, instantáneas que plasmen tu apuesta como fotógrafo por la actitud de superación. FOTOACTITUD será un escaparate de imágenes inspiradas en la lucha por conseguir un sueño, por hacerlo realidad.
Y como imagen de esta actitud y de los valores de la paciencia y la perseverancia, Chema Madoz, uno de los gigantes y embajadores de KEEP WALKING PROJECT PHOTO que, además, será parte del jurado de FOTOACTITUD.
Presentación de Candidaturas
La convocatoria de esta primera edición del concurso FOTOACTITUD comienza el miércoles 15 de septiembre de 2010 y finaliza el martes 23 de noviembre de 2010 a las 12.00 p.m. (hora peninsular)
Cómo Participar
La convocatoria utiliza el site de internet www.notodo.com como plataforma para recibir y exhibir los trabajos. La participación en la convocatoria es gratuita. La presentación de las obras se realizará única y exclusivamente a través de la página web del concurso:
www.notodo.com/keepwalkingprojectphoto
En esta página web se encuentra el formulario de inscripción que los participantes deben cumplimentar. Sólo es necesario rellenar los datos personales la primera vez que se accede al formulario. Para presentar posteriores candidaturas, será suficiente con introducir un nombre de usuario y contraseña.
Cada usuario podrá participar con un número ilimitado de candidaturas.
Cada una de las candidaturas estará compuesta obligatoriamente por 3 fotografías en blanco y negro y/o color indistintamente, que deberán cumplir los requisitos de formato y tamaño que se indican en el formulario de participación. Las fotografías deberán formar, en su conjunto, una serie: es decir, estar relacionadas de alguna manera entre sí.
Los autores de esas 3 fotografías pueden ser 3 personas diferentes (un autor por cada una de las imágenes) o un mismo autor (tres imágenes de un mismo usuario). En cualquier caso, la candidatura irá a nombre de una única persona, que será la responsable a todos los efectos de la misma.
Las fotografías podrán acompañarse opcionalmente por un texto o una cita que describa brevemente y apoye los valores de la secuencia. Este texto estará escrito siempre en castellano.
No se admitirán a concurso imágenes que puedan herir la sensibilidad de las personas, que transmitan mensajes o actitudes xenófobas, contenido pornográfico o vulneren los derechos humanos. Estos puntos se evaluarán según el criterio de la organización del certamen.
Los trabajos presentados a FOTOACTITUD no podrán haber sido premiados en otros concursos de fotografía, ni estar participando en otras convocatorias de forma simultánea. La organización del certamen se reserva el derecho a solicitar a los usuarios una declaración jurada que acredite este punto y a descalificar al usuario en el caso de que el usuario no pueda acreditarlo.
Quiénes Pueden Participar
Todos los fotógrafos ( amateurs y profesionales ) que present en su candidatura a título personal, que sean mayores de 18 años y residentes en España. La organización del c ertamen se reserva el derecho a solicitar a los participantes el padrón municipal para acreditar su residencia.
Desarrollo de la Convocatoria
El proceso de selección y evaluación de las series presentadas a concurso es el siguiente:
A. Series admitidas
A medida que se vayan recibiendo los trabajos, un comité de selección irá admitiendo y validando en la web aquellas series que cumplan con las bases del concurso.
A través de la URL www.notodo.com/keepwalkingprojectphoto/index.php?sec=part... puedes confirmar la correcta recepción de tu trabajo. El listado que figura en esta URL sólo sirve como registro de participaciones recibidas, pero el hecho de que un trabajo figure aquí no significa que haya sido admitido a concurso.
En los días posteriores al envío de tu candidatura, y en el caso de que el comité de selección verifique que tu trabajo cumple con todas las bases del concurso, podrás ver tu serie fotográfica publicada en la web del concurso. Se ruega a los participantes que tengan paciencia con la validación de los trabajos, que no se hará de forma inmediata sino en los días posteriores a la recepción del trabajo.
En el caso de que tu candidatura no sea admitida a concurso, serás informado personalmente de ello vía e-mail.
En caso de querer volver a presentar a concurso un trabajo descartado con las modificaciones pertinentes hechas, será necesario por cuestiones técnicas que el participante rellene de nuevo los datos de los formularios de participación desde cero, como si se tratara a todos los efectos de la primera vez que participa.
B. Series finalistas
A partir del 23 de noviembre de 2010, una vez cerrado el plazo de participación, un comité de selección irá eligiendo entre todas las series admitidas a concurso las de mayor calidad e interés.
Estos trabajos formarán parte de la lista de finalistas del certamen. Se comunicará a todos los participantes la selección de sus trabajos como finalistas.
C. Series premiadas
Entre los trabajos finalistas, el jurado seleccionará a 4 personas que resultarán ganadoras de la primera edición del certamen FOTOACTITUD.
El fallo de la convocatoria se hará público en la página web del concurso el 13 de diciembre de 2010 y se comunicará individualmente a los premiados. Las decisiones de la organización y el fallo del jurado serán inapelables.
Jurado
El jurado de FOTOACTITUD está integrado por los siguientes profesionales de la fotografía y del mundo del arte, todos ellos de prestigio internacional:
Chema Madoz
Premio Nacional de Fotografía y embajador de Keep Walking Project
Carlos Urroz
Director de ARCOmadrid_2011
Eugenio Recuenco
Fotógrafo
Oliva María Rubio
Comisaria y directora de exposiciones de La Fábrica
Pedro Anós
Relationship Marketing Manager de DIAGEO España
Premios
KEEP WALKING PROJECT PHOTO otorgará como premio a los cuatro ganadores del certamen FOTOACTITUD ser fotógrafos oficiales de ARCOmadrid_2011, realizando fotografías de autor y pudiendo exponer algunos de los trabajos que efectúen para esta Feria Internacional de Arte Contemporáneo en su próxima edición de 2012. ARCOmadrid_2011 tendrá lugar del 16 al 20 de febrero 2011. Se trata de un trabajo remunerado.
Los premios quedarán sujetos a la normativa fiscal vigente, de forma que, cuando proceda, la cuantía del premio se computará como premio en especie a cada ganador y acompañante y quedará sujeta al Impuesto sobre la Renta de las Personas Físicas a pagar por parte de los ganadores. No obstante, la organización del certamen realizará los pagos a cuenta del Impuesto de Renta de las Personas Físicas correspondientes.
Derechos de Reproducción y Propiedad Intelectual
Los candidatos se hacen responsables de las reclamaciones que en cualquier momento pudieran formularse sobre la autoría y originalidad de los trabajos y sobre la titularidad de los derechos, todo ello en el marco de la propiedad intelectual.
Los autores de las fotografías finalistas y ganadoras ceden los derechos de reproducción de sus imágenes a DIAGEO ESPAÑA. S.A y Notodo.com hasta el 30 de junio de 2011. Asimismo, todas las imágenes presentadas a concurso podrán mostrarse en las páginas web de Notodo.com y www.keewalkingproject.com de forma indefinida, con el único objetivo de la divulgación de la convocatoria.
Con este mismo fin, sólo divulgativo e informativo sobre el certamen, todas las imágenes presentadas a concurso podrán ser publicadas en otros medios informativos y medios de comunicación, para lo cual sus autores pondrán a disposición del la convocatoria, en caso de que la organización así lo solicite, la misma serie o fotografía presentada en la mejor resolución disponible.
En el caso de que DIAGEO ESPAÑA. S.A quiera utilizar con fines comerciales alguno de los trabajos presentados a concurso, la entidad se compromete a contactar previamente y personalmente con el autor de las fotografías para negociar el uso y contraprestación por las mismas.
Los autores ganadores del certamen deberán ceder a las colecciones de DIAGEO ESPAÑA. S.A y Notodo.com, y a petición de los organizadores, copias en papel de sus fotografías ganadoras, producidas por cuenta de la organización a partir del negativo o archivo digital en alta.
No se admitirán a concurso candidaturas de personas vinculadas laboralmente a DIAGEO o a Notodo.com. También se descartarán los proyectos en cuya realización haya estado implicado directamente algún miembro del Jurado.
El hecho de concurrir a la presente convocatoria supone la aceptación íntegra de sus bases y del fallo del jurado. Cualquier manifestación en contra supondrá la eliminación automática del participante.
Una vez registrado correctamente a través del formulario de participación, el usuario que acepte proporcionar sus datos en la forma y para las finalidades que se citan en dicho formulario y que se establecen en el párrafo siguiente, pasará automáticamente a formar parte de los ficheros de DIAGEO ESPAÑA, S.A
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Ampliamos el plazo de participación hasta el 23 de noviembre
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Ante el interés que ha despertado nuestro certamen tanto entre los participantes como entre los medios, en FOTOACTITUD hemos prorrogado el plazo de presentación de trabajos hasta el 23 de noviembre. Seis días llenos de posibilidades. Seis días más para que atrapes con tu objetivo esa imagen genial que te ronda la cabeza. Seis días para ir con tu cámara a todas partes esperando ese momento de inspiración. O seis días para decidir qué propuestas quieres enviar. Seis días para la oportunidad de tu vida: trabajar como fotógrafo profesional en ARCO 2011 y exponer en ARCO 2012.
Ya sabes el criterio con el que se valorará tu trabajo. Una fotografía dice tanto de lo fotografiado como de quien la toma. Es un reflejo de vuestras aspiraciones, vuestros sueños, vuestra filosofía de vida. Y ahí es donde Johnnie Walker, con su Keep Walking Project y a través de nuestro prestigioso jurado, sabrán ver tu actitud ganadora.
A partir del 23 de noviembre las 120 series finalistas de Fotoactitud se expondrán en nuestra web en una sección especial. No dejes de estar pendiente esperando ver tu nombre entre los seleccionados.
No sólo importa ser ganador en Fotoactitud. Ser finalista significa que tu trabajo y tu esfuerzo han destacado entre más de diez mil fotografías y que, gracias a ello, profesionales de la talla del gran Chema Madoz van a ver y valorar tu obra. La comunicación de los 4 ganadores será el día 13 de diciembre. Todavía estás a tiempo de ser uno de ellos.
Fotografiar es colocar la cabeza, el ojo y el corazón en un mismo eje, decía Cartier-Bresson. Alinéalos con actitud. Tienes seis días más.
* Don't use this image on websites, blogs or other media without my permission.
No use esta imagen sobre sitios web, blogs u otros medios de comunicación sin mi permiso. © All Rights Reserved.
HDR from 3 exposures. Normal curves and adjustments in PS CS2. Tone mapping with a tailor made script. Adaptive color temperature adjustments. EXIF made available from 0Ev, 2 second shutter shot taken at f/8.0 . | Strongly Recommended to View Large On Black
I take feedback very seriously. Since past few days, I am not very happy with the pictures that I have been making. I thank Vikrant for his honest opinion that he conveyed to me via email. ( If you find this better, give me a call to let me know!)
If you have 2 minutes spare , do have a look at some other Night Shots that I made
When free, do take out some time to take a Slide Tour of HDRs that I made. It will be revitalizing.
A carousel (or carrousel) is an amusement ride consisting of a rotating platform with seats for passengers. The "seats" are traditionally in the form of wooden horses or animals, which are often moved mechanically up and down to simulate galloping. This leads to one of the machine's alternative names, the galloper. Other popular names are merry-go-round, roundabout and flying horses. Usually, music is looped while the rides spins. -wikipedia
© 2007 Ayush Bhandari
Hilo de la Fotohistoria en Pullip .es: LIVING ROOM (4 of 7): MUSE /
LA SALA DE ESTAR (4 de 7): MUSE
(Read in order, this is: SHOT/FOTO 42 of 106) 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, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106.
FOTOSTORY: In English / En Español
Dom: Mm-mphh... What do you think? ò_ó
Matt: XD Hahaha, come on you peevish, everybody carries his stuff, and you are the drumer, right? XD
/
Dom: Mm-mfff... Tu que crees? ò_ó
Matt: XD Jajaja, anda quejica, cada uno se lleva lo suyo, y tu escogiste la batería, no? XD
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
Perhaps the most striking and spectacular impression of Stone Town for its first time visitor is the magnificent wooden doors serving as prosperous entrances to the grand buildings.
The doors have become more or less synonym with the Swahili culture where they mainly are found in East Africa, Lamu and Mombasa (Kenya) and in Zanzibar. The doors in Zanzibar outnumber the doors, both in number and in grandness, found elsewhere along the coast, and thus being named ‘Zanzibar doors’. An inventory done in the 1980ies reported around 800 doors. Unfortunately has the number decreased, not only due to the diminishing of several houses, but also due to theft following the increased attention from international collectors.
The doors are manifestations in excellent craftsmanship, both technically and artistically. The oldest doors are often made out of Burma (Indian) teak, shipped all the way from Asia across the Indian Ocean. The shutters are made in one impressive piece and not mended together as is the case on newer doors. The Burma teak does no longer exist and the alternative has been the East African teak. Even this wood has become rare and difficult to find, often demanding a very high price.
The wealthy traders and house owners appointed skilled carvers brought in from India for the delicate job of arranging the entrance ornament. Their creativity is continuously at display.
In principal there are two types of doors found in Stone Town. The Indian doors, or Gujarati doors, with square shutters and made into smaller sections so that the door can fold together. These doors are to be seen along the busy bazaar streets where the Indian businessmen lived. The second type is called ‘Arab doors’, these doors are often found with an inscription in Arabic – most likely a phrase from the Holy Quraan – on the top frieze, and richly decorated around the frame. The older doors were all square at top. The semi-circular frames were introduced later, but are still referred to as ‘Arab doors’.
The custom of putting brass knobs on the shutters comes from India, where the knobs were said to prevent elephants from crushing the doors. Since there have been no violent elephants in Zanzibar the brass knobs were simply but there as a decoration and to show the wealth of its owner.
By looking at the lower part of the side posts and rough estimate can be done of the age of the door. The oldest doors have a symbol resembling of a fish. The fish gradually transformed into a shape of a pineapple and thus if the carving shows a clear and distinct pineapple the doors is of a younger generation. Another symbol that became part of the decoration was the chain-like row at the very outside of the whole door. The chain was said to protect the entrance from evil spirits.
(source: Zanzibar Stone Town Heritage Society)
2008 used Hyundai Veracruz Cars For Sale by owner absolutely available from wineandcars.com , I’m not going to take too much time, so I’m giving few tips before buying used Hyundai Veracruz Cars that owned by one owner whether you purchase from this site or from other.
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Thursday's retread for the Monday Photo Challenges and Thursday Retreads group.
The Angel of the Sea was built around 1850 as a "summer cottage" for William Weightman, Sr., a Philadelphia chemist who, as managing partner of Powers & Weightman, introduced quinine to the United States as an anti-malarial drug. Built as a single structure, the house originally stood on the corner of Franklin and Washington Streets where the Cape May Post Office now stands.
In 1881, Mr. Weightman decided that an ocean view from the broad porches of his "cottage" would be appreciated by family, friends and guests. To accomplish this goal, he hired a number of local farmers to move the house to a piece of property on the corner of Ocean and Beach Avenues, near where the Marquis de Lafayette now stands.
The farmers discovered the house was too large to move as one unit. Not wanting to lose the winter work, they decided to cut the house in half, move it in sections and then reconnect it after the move. Their task took all winter long, pulling the sections on rolling tree trunks with mule and horse power! Unfortunately, after both halves of the house were moved to the new location, the farmers discovered that, although their mules and horses were quite adequate for "pulling" the house, they proved totally ineffective in "pushing" it back together.
Summer was close upon them, and Mr. Weightman would soon be returning to Cape May. The farmers enclosed the sides where the cut had been made, renovated as best they could and hurried back to their farming chores. The results of their efforts are the two buildings as they stand today.
The house remained in the Weightman family until Mr. Weightman's death in 1905. During the next 50 or so years the Weightman Cottage, as it was called, was used as a hotel, guest house and, during one period, a restaurant.
In 1962 a powerful Nor'easter ripped through New Jersey and devastated the city of Cape May. Referred to by many as the Storm of the Century, it destroyed much of the town including Convention Hall and the boardwalk. Miraculously the Angel survived, but not without considerable damage. The massive rebuilding that followed the storm cleanup called for the two houses to be torn down to make room for a parking lot. They were saved from this fate when they were purchased by the Reverend Carl McIntire and moved (this time on flatbed trucks) to their present location on Trenton Avenue. From 1962 to 1981, the houses were used as a dormitory for students from Shelton College and to board employees from several nearby inns. During this time they received very little maintenance and in 1981 they were declared uninhabitable. Virtually unwanted, this once magnificent structure was left abandoned to vandals and the elements until December of 1988.
About that time, John Girton, a builder and developer, and his wife Barbara crawled through a window to check out the soundness of the buildings. Although all of the windows were broken out, walls had collapsed and many of the porches and stairways had rotted, it appeared the houses could be saved! Based on what they found, the Girtons purchased the property and began renovations in January, 1989. Time was money and John Girton led his crews seven days a week around the clock to put the Angel back together. At times, as many as 75 people were working on the site during a 24 hour period. At the end of one shift, one painting crew would get off the scaffolding and another would get on it.
A trailer set up in the backyard housed a fully functional cabinet-making shop. There artisans and carpenters would find bits and pieces of the original building and piece them together. They then recreated on-site all the gingerbread detail, wall brackets and windows, copying the original designs they found. The first of the two buildings opened in July of 1989, only six short months after renovations had begun! One year later, the most complete Victorian restoration in New Jersey was completed. The total project cost approximately $3.5 million and was done with over 103,000 man hours of labor.
After its first two successful seasons as a bed and breakfast, the Angel of the Sea was acknowledged as one of the Top Ten B & Bs in the United States by two national bed and breakfast organizations. It also won the Historic Preservation Award from the National Trust for Historic Preservation in Washington, DC for renovation to historic specifications.
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El cisne común (Cygnus olor), también llamado cisne mudo y cisne blanco , es una especie de ave anseriforme de la familia Anatidae propia del Hemisferio Norte. Su denominación científica es Cygnus olor, donde tanto cygnus como olor significan "cisne" en griego clásico y en latín, respectivamente.El cisne mudo debe su nombre a que no emite los fuertes trompetazos de los otros congéneres, aunque sí emite ciertos sonidos que lo descalificarían de mudo.
Esta especie presenta el segundo tamaño del género Cygnus; solo el cisne trompetero es un poco mayor. Se le distingue de los otros cisnes blancos por tener el pico de color amarillo anaranjado a rojo. Los otros lo tienen negro y amarillo. También es el único cisne blanco al que le crece una carúncula negra sobre la base del pico.
No hay dimorfismo sexual en el plumaje. Los machos son más grandes, y su envergadura alar es de 2,4 metros. La carúncula negra sobre el pico se desarrolla más en el macho.
Distribución
El cisne común ocupa el Hemisferio Norte, al igual que los otros cisnes blancos. Tiene parentesco con el cisne negro de Australia, más que con los otros cisnes blancos.
En Europa se lo denomina cisne común. En el siglo XIII en Gran Bretaña había poblaciones de este cisne en estado parcialmente domesticado. Después fue introducido en Francia y otros lugares de Europa, donde logró establecerse. Es un ave que se vio favorecida en los bellos estanques artificiales de las monarquías europeas.
El área de distribución natural de la especie es difícil de establecer, debido a que se confunden poblaciones salvajes, introducidas por el hombre y naturalizadas a partir de introducciones. Se consideran parcialmente salvajes aquéllos que anidan al noreste de Europa, en las Islas Británicas, al sur de Suecia, en Dinamarca, Holanda, norte de Francia, norte de Alemania, Polonia, en los países al sur del mar Báltico y el mar Negro.
En Asia se consideran naturales o salvajes a los que anidan en el mar Caspio, continuando hacia el oriente en forma irregular por el sur de Siberia hasta el lago Baikal, y aquellos que anidan al norte de Mongolia.
En invierno las poblaciones del norte se trasladan hacia el sur, aunque en algunos lugares son sedentarias y permanecen todo el año en el área donde se reproducen, desplazándose hacia las costas.
Cuando migran desde Europa se reúnen con las poblaciones en el mar Negro y el mar Caspio. En Asia invierna en la costa del mar Amarillo.
Se los considera avistes ocasionales en todo el resto de Europa, en el delta del Nilo, golfo Pérsico, en Irán, desde Afganistán hasta la India, en la península de Corea y en Japón.
Fue introducido en América del Norte, Australia, Nueva Zelanda y Sudáfrica. En América del Norte hay dos poblaciones grandes en el noreste; ocasionalmente se lo suele ver en el sur de Canadá. Ambas poblaciones tienen miles de ejemplares. Las poblaciones de Australia y Nueva Zelanda se mantienen estables, sin aumentar ni disminuir notablemente. La población natural al norte de Asia y Europa aparenta crecer; se estima en medio millón el número de individuos.
Ocupa hábitats de lagos y ríos poco caudalosos, con orillas donde crece vegetación alta. En invierno está presente en estuarios de agua salobre en las cercanías del mar, en costas marinas con alguna protección y en el mar abierto si la costa no tiene protección.
It's Management Monday again, Check Out the latest Management Jobs in Polk County - ga-polk.countyjobs.careers/index.php?q=Management .
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sophie
marta
I have taken a job in Ridgway, Co. which is located 15 miles from Telluride. My longtime friend and coworker has been working in the Durango area for the past year. He has been wanting me to come, and I have finally given in. I took this time-laps shot off of his deck looking back into Telluride. Mountain village is located just up in the middle right. Tom Cruise, and other "Celebs" have houses up there. Some may recognize the valley from the many music fests, although some may have been there several times, and never remember it! :)
This is 50 minutes of 30 second exposures blended with Startrails.exe i then blended 7 exposures for foreground. I tried several different views of the only road into Telluride, with cars, with out, and decided i liked best only one car heading into town. It is amazing how many cars where out at that time of night! :)
Here is a little history, for any who cares, thanks to Wikipedia: John Fallon made the first claim in Marshal Basin above Telluride in 1875 and early settlement of Telluride followed. The town itself was founded in 1878. Telluride was originally named "Columbia," but due to confusion with Columbia, California, the name was changed by the post office in 1887. The town was named after the chemical element tellurium, which was never actually found in the mountains of Telluride. Tellurium is a metalloid element sometimes associated with deposits of gold and silver. An alternate theory for the naming of Telluride is that it is a contraction of "to hell you ride". Telluride's mines were rich in zinc, lead, copper, silver, and, of course, gold.
Telluride began slowly because of its isolated location. In 1881 a toll road was opened by Otto Mears which allowed wagons to go where only pack mules could go before. This increased the number of people in Telluride, but it was still expensive to get gold-rich ore out of the valley. In 1890 the railroad reached town, which brought in more mines and brought out more ore.
Cardona, Barcelona (Spain).
DigitalZone KDD Cardona 28/06/2009.
ENGLISH
Cedar (Cedrus) is a genus of coniferous trees in the plant family Pinaceae. They are most closely related to the Firs (Abies), sharing a very similar cone structure. They are native to the mountains of the western Himalaya and the Mediterranean region, occurring at altitudes of 1,500–3200 m in the Himalaya and 1,000–2,200 m in the Mediterranean.
Cedars are very popular ornamental trees, widely used in horticulture in temperate climates where winter temperatures do not fall below about −25 °C. The Turkish Cedar is slightly hardier, to −30 °C or just below. Extensive mortality of planted specimens can occur in severe winters where temperatures do drop lower. Areas with successful long-term cultivation include the entire Mediterranean region, western Europe north to the British Isles, southern Australia and New Zealand, and southern and western North America.
They are also grown for their durable (decay-resistant) scented wood, most famously used in the construction of King Solomon's temple in Jerusalem provided by King Hiram, or Ahiram, of Tyre, Lebanon, circa 1000 BC. The wood is also used for humbler purposes requiring resistance to weather, such as shakes and shingles. Cedar wood and cedar oil is known to be a natural repellent to moths, hence cedar is a popular lining for modern-day closets in which woolens are stored. This specific use of cedar is mentioned in The Iliad (Book 24), referring to the cedar-roofed or lined storage chamber where Priam goes to fetch treasures to be used as ransom. Cedar is also commonly used to make shoe trees as it can absorb moisture and de-odorise. Solid cedar guitar soundboards are also prized for their warm tone as the wood sounds as if it has already been "aged", as some tonewoods, specifically spruce need years to "age" or "open up".
And in the present days the cedar tree is the Nationnal Symbol of the Lebanese republic, and it is drawn on its flag, and it was used as a symbol for the 2005 revolution in Lebanon aslo called cedar Revolution.
More info: en.wikipedia.org/wiki/Cedar
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CASTELLANO
El cedro, estrictamente, es un género de las coníferas (Pináceas), originario del Medio Oriente y del Himalaya, del que forman parte varias especies de árboles de gran tamaño, de madera olorosa, copa cónica o vertical, muy utilizados para la ornamentación de parques.
Los cedros han sido introducidos en Europa allí donde son ampliamente utilizados como árboles de ornamento en parques públicos y jardines. Existen numerosas variedades hortícolas.
Una de las variedades más conocidas es el «cedro azul», Cedrus atlantica 'Glauca', que también existe con forma de sauce llorón: Cedrus atlantica 'Glauca pendula'.
La madera de cedro del Líbano fue profusamente utilizada como material de construcción en el Antiguo Egipto y, posteriormente, en el primer Templo de Jerusalén, hacia el 976 a. C. Su madera tiene la cualidad de ahuyentar a insectos y gusanos, y un olor peculiar. El cedro, erez en hebreo, es el árbol más citado de la Biblia.
Sin embargo, por ser una madera bastante frágil, su empleo en carpintería es muy limitado. Sus propiedades de imputridez lo hacen idóneo en la construcción naval y la fabricación de sarcófagos. Se usa en la construcción, sobre todo como recubrimiento de muros exteriores (Bevel-siding) o tejas (shingels).
La noble madera de este árbol es útil también para crear instrumentos musicales, como guitarras, de gran sonoridad y belleza. También sirve a los artesanos para la confección de cofres, joyeros, etc.
Además la madera de cedro se usa habitualmente en la fabricación de lápices.
El aceite natural aromático del cedro del Atlas tiene propiedades antisépticas. No confundir este aceite con el «aceite de cedro» utilizado para la observación microscópica, extraído del enebro de Virginia, por eso llamado cedro de Virginia.
Para los egipcios antiguos, la esencia del cedro se utilizaba en el proceso de embalsamamiento de momias.
Más info: es.wikipedia.org/wiki/Cedrus
ISTANBUL PHOTO CONTEST 2014 WINNERS
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Poblet, Tarragona (Spain).
ENGLISH
The Monastery of Santa Maria de Poblet is a Cistercian monastery, founded in 1151, located in the comarca of Conca de Barberà, in Catalonia (Spain). It was founded by Cistercian monks from France. The main architect was Arnau Bargués.
It was the royal pantheon of the kings of the Crown of Aragon since James I of Aragon.
This monastery was abandoned in 1835 and was restored during the 1940s.
This monastery was the first of three sister monasteries, known as the Cistercian triangle, that helped consolidate power in Catalonia in the 12th century. (The other two are Vallbona de les Monges and Santes Creus)
It is a UNESCO World Heritage Site, since 1991.
Source: en.wikipedia.org/wiki/Poblet_Monastery
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CASTELLANO
El Real Monasterio de Santa María de Poblet (en catalán: Reial Monestir de Santa Maria de Poblet) es el prototipo de abadía cisterciense española. Localizado en la comarca de la Cuenca de Barberá, en el término municipal de Vimbodí i Poblet, en Tarragona (España), el primer cenobio fue impulsado y patrocinado por Ramón Berenguer IV, conde de Barcelona, quien lo entregó a los monjes bernardos de la abadía de Fontfroide en el año 1149.
Fue panteón real de la Corona de Aragón, desde finales del siglo XIV hasta la extinción de la casa real de Aragón en el siglo XV.
Enriquecido con distintas donaciones, alcanzó su máximo esplendor en el siglo XIV, y su total decadencia y abandono en 1835 como consecuencia de la desamortización de Mendizábal. En 1930 se inició su restauración, de forma que en 1935 pudo dedicarse nuevamente la iglesia al culto, y en 1940 retornaban a su abadía algunos monjes. No todos los espacios pueden visitarse, por ser dependencias en clausura utilizadas por los cistercienses que de nuevo ocupan el monasterio.
En 1991 fue declarado por la UNESCO Patrimonio de la Humanidad. Poblet, junto con Guadalupe, El Escorial, San Millán de Yuso y San Millán de Suso son los monasterios en España que gozan de este título.
La etimología del término Poblet deriva del latín populetum (alameda). El lugar fue siempre muy rico en vegetación y bosque de estos árboles (los álamos), lo que dio lugar a que en 1984 fuera declarado Paraje Natural de Interés Nacional, con 2.100 hectáreas y 50 fuentes naturales.
El monasterio de Poblet fue una fundación del conde de Barcelona Ramón Berenguer IV que alrededor del año 1150 donó las tierras de Populetum a la abadía francesa de Fontfroide (o Fontfreda) en el momento en que era abad Sancho I de Provenza. Fontfroide era filial de Claraval y estaba cerca de Narbona. Estas tierras que se ofrecieron son las situadas en la Conca de Barberá, en el término municipal de Vimbodí, cerca de Espluga de Francolí con las montañas de Prades como telón de fondo. El enclave tenía las condiciones recomendadas por el Císter para la fundación de un monasterio: podía estar aislado, con agua abundante y un extenso entorno para la agricultura.
Con la fundación de este monasterio sumaron cuatro las grandes abadías cistercienses: Claraval (en el valle de Absinthe (Francia), la Gran Selva (en Languedoc), Fontfreda (cerca de Narbona) y Poblet.
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Everything I do I do it for you, Bryan Adams
Look into my eyes - you will see
What you mean to me
Search your heart - search your soul
And when you find me there you'll search no more
Don't tell me it's not worth tryin' for
You can't tell me it's not worth dyin' for
You know it's true
Everything I do - I do it for you
Look into your heart - you will find
There's nothin' there to hide
Take me as I am - take my life
I would give it all - I would sacrifice
Don't tell me it's not worth fightin' for
I can't help it - there's nothin' I want more
Ya know it's true
Everything I do - I do it for you
There's no love - like your love
And no other - could give more love
There's nowhere - unless you're there
All the time - all the way
Oh - you can't tell me it's not worth tryin' for
I can't help it - there's nothin' I want more
I would fight for you - I'd lie for you
Walk the wire for you - ya I'd die for you
Ya know it's true
Everything I do - I do it for you
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Over 15 years ago I visited San Antonio and toured the famous building, The Alamo. I took this photo outside the building with my old film camera, and today I scanned it and enhanced it in PhotoShop, applying the a sepia tone and the Redfield "Fractalius" filter.
THE BATTLE OF THE ALAMO:
The Battle of the Alamo (February 23 – March 6, 1836) is the most famous battle of the Texas Revolution. After a revolutionary army of Texian settlers and adventurers from the United States drove all Mexican troops out of Mexican Texas, Mexican President Antonio Lopez de Santa Anna led an invasion to regain control of the area. Mexican forces arrived in San Antonio de Bexar on February 23 and initiated a siege of the Texian forces garrisoned at the Alamo Mission.
In the early morning hours of March 6 the Mexican army launched an assault on the Alamo. The outnumbered Texians repulsed two attacks, but were unable to fend off a third. As Mexican soldiers scaled the walls, most of the Texian soldiers retreated into the long barracks or the chapel. Several small groups who were unable to reach these points attempted to escape and were killed outside the walls by the waiting Mexican cavalry. The Mexican soldiers fought room-to-room and soon had control over the Alamo.
Between five and seven Texians may have surrendered; if so, they were quickly executed on Santa Anna's orders. Most eyewitness accounts reported between 182 and 257 Texian dead, while most Alamo historians agree that 400–600 Mexicans were killed or wounded. Of the Texians who fought during the battle, only two survived: Joe, spared because he was a slave, and Brigido Guerrero, a Mexican Army deserter who convinced Mexican soldiers he had been imprisoned. Women and children, primarily family members of the Texian soldiers, were questioned by Santa Anna and then released.
On Santa Anna's orders, three of the survivors were sent to Gonzales to spread word of the Texian defeat. After hearing this news, Texian army commander Sam Houston ordered a retreat; this sparked the Runaway Scrape, a mass exodus of citizens and the Texas government towards the east (away from the Mexican army). News of the Alamo's fall prompted many Texas colonists to join Houston's army. On the afternoon of April 21 the Texian army attacked Santa Anna's forces in the Battle of San Jacinto. During the battle many Texians shouted "Remember the Alamo!" Santa Anna was captured and forced to order his troops out of Texas, ending Mexican control of the area, which subsequently became the Republic of Texas.
By March 24 a list of names of the Texians who died at the Alamo had begun to be compiled. The first history of the battle was published in 1843, but serious study of the battle did not begin until after the 1931 publication of Amelia W. Williams's dissertation attempting to identify all of the Texians who died at the Alamo. The first full-length, non-fiction book covering the battle was published in 1948. The battle was first depicted in film in the 1911 silent film The Immortal Alamo, and has since been featured in numerous movies, including one directed by John Wayne. The Alamo church building has been designated an official Texas state shrine, with the Daughters of the Republic of Texas acting as permanent caretakers.
Source: Wikipedia
National Naval Aviation Museum
Rolling off the Douglas Aircraft Company assembly line in El Segundo, California, in December 1940, SBD-2 Dauntless (Bureau Number 2106) was delivered to Bombing Squadron (VB) 2 at Naval Air Station (NAS) San Diego, California, on the last day of 1940. For the better part of the following year the aircraft flew with that squadron, logging hours flying from the deck of the aircraft carrier Lexington (CV 2) and participating in large-scale military maneuvers in Louisiana.
During the first week of December 1941, with Lexington earmarked to deliver aircraft of a Marine scout bombing squadron to Midway Atoll, the aircraft was off loaded from the carrier to make room for the additional aircraft and left at Pearl Harbor when "Lady Lex" put to sea. Thus, on the morning of 7 December 1941, it was on Ford Island in the middle of Pearl Harbor when the Japanese attacked. Put back aboard Lexington when she returned to Pearl, the aircraft embarked in the carrier to the South Pacific. On 10 March 1942, flown by Lieutenant (junior grade) Mark T. Whittier with Aviation Radioman Second Class Forest G. Stanley as his gunner, the aircraft joined 103 other planes from Lexington and Yorktown (CV 5) in a raid against Japanese shipping at Lae and Salamaua in New Guinea. Credited with pressing home his attack against a Japanese ship, Whittier received the Navy Cross.
When Lexington returned to Pearl Harbor following the raid, the museum's SBD-2 was again put ashore and earmarked for transfer to Marine Scout Bombing Squadron (VMSB) 241 on Midway Atoll, arriving there with eighteen other SBD-2s on 26 May 1942, on board the aircraft transport Kitty Hawk (APV 1).
On the morning of 4 June 1942, with 1st Lieutenant Daniel Iverson as pilot and Private First Class Wallace Reid manning the .30-caliber machine gun in the aft cockpit. the museum's aircraft was one of sixteen SBD-2s of VMSB-241 launched to attack Japanese aircraft carriers to the west of Midway. Approaching the enemy carrier Hiryu, the Marine planes came under fire from antiaircraft gunners and fighters of the enemy combat air patrol. Iverson, with two Japanese Zero fighters following him down in his dive, released his bomb at an altitude of 800 feet. During his egress from the target area, the pair of Zeroes on Iverson's tail were joined by two others, which pursued the Dauntless for miles. Enemy fire holed Iverson's plane 219 times, knocking out his hydraulic system and wounding Reid. One bullet came so close that it clipped Iverson's throat microphone chord. Nevertheless, the pilot managed to return to Midway, making a one-wheel landing on the atoll. His was one of only eight SBD-2s of VMSB-241 to return from the attack against the Japanese fleet. For their actions, Iverson received the Navy Cross and Reid was awarded the Distinguished Flying Cross.
Returned to the United States, the museum's SBD-2 was repaired and eventually assigned to the Carrier Qualification Training Unit (CQTU) at NAS Glenview, Illinois. On the morning of 11 June 1943, with Marine 2nd Lieutenant Donald A. Douglas, Jr., at the controls, the aircraft ditched in the waters of Lake Michigan during an errant approach to the training carrier Sable (IX 81). Douglas was retrieved from the water by a Coast Guard rescue boat, but his aircraft sank to the bottom of the lake.
Recovered in 1994, the aircraft underwent extensive restoration at the museum before being placed on public display in 2001. Elements of its original paint scheme when delivered to the fleet are still visible on its wings and tail surfaces. A survivor of the Pearl Harbor attack and two combat actions, including the famous Battle of Midway, it is one of the most historic aircraft in existence anywhere in the world.
i love this picture so much...the colors and textures. plus its just a cool place. an old abandoned train station. i barely edited it at all. the color of the sky is so different from California! so open and blue! :)
so my little cousin (technically my cousin's kid, aka 2nd cousin), Adarae, is a ball of energy. much more so than the last time i saw her. she dragged me around the house and outside. i got to jump on the trampoline and play with her toys. shes so good at talking for a 3 year old! haha im proud of her. i had to be in charge during bath time. shes cute. she didn't want to get out of the tub(apparently she usually doesnt like baths) because we were having so much fun. haha. my pants got all wet and stuff cuz she kept splashing me. shes basically crazy. she asks a lot of questions and is really smart. i enjoy her a lot. now it is lateish and i am in the guest bedroom watching/listening to the bats outside and i have a kitty friend. his name is clide and he has like half a tail. hes cuuute.
its nice and green here too. they have a huge yard and a barn. they have 2 kitties a dog, a bunny, a snake and a turtle(or turtles? idk). plus a kid. and my cousin is pregnant! shes going to have a boy. its going to be cute. its just like her and her brother (who is younger). they are going to match. they are interesting (very good) parents. they have a laid back approach to it all because they are from michigan.. its kind of refreshing to watch.i think its also because i am here and they want (especially jenifer) to spend time with me instead of talking to the kid every second.
i love it here. so much better than being in iron mountain. also i get to talk to my cousins. and, nino if you are reading this, she is a camp freak too and is super excited that i met you at camp. it was so funny. i have been talking about you a lot. i miss you baby. my phone isnt working and i cant call you.
anyways. im going to go read my cousins new book after i work on my flickr groups some more.
also i said cute way too much in this post.
Gracias a nuestros amigos de Brasil de AFNatura, en especial a Rosane Marques y a Emídio Bastos por su cariñosa acogida y difusión de la exposición LA VIDA OCULTA DEL AGUA ¡ Un gran abrazo !
Ahora en Biodiversidad virtual y hace poco en El País -en pdf- gracias a Elisabet Sans.
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Astasia es un flagelado y es la prima ciega y pálida de Euglena, pero no por ello hay que compadecerse, vive perfectamente y posiblemente ella lo ha elegido así y es seguro que desde hace millones y millones de años su vida transcurra como la de hoy y que en un acuerdo con la Naturaleza haya encontrado su hueco para su existencia por siempre en las lagunas.
Es pálida porque no necesita la luz del sol para vivir, por ello se zambulle y nada alegre desde los fondos de las charcas hasta la superficie y en este bucear, arrastrada por su flagelo, va envolviendo en remolinos a pequeñas partículas, materia orgánica y bacterias que constituyen su alimento.
Aunque el cuerpo de Astasia es un portento de flexibilidad y en ocasiones en él se producen ondas como en un ritual de danza de vientre, la de hoy, más discreta, tímida o austera apenas se deforma y navega con determinación cruzando el océano de esta gota de agua.
La camisa de Astasia como la de Euglena es transparente y aparece adornada con finísimas estrías, aquí invisibles para nosotros, su cuerpo alargado y su fina cola redondeada nos hacen suponer que se trata de Astasia kathemerios o una forma similar y con esa alegría ciega y pálida, va palpando y surcando el agua mientras su flagelo dibuja letras cuyo significado no alcanzamos a comprender…un bonito misterio que quedará así, como misterio por resolver.
Astasia kathemerios es un flagelado que habita principalmente en zonas de aguas estancadas ricas en materia orgánica. La de hoy procede de la Laguna de las Sanguijuelas, en las inmediaciones de la población zamorana de Vigo de Sanabria y ha sido fotografiada a 400 aumentos empleando la técnica de contraste de interferencia.
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☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.
My first attempt at an off-camera flash portrait. Any feedback/advice would be appreciated. Apologies to anyone offended by topless models.
I saw this guy jogging up the road to Mount Sugarloaf as I was driving there with my son, hoping for some sunset shots. It's a hard enough hill to drive up let alone jog. As my son and I were doing the steep walk from the carpark to the lookout, he jogged past us at a rapid rate as he headed to the very top of the mountain. I had a chat with him at the top and it turns out he is in training for a Mixed Martial Arts tournament being held in Newcastle in a month. A very fit dude. Since I had my new flash in my bag, I asked him if he wanted me to take a shot of him with the city in the background. I didn't ask him to go topless but he stripped his shirt off to wipe some of the sweat away and immediately went into the fighter's stance. With my son acting as the flash stand I fired off a few shots as the sun set behind me.
Flash Set-up: Canon 580EXII 1/32@70mm, camera height, left at 90degrees, triggered by Yongnuo RF-602 Tx/Rx.
1/200s, f/4, 50mm, ISO100.
Timanfaya National Park or Parque Nacional de Timanfaya is a Spanish national park covering the municipalities of southern portion of Tinajo and the northern portion of Yaiza. The park is located in the southwestern part of the island of Lanzarote. The area is 51.07 km². The parkland is entirely made up of volcanic soil. The greatest recorded eruptions occurred between 1730 and 1736. The volcanic activity continues as the surface temperature in the core ranges from 100 to 600 ºC at the depth of 13m, which is demonstrated by pouring water into the ground, resulting in a geyser of steam which is an attraction for tourists. In 1993, UNESCO granted the qualification for the Biospherical Reserve.
The statue "El Diablo" by César Manrique is its symbol. The park is open to the public, and conducts tours of the volcanic landscape by coach.
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Die etwa 845 km² große Insel Lanzarote ist zu drei Vierteln mit Lava bedeckt, ausgespieen aus mindestens 300 Kratern von etwa 100 Vulkanen. Das Eruptivmaterial der sechs Jahre dauernden Ausbrüche vom 1. September 1730 bis 16. April 1736 bedeckt etwa 167 km² Lanzarotes. Der Timanfaya Nationalpark im Südwesten der Insel erstreckt sich über 51,07 km², von der Ortsgrenze Yaizas bis zum Montaña Timanfaya, die Westgrenze bildet die Küstenlinie. Hier entstanden damals 32 Vulkankegel. Diese Ausbrüche im 18. Jahrhundert waren, nicht nur wegen der großen Menge des ausgespieenen Materials, sondern auch wegen der langen Dauer, die bedeutendsten in der Geschichte des Vulkanismus. Zu den Ausbrüchen an Land kamen noch zahlreiche Seebeben.
Der Nationalpark ist über gut asphaltierte Straßen zu erreichen. Sie wurden zum Besuch General Francos 1950 angelegt. Eine 14 Kilometer lange Rundfahrt kann nur per Bus unternommen werden. Von dem 350 Meter hoch gelegenen Montaña Rajada erhält man einen Überblick über den größten Teil des Timanfaya-Nationalparks. Das große Areal, das heute das Lavameer einnimmt, gehörte vor den Ausbrüchen zum fruchtbarsten Teil Lanzarotes. Nach der Katastrophe lag die unglaubliche Menge von acht Millionen Kubikmetern Lava dort, wo zuvor kleine Ortschaften und einzelne Gehöfte existiert hatten; insgesamt wurden etwa 420 Häuser zerstört. Die zerstörten Dörfer waren Timanfaya, Los Rodeos, Mancha Blanca, Santa Catalina, Mazo, Jarretas, Tingafa, Peña Palomas, Testeina, La Geria, Macintafe, Mozaga, Guagaro, Masdache und Iguadén, außerdem die Landgüter von Maretas und Chupaderos.
Die Vulkane, die den Timanfaya-Nationalpark bilden, gehören zur so genannten Hawaii-Gruppe. Diese bilden in großen Höhen riesige Aschesäulen, die Lapillis, und die vom Wind befördert weite Flächen und Hänge alter Krater bedeckt haben. Diese durch die Ascheregen gebildeten Flächen nennt man Valle de la Tranquilidad (Tal der Ruhe). Das Zentrum des Ausbruchs lag am Maciso del Fuego (Feuer-Massiv), welches 525 Meter hoch aufragt. Dieser Vulkan ist von Schlacke und Asche bedeckt, die von den Ausbrüchen des 18. Jahrhunderts stammen. Allerdings stellte man fest, dass der Bergrücken, der immer noch enorme Hitzestrahlungen aussendet, aus sehr alter Lava besteht, dem alten Berg Timanfaya zugehörig. Interessant sind die häufigen Reihen von kleinen Öfchen (Hornitos) und Parasitenvulkanen, so genannt, weil sie sich am Fuße eines Zentralkolosses gebildet haben. Der imposante Vulkankrater Corazoncillo, der größte Explosionskrater Lanzarotes, besitzt eine Caldera, deren Tiefe etwa 100 Meter unter die Oberfläche der Außenwelt geht. Die Lava dieses Vulkans begrub das Dorf Timanfaya.
Nur sehr langsam hat sich auf dem entstandenen Malpaís (schlechten Land) wieder etwas Vegetation gebildet. Man kann an einigen Orten Flechten oder kleine Sukkulente und viele niedrige dornige Sträucher namens Aulaga Majorera entdecken. Dieser Strauch wird von der Parkverwaltung verwendet, um die hohe Temperatur des Erdbodens im Bereich des Islote de Hilario zu demonstrieren. Das in ein Loch im Boden gestopfte, trockene Geäst geht sofort in Flammen auf. Bei einer weiteren beeindruckenden Demonstration wird Wasser in ein senkrecht im Boden eingelassenes Rohr gegossen. Da die Temperatur wenige Meter unter der Erdoberfläche über 400°C beträgt, entsteht eine explosionsartig empor schießende Dampffontäne. Westlich des Hauptkraters des Montaña del Fuego beträgt die Temperatur in 27 Metern Tiefe etwa 700°C. Der Islote de Hilario, wurde nach jenem Mann namens Hilario benannt, der der Sage nach wie ein Einsiedler in diesem Felseneiland lebte, während mehr als einem halben Jahrhundert, ohne weitere Begleitung als seinem Kamel. Man erzählt, dass Hilario einen Feigenbaum gepflanzt hatte, der, obwohl er Wurzeln schlug, niemals Früchte trug, weil die Blüte sich nicht von Flammen ernähren konnte. Hier wurde von César Manrique das runde Restaurant El Diablo (Der Teufel) mit Kochstelle über einem heißen Erdloch errichtet.
Quelle/Source: Wikipedia
Ruby-throated Hummingbird (Archilochus colubris)
The Ruby-throated Hummingbird is by far the most common species that breeds in the eastern half of North America, although most states have sporadic Rufous sightings, and Bob and Martha Sargent have banded eight other hummingbird species as winter visitors to five southeastern states. Ruby-throats are intensely inquisitive and thus easily attracted to feeders, where males in particular typically display aggressive territoriality toward rival hummers, other birds, and even insects such as bees, butterflies, and sphinx moths. They quickly become accustomed to human presence, and will swoop down to investigate red articles of clothing, possibly as potential food sources. Feeders hung at windows attract as many visitors as ones farther from structures, and the bird that claims a feeder as its territory may spend much of the day perched nearby, guarding the food source against intruders. Many hummingbird watchers find "Hummer Warz" endlessly entertaining, although the chases are obviously serious business to the hungry birds. For a short period immediately after fledging, a female will tolerate the presence of her own young at the feeder, but they are soon treated the same as other adult birds - as rivals in pursuit of the food necessary to prepare for the fall migration.
Courtship is apparently very brief, if it exists at all, and once mated the female raises the young alone. The walnut-sized nest, built by the female, is constructed on a foundation of bud scales attached to a tree limb with spider silk; lichens camouflage the outside, and the inside is lined with dandelion, cattail, or thistle down. The nest will stretch to contain the growing nestlings, and may sometimes be reused (rebuilt) the following year.
Two white, pea-sized eggs are laid two or three days apart, which the female will incubate from 60 to 80 percent of the day for 12-16 days. Reports of the duration of the nestling phase vary from 14 to 31 days, the wide range possibly varying with the availability of food; 18-23 days is normal. when they leave the nest, the chicks are considerably larger than their mothers: they may weigh 4.5 grams, while poor Mom is down to only 2.5 g after the stress of raising them. Since the mother starts incubating the first egg as soon as it's laid, that chick will hatch and fledge earlier than its sibling; it will remain close to the nest until the other chick is ready to fly. After leaving the nest, fledglings are fed by their mother for about 10 days. It is thought that Ruby-throats live as long as 12 years, but the average is probably 3-5 years.
Physical Description
Average length: 3.5 inches (8.9 cm)
Average weight: 1/8 ounce (3.1 g)
Body temperature: 105°-108°F (40.5°-42.2°C)
Wing beats: 40-80 per second, average about 52
Respiration: 250 per minute
Heart rate: 250 beats/min resting; 1200 beats/min feeding
Flight speed: 30 mph (48 kph) normal; 50 mph (80 kph) escape; 63 mph (101 kph) dive
Plumage
Adult male: Emerald green back, iridescent ruby red gorget (throat) that may appear black under some lighting conditions, gray flanks, forked tail with no white. Smaller than the female.
Adult female: Emerald green back, white breast and throat, rounded tail with white tips. Larger than the male, with longer bill.
Juveniles: Young of both sexes look like the adult female. In August and September, young males may develop some red spots in the gorget.
Molts: One complete molt per year, which may start during the fall migration and continue into March. Young males acquire full ruby gorgets during their first molt.
Gender identification is simple if the light is right: the brilliant red gorget of the male is unmistakable. More commonly, though, the shape and presence of white on the tail is a more reliable field mark.
Distribution and Migration
Ruby-throats breed throughout eastern to midwestern North America, from southern Canada to the Gulf of Mexico. Most winter in Mexico, Central America, and on Caribbean islands, although a few remain in the Gulf states and the Outer Banks of North Carolina. Most researchers accept a remarkable non-stop crossing of the Gulf, taking 18-20 hours. They arrive at the coast in late February or early March, and follow the development of spring flowers northward, reaching my home in Morganfield, Kentucky on April 20 +/- 2 days. Males migrate earlier than females, in both directions; some adult males start south as early as JUly. Our female breeding birds leave here (Morganfield, Kentucky) in September, with the young of the year following; the last juveniles depart abruptly at first frost (mid-October). By mid-November the fall migration is essentially completed throughout North America.
Schloss Benrath liegt im südlichen Stadtteil Benrath in der nordrhein-westfälischen Landeshauptstadt Düsseldorf.
Erbaut wurde es von 1755 bis 1773 unter der Leitung von Nicolas de Pigage (1723–1796) im Auftrag von Kurfürst Karl Theodor von der Pfalz. Das denkmalgeschützte Ensemble von Lustschloss, Jagdpark, Weihern und Kanalsystem gilt als bedeutsamstes architektonisches Gesamtkunstwerk von Düsseldorf und wurde von der Stadt zur Aufnahme in die UNESCO-Liste des Weltkulturerbes vorgeschlagen.
Der Baustil zeigt beispielhaft den Übergang vom Rokoko zum Klassizismus. Dieses wird nach außen dadurch sichtbar, dass die Gestaltung eher schlicht und zurückhaltend wirkt. Aufwendige Gestaltungen des barocken Absolutismus findet man nicht mehr. Nördlich vor der Frontseite des Corps de Logis, dem mittleren Wohnbau von Schloss Benrath, liegt ein künstlich angelegter, glockenförmiger Schlossweiher, von dem ein Kanalsystem für die gesamte Parkanlage ausgeht. Die gesamte Wasserarchitektur wird von der Itter gespeist.
Zwei Flügelbauten und zwei Torhäuser flankieren das Corps de Logis. Die Flügelbauten beherbergen zwei Museen: das Museum für Europäische Gartenkunst im Ostflügel, sowie das Museum für Naturkunde im Westflügel. Im Corps de Logis finden wechselnde Ausstellungen und musikalische Veranstaltungen wie die Wandelkonzerte statt. Außer bei den Wechselausstellungen kann das Schloss nur mit Führungen (etwa eine Stunde) besichtigt werden. Es gibt außerdem Themenführungen, bei denen die Teilnehmerzahl begrenzt ist und die nur auf telefonische oder persönliche Voranmeldung an der Museumskasse gebucht werden können. Im Kellergeschoss des Schlosses befindet sich außerdem ein Lapidarium, das die Originale einiger Figuren und Statuen zeigt.
Die Stadt Düsseldorf hat die gesamte Schlossanlage und den Park im Jahr 1996 unter Denkmalschutz gestellt.
Die ursprüngliche Wasserburg aus dem 15. Jahrhundert sollte auf Weisung von Elisabeth Amalia Magdalena, der zweiten Frau Pfalzgraf Philipp Wilhelms, 1660 in ein repräsentatives Wasserschloss umgestaltet werden. Oberingenieur Johannes Lollio (genannt Sadeler) wurde mit dem Bau des Schlosses beauftragt. Im Jahr 1666 wurde es fertiggestellt und für den Sommer- und Jagdaufenthalt der Familie des Pfalzgrafen genutzt. Der älteste Sohn und Nachfolger Philipp Wilhelms, Kurfürst Johann Wilhelm von Pfalz-Neuburg (genannt Jan Wellem), der im Düsseldorfer Schloss residierte, war mit Schloss Benrath eng verbunden und nutzte es mit seiner zweiten Gemahlin Anna Maria Luisa de’ Medici als Sommerfrische.
Etwa hundert Jahre später ließ Kurfürst Karl Theodor (1724–1799) ein neues Lust-/Jagdschloss („maison de plaisance“) als Sommerresidenz errichten. Dafür ließ Baumeister Nicolas de Pigage zunächst das marode Hauptgebäude des Wasserschlosses abreißen, nur die Orangerie blieb erhalten. Das neue Schloss wurde etwa 300 Meter nördlich des Vorgängerbaus angelegt. Zeugnisse des alten Schlosses findet man noch in Fresken, Stuckaturen und Kaminen in Räumen der Orangerie und an einem Altar in der Kapelle.
Karl Theodor war als aufgeklärter Fürst an Wissenschaft und den Künsten interessiert. An seinem Mannheimer Hof wirkten unter anderem die Komponisten Christian Cannabich und Johann Stamitz. Außerdem pflegte er den Briefwechsel mit Voltaire. Das vom Kurfürsten in Auftrag gegebene neue Schloss hat er jedoch nicht bewohnt. Das Erbe des Kurfürstentums Bayern im Jahr 1777 erforderte die Verlegung seiner Residenz nach München. Anlässlich seines letzten Regierungsaufenthaltes im Herzogtum Berg unternahm er am 6. Juni 1785 von Düsseldorf aus einen Tagesausflug zum Schloss Benrath. Faktisch residierte Karl Theodor jedoch nicht im Schloss Benrath, da er als bayerischer Kurfürst seinen Sitz in München hatte.
Von 1806 bis 1813 war Schloss Benrath offizielle Residenz der Großherzöge von Berg und Kleve. Die Hauptstadt dieses aus Berg und Kleve sowie aus dem ehemaligen Kurfürstentum Köln-Bonn und dem ehem. Fürstbistum Münster in Westfalen neu vereinigten Staates war Düsseldorf. Die Großherzöge von Berg und Kleve waren die Prinzen Joachim Murat und Ludwig von Holland sowie Kaiser Napoleon I. Alle hielten sich nur selten auf Schloss Benrath auf.
Nach den Befreiungskriegen und den Verhandlungen auf dem Wiener Kongress ging das Schloss 1815 in preußischen Besitz über. Friedrich Wilhelm III. stellte das Gebäude 1821 seinem Neffen Friedrich Wilhelm Ludwig von Preußen in dessen Funktion als Divisionskommandeur zur Verfügung und nach 1852 nutzte es Karl Anton Fürst von Hohenzollern-Sigmaringen als Sommerresidenz. Zehn Jahre später bat sein Sohn Erbprinz Leopold von Hohenzollern-Sigmaringen den nun regierenden Wilhelm I., das Schloss beziehen zu dürfen, was ihm Ende 1862 genehmigt wurde. Da sich das Gebäude in einem baufälligen Zustand befand, musste es für Wohnzwecke jedoch restauriert werden. Der für die auswärtigen Schlösser Preußens zuständige Direktor der Schlossbaukommission, Ludwig Ferdinand Hesse, legte dem König am 1. Juni 1868 seinen Bericht zur Instandsetzung vor, die Wilhelm I. mit dem Wunsch der originalgetreuen Wiederherstellung genehmigte. Bereits 1820 wurden stilistische Parallelen zum Potsdamer Schloss Sanssouci im Grund- und Aufriss sowie der Innendekoration erkannt. Durch den hohen Restaurierungsaufwand verzögerte sich die Fertigstellung bis 1870. Die prinzliche Familie bewohnte Schloss Benrath noch bis 1875.
1911 erwarb die Gemeinde Benrath das Schloss, welches schlussendlich mit deren Eingemeindung 1929 in den Besitz der Stadt Düsseldorf gelangte.
Schon zuvor begann die Gemeinde im Jahre 1907[1] mit dem klassenweisen Aufbau einer höheren Knabenschule und wenig später einer solchen für Mädchen. Mit dem Kauf des Schlosses zogen die Schulen ein und residierten dort schlussendlich als Schloß-Gymnasium bzw. Annette-von-Droste-Hülshoff-Gymnasium bis 1980.[1] Der Hauptteil des Gymnasiums befand sich im linken Schlossflügel. Später wurden einige zusätzliche Räume auch in anderen Teilen des Schlosses eingerichtet. In den rechten Flügel kamen Musik-, Kunst- und Biologieräume, in den linken Torbau der Chemieraum.
Nach dem Auszug der Schulen übernahm im Jahre 2000 die Stiftung Schloss und Park Benrath[2] die Verwaltung und Nutzung im Auftrage der Stadt Düsseldorf. Die Einrichtung von Museen ist heute neben Steuermitteln die finanzielle Basis zur Erhaltung des denkmalgeschützten Gesamtensembles. Die kostenlos nutzbare große Parkanlage gilt als attraktiver Erholungsort. Auch zu repräsentativen Zwecken wird es genutzt. Beispielsweise fanden hier Staatsempfänge für Michail Gorbatschow und Königin Elisabeth II. statt.
Das Schloss war 1945 nach dem Zweiten Weltkrieg in Teilen beschädigt, wurde dann aber in jahrelanger Arbeit mit erheblichem Aufwand in großer stilistischer Treue restauriert.
Schloss Benrath is a Rococo maison de plaisance near Düsseldorf that was erected for the Elector Palatine Carl Theodor von der Pfalz by his garden and building director and garden supervisor, Nicolas de Pigage (1723 - 1796). It was begun in 1755, and by the time it was completed in 1770, some elements of Neoclassicism were detectable in its interior finishing.
Two symmetrical wings flank the central corps de logis. The Museum for European Garden Art was founded in the east wing of Benrath in 2002. The west wing houses a museum of natural history. Changing exhibitions and concerts of music are presented in the main building, which is only sparsely furnished.
The ensemble at Benrath has been proposed for designation as a UNESCO World Heritage Site.
More info:
en.wikipedia.org/wiki/Schloss_Benrath
or
www.darckr.com/username.php?username=9099757@N05 --- Turkey, Antalya, Amarok Adventure World, Safari Tour ---- www.vianobilis.com/amarok-adventure-world-7e5 ---- Amarok Adventure World ---- Selge (griechisch Σέλγη) war eine antike Stadt in der kleinasiatischen Landschaft Pisidien beim heutigen Altınkayaköy (früher Zerk) (Türkei). Er lag 56 km nordwestlich von Side auf ca. 1000 m. ü. M. im oberen Tal des Eurymedon (heute: Köprüçay) am westlichen Ende des Taurusgebirges.Der Überlieferung nach soll Selge nach dem Krieg um Troja durch den Seher Kalchas gegründet und durch Griechen aus Sparta besiedelt worden sein. Auf Münzen ist der Ort seit dem 5. Jahrhundert v. Chr. nachweisbar. Wirtschaftliche Grundlage war der Anbau von Wein und Oliven auf der umgebenden fruchtbaren Hochebene. Politisch bestanden zu Aspendos gute Beziehungen, ansonsten war die Stadt kriegerisch gegen ihre Nachbarn ausgerichtet. Als Alexander der Große durch Kleinasien zog, verbündete sich die Stadt mit ihm, um, allerdings erfolglos, die nahe Stadt Termessos zu belagern. Polybios beschreibt einen Krieg zwischen Selge und Pednelissos 220 v. Chr., in dem Pednellissos Achaios, den Statthalter von Side, zu Hilfe rief. 25 v. Chr. verlor Selge die Selbstständigkeit und wurde in die römische Provinz Galatien eingegliedert. Laut Strabon soll die Stadt zu dieser Zeit etwa 20.000 Einwohner gehabt haben. Seine größte Blüte erreichte Selge zur Zeit des römischen Kaiserreiches. Im Jahr 339 kam es zu einer erfolglosen Belagerung durch die Goten. In byzantinischer Zeit war Selge Bischofssitz. Die Stadt wurde später in seldschukischer Zeit aufgegeben.Es sind die Reste der Stadtmauer, eines Theaters, eines Stadions, der Agora mit Säulenhallen, eines Gymnasions und einer Basilika erhalten. Das Theater wurde im 3. Jahrhundert n. Chr. neu gebaut. Außerhalb der Stadtmauer lagen ein Aquädukt und einige Kammergräber. ---- Selge (in Greek Σελγη) was an important city in Pisidia, on the southern slope of Mount Taurus, modern Antalya Province, Turkey, at the part where the river Eurymedon River (Turkish: Köprüçay)forces its way through the mountains towards the south.
The town was believed to be a Greek colony, for Strabo[1] states that it was founded by Spartans, but adds the somewhat unintelligible remark that previously it had been founded by Calchas. The acropolis of Selge bore the name of Kesbedion.[2] The district in which the town was situated was extremely fertile, producing abundance of oil and wine, but the town itself was difficult of access, being surrounded by precipices and beds of torrents flowing towards the Eurymedon and Cestrus (today Aksu), and requiring bridges to make them passable. In consequence of its excellent laws and political constitution, Selge rose to the rank of the most powerful and populous city of Pisidia, and at one time was able to send an army of 20,000 men into the field. Owing to these circumstances, and the valour of its inhabitants, for which they were regarded as worthy kinsmen of the Spartans, the Selgians were never subject to any foreign power, but remained in the enjoyment of their own freedom and independence. When Alexander the Great passed through Pisidia (333 BC), Selge sent an embassy to him and gained his favour and friendship.[3] At that time they were at war with Termessos.
At the period when Achaeus had made himself master of Western Asia, Selge were at war with Pednelissus, which was besieged by them; and Achaeus, on the invitation of Pednelissus, sent a large force against Selge (218 BC). After a long and vigorous siege, the Selgians, being betrayed and despairing of resisting Achaeus any longer, sent deputies to sue for peace, which was granted to them on the following terms: they agreed to pay immediately 400 talents, to restore the prisoners of Pednelissus, and after a time to pay 300 talents in addition.[4] We now have for a long time no particulars about the history of Selge; in the 5th century AD Zosimus[5] calls it indeed a little town, but it was still strong enough to repel a body of Goths. It is strange that Pliny does not notice Selge, for we know from its coins that it was still a flourishing town in the time of Hadrian; and it is also mentioned in Ptolemy[6] and Hierocles. Independently of wine and oil, the country about Selge was rich in timber, and a variety of trees, among which the storax was much valued from its yielding a strong perfume. Selge was also celebrated for an ointment prepared from the iris root.[7]
The remains of the city consist mainly of parts of the encircling wall and of the acropolis. A few traces have survived of the gymnasium, the stoa, the stadium and the basilica. There are also the outlines of two temples, but the best conserved monument is the theater, restored in the 3rd century AD.
Halfway on the road to Selge from the Pamphylian coastal plain, a well-preserved Roman Bridge crosses the deep Eurymedon valley
See where this picture was taken. [?]
Jungle Cruise
Adventureland
Magic Kingdom
Walt Disney World Resort
Lake Buena Vista, Florida
Thanks for stopping by!
Disney Photo Challenge winner in "Jungle Cruise" - thanks for the votes!
All my friends are revealed
As no one in the sun
All that was concealed
Otherwise undone
All my holes are laid bare
Like smoke dreams in a jail
All the plans for escape
All will fail
All my time has run out
Just seconds in a jar
All nights that I owned
In Saxony and Cuba
All my faith has been lost
Like people in a flood
All the flesh that I knew
All the blood
The machine I bought to
forget you
It walks in circles, neglected
The star of the East now
guides me
Can you ever forgive me and
trust me
All my friends are revealed
As no one in the sun
Source: 'Revealed' by Blank and Jones
...
Maria Waldrast (means "Maria Rest-in-the-Forest" in English) is one of the highest Convents in Europe - 1641m (5383 Ft.) Altitude. It is located in Tirol, Austria, near Matrei am Brenner. The Foundation of the Convent is based upon a Story, that says, that in the Year 1407 two Herdsmen found an Effigy of the Virgin Mother in a Tree Trunk.
It is a very popular Place of Pilgrim here in Tirol - located very solitary in the Middle of the Mountains. There is a Spring with right-turning Spa-Water - right turning Water is very seldom and really amazing to drink. You can't compare it with any other Water in the World. It's a Healing Water too, and many People come up here to fill the Water and take it home - it is drinkable for a long Time. I did the same today and also made a Prayer for my Family and some Friends.
A very calmful and contemplative Place up there.
Trumfes es la sólida apuesta de dos cocineros muy jóvenes, quienes, tras finalizar sus estudios de gastronomía (Joviat) y el subsiguiente periplo de “stages” en diferentes restaurantes de la geografía hispana, deciden finalmente instalar su propio negocio en la lejana población de Llivia.
Se trata de un restaurante modesto pero bien dispuesto en el que quizá habría que mejorar una iluminación algo triste que, junto al color asalmonado de la mantelería, le confieren un cierto aire de serio clasicismo que, la verdad, no se corresponde con el carácter vital de su cocina, ni con el talante atento y afable que difunde por la sala uno de sus artífices (el otro se ocupa de los fogones). En cualquier caso, es un escenario con cierto encanto.
Y respecto a su oferta gastronómica, traduzco del catalán lo que ellos mismos difunden: "Cocina catalana de temporada con productos de mercado, basada en la tradición y buscando la máxima expresión del producto junto a la proximidad del cocinero en la mesa.". Pues eso, una cocina que bebe de la tradición y aplica técnicas modernas para obtener unos resultados más que notables y, además, con una relación calidad/precio insuperable. En definitiva: una cocina y un conjunto que transmiten muy buenas vibraciones. Lástima que esté tan lejos.
En la fotografía: el arroz de perdiz. Perfecto punto del arroz en un conjunto de sabor rústico, intenso y rebosante de cebolla caramelizada (quizá no del todo integrada pero siempre convincente). La perdiz (cazada en la propia Llivia) servida en dos cocciones: rustidos el ala y el muslo (delicioso) y en óptimo punto de plancha una pechuga de carne firme y sabrosa. Se remata con queso y cebollino en la superficie. Un suculento y magníficamente interpretado arroz de montaña.
Lo mejor: la cocina y la buena relación calidad/precio del conjunto; el pan con tomate; el secreto; el arroz
Lo peor: lo lejos que está
Mejorable: la salsa de las bravas; la iluminación; la carta de vinos
Recomendado: una opción honesta y de calidad muy recomendable si se ronda por la zona
BlueEdge - Mach 8-10 Hypersonic Commercial Aircraft, 220 Passenger Hypersonic Commercial Plane - Imaginactive Media Release ICAO
Courtesy of Imaginactive, ICAO, Charles Bombardier, and Martin Rico. Media Release of High Quality Renderings for mainstream media.
IO Aircraft: www.ioaircraft.com/hypersonic/blueedge.php
Imaginactive: imaginactive.org/2019/02/blue-edge/
Martin Rico, Industrial Graphics Designed: www.linkedin.com/in/mjrico/
Seating: 220 | Crew 2+4
Length: 195ft | Span: 93ft
Engines: 4 U-TBCC (Unified Turbine Based Combined Cycle) +1 Aerospike for sustained 2G acceleration to Mach 10.
Fuel: H2 (Compressed Hydrogen)
Cruising Altitude: 100,000-125,000ft
Airframe: 75% Proprietary Composites
Operating Costs, Similar to a 737. $7,000-$15,000hr, including averaged maintenence costs
Iteration 3 (Full release of IT3, Monday January 14, 2019)
IO Aircraft www.ioaircraft.com
Drew Blair www.linkedin.com/in/drew-b-25485312/
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hypersonic plane, hypersonic aircraft, Imaginactive, ICAO, International Civil Aviation Orginization, Charles Bombardier, Martin Rico, hypersonic commercial plane, hypersonic commercial aircraft, hypersonic airline, tbcc, glide breaker, fighter plane, hyperonic fighter, boeing phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, office of naval research, defense advanced research project agency, defense science, missile defense agency, aerospike, hydrogen, hydrogen storage, hydrogen fueled, hydrogen aircraft, virgin airlines, united airlines, sas, finnair ,emirates airlines, ANA, JAL, airlines, military, physics, airline, british airways, air france
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Unified Turbine Based Combined Cycle. Current technologies and what Lockheed is trying to force on the Dept of Defense, for that low speed Mach 5 plane DOD gave them $1 billion to build and would disintegrate above Mach 5, is TBCC. 2 separate propulsion systems in the same airframe, which requires TWICE the airframe space to use.
Unified Turbine Based Combined Cycle is 1 propulsion system cutting that airframe deficit in half, and also able to operate above Mach 10 up to Mach 15 in atmosphere, and a simple nozzle modification allows for outside atmosphere rocket mode, ie orbital capable.
Additionally, Reaction Engines maximum air breather mode is Mach 4.5, above that it will explode in flight from internal pressures are too high to operate. Thus, must switch to non air breather rocket mode to operate in atmosphere in hypersonic velocities. Which as a result, makes it not feasible for anything practical. It also takes an immense amount of fuel to function.
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Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
byoo-kah-NAN-ee-uh -- named for Francis Buchanan, Supt. of Botanical Gardens, Calcutta ... Dave's Botanary
LAN-zan -- from Burmese name of this plant, launzan ... Dave's Botanary
commonly known as: almondette, Calumpong nut, cheronjee, chironji tree, Cuddapah almond, Hamilton mombin • Arabic: حب السمنه habulsamnah • Assamese: পিয়াল piyal • Bengali: চার char, চিরৌঞ্জী chironji, পিয়াল piyal • Gujarati: ચારોળી charoli • Hindi: चार char, चिरोंजी chironji, धनुष् dhanush, मल्लतरु mallataru, नखमुच nakhamucha, निंबबीज nimbabija, पियाल piyal, पियार piyar, प्रसवक pra-savak, प्रियाल priyal, राजवल्लभ rajavallabha • Kannada: ಚಾರ char, ಚಾರೋಳೆ charole, ಧನುಃಪಟ dhanuh-pata, ಕೊಳೆಗೇರು kole geru, ಕೊಳೆಮಾವು kole maavu, ಮರ್ಕಲಿ markali, ಮೊಱಲೆ morale, ಮೊಱಪ್ಪಿ morappi, ಮೊಱಟೆ morate, ಮೊಱವೆ morave, ನುರ್ಕಲ ಮರ nurakala mara, ಪಿಯಾಲ piyala, ಪ್ರಿಯಾಲ priyala, ರಾಜಾದನ rajadana, ಸನ್ನಕದ್ರು sannakadru • Kol: तरुम tarum • Konkani: चार char, चारोळी charoli • Malayalam: മൂങ്ങാപ്പേഴ് moongaappezh, മുരള് mural, നുറമരം nuramaram • Marathi: चार char, चारोळी charoli, पियाल piyal • Nepali: चिरौँजी chiruanjee, प्यार pyaar • Odia: ଅଖଟ୍ଟ akhatta, ଅସନ asana, ବର bara, ବୀଜକ bijaka, ଚାର କୋଳି chara koḻi, ଚିରୋଞ୍ଜି chironji, ଖରସ୍କନ୍ଧ kharaskandha, ପଟ pata, ପିୟାଳ piyala, ପ୍ରସବକ prasabaka, ପ୍ରିୟାଳ priyala, ରାଜ ବୃକ୍ଷ raja bruksha, ରାଜଭୋଗ୍ୟ rajabhogya, ରାଜାଦନ rajadana, ସାର sara, ସ୍ନେହ ବୀଜ sneha bija, ତାପସପ୍ରିୟ tapasa priya • Pali: पियाल piyala, राजायतन rajayatana, सन्नकद्दु sannakaddu • Persian: چرونجی chironji, نَقْلِ خواجَہ naql-i-khwaja • Punjabi: ਚਿਰੌਂਜੀ chiraunji, ਨਕਲ ਖ਼੍ਵਾਜਾ nakal khwajah • Rajasthani: अचार achar, चिरोंजी chironji • Sanskrit: अखट्ट akhatta, बहुकल्क bahukalka, बहुवल्क bahuvalka, भक्ष्यबिज bhakshyabija, धनु dhanu, धनुस् dhanus, धनुष्पट dhanushpata, द्रुसल्लक drusallaka, खरस्कन्ध kharaskandha, ललन lalana, मक्षवीर्य makshavirya, पट pata, पियाल piyala, प्रसवक prasavaka, प्रियाल priyala, राजभोग्य rajabhogya, राजादन rajadana, सन्न sanna, सन्नकद्रु sannakadru, सन्नकद्रुम sannakadruma, स्नेहबीज snehabija, उपवट upavata, वैरादन vairadana, वृक्षादन vrkshadana • Santali: ᱛᱟᱨᱚᱯ tarop • Sindhi: چِرَوْنجيِ chiraunji • Tamil: சாரம் charam, காட்டுமா kattuma • Telugu: చార char, చారుమామిడి charumamidi, చిన్న మొరలి chinna moralli, జరుగు jarugu, జారు మామిడి jaru mamidi, ప్రియాళువు priyaluvu, రాజాదనము raj-adanamu, సారపప్పు saarapappu • Tibetan: པི་ཡ་ལ pi ya la • Tulu: ಎರಪ್ಪೆ erappe • Urdu: چار char, چرونجي chironji, دهنش dhanush, پيال piyal, پرسوك pra-savak, پريال priyal
botanical names: Buchanania lanzan Spreng. ... heterotypic synonyms: Buchanania latifolia Roxb. • Lanzana solitaria Stokes • Spondias elliptica Rottb. ex Hook.f. ... and more at POWO, retrieved 21 December 2025
~~~~~ KNOWN DISTRIBUTION in INDIA ~~~~~
almost throughout the drier parts of the country
~~~~~ THE TAXONOMIC CONFUSION ~~~~~
Buchanania lanzan Spreng. and Buchanania cochinchinensis (Lour.) Almeida are found linked because many botanical databases and local floras (especially in India) continue to use Buchanania cochinchinensis as the "accepted" name for the chironji tree (Buchanania lanzan). However, modern global authorities like Plants of the World Online (POWO) treat Buchanania cochinchinensis strictly as a synonym of the Rutaceae tree Glycosmis cochinchinensis, leaving Buchanania lanzan Spreng. as the correct name for the chironji tree.
Names compiled / updated at Names of Plants in India.
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Podría parecer una isla imaginaria de un mapa de ficción, con sus valles y montañas, sus cráteres y su costa recortada, pero sus dimensiones son minúsculas y en un territorio tan pequeño se supone que ni siquiera, por muy imaginaria que fuera esta isla, nadie podría habitarla ¿nadie?...
En acción, la imaginación nos hace volver a la realidad, esta isla se mueve extendiéndose y abriendo sus brazos planos, va atropellándose a sí misma a medida que avanza ▷. Es una ameba en realidad, y se llama Mayorella ameba acuática y desnuda que, como todas, cambia de forma en cada instante y que nunca es igual que como fue.
Es una ameba inofensiva, como la mayoría de las amebas, aunque es verdad que algunas de ellas son microorganismos que pueden causar enfermedades, como casi siempre en la vida, las que hacen daño son las más ruidosas, a las que más se oye, sin embargo la mayoría son silenciosas, inofensivas y necesarias, descomponen la materia orgánica para que la vida se recicle y en esta labor crean suelo fértil y depuran el agua, silenciosamente, billones de billones de estos seres trabajando para la vida, trabajando para el Planeta.
La ameba de hoy no sólo no es verdugo, a veces se convierte en víctima de la implacable ley de la Naturaleza, Mayorella penardi es una minúscula isla, pero a pesar de su tamaño es habitable, algo deben tener sus tierras que tanto gustan. En ocasiones la ameba Mayorella penardi se ve visitada por seres que la invaden completamente, como en una gran superpoblación, la avalancha de turistas puede llegar a la isla en forma de Amoebophilus simplex un hongo en cuyo nombre está escrito que ama a las amebas…las debe amar mucho, les va robando la vida literalmente…y de una forma tan simple que las terminará asfixiando. Afortunadamente nuestro islote de hoy permanece virgen y a salvo de los incómodos visitantes.
Mayorella penardi es una ameba que se encuentra distribuida por el hemisferio norte, habita tanto en el agua como en los suelos húmedos, se alimenta de restos orgánicos y de algas, su cuerpo aplanado se extiende en pseudópodos amplios que terminan en un pequeño apéndice, la de hoy ha venido de Samir, un pequeño pueblecito de las tierras de Aliste de Zamora. La fotografía se ha realizado a 400 aumentos empleando la técnica de contraste de interferencia.
Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
William Brouillard
www.cia.edu/faculty/directory.php?faculty_id=15
Artist Statement
The platters I have sent to this exhibition combine several ceramic traditions. The first is, The Palace Art Pot. Palace Art Pots were made to demonstrate wealth and power. They were made to tell a story, to commemorate an event or a person, and to demonstrate skill and challenge the abilities of the artisans who made them. The second tradition is the Fish Platter. Fish platters were a staple of the Neo Arts and Crafts Movement of the 1950s and 60s. The third and last tradition is the One-Line visual and verbal Pun, Platters of the ceramic Funk Movement.
Humor through the use of the visual pun was a mainstay of the California Funk movement. Humor in clay has a tradition as old as the use of the material. I have always felt that humor has been given short shift as a serious emotion. Art work that uses humor and has been actively excised from collections of serious art. It may be that we do not understand the function of humor as well as we understand the function of the other emotions.
In the work presented I have tried to inject some humor into the decorative / commemorative object. The platters are big to give them a slightly overblown sense of their own importance and to be able to be viewed from a distance . They are meant for the wall and the table. The large size to fit the importance of large gatherings.
I have tried to replace historical patterns with objects reduced to pattern. Some of the objects are extensions of my environment or reflections of personal interests. Images of turn of the century technology, (the Machine Age), are a personal favorite. Subject matter ranges from humorous depiction of everyday objects to gender stereotypes. My abilities as A draftsman are limited but seem to be adequate for the kind and quality of image that the subject requires. They have a cartoon look as opposed to the crisp complexity of fine china.
The clay body, a red earthenware, is heavily potted and makes no secrete of its variations and flaws. The glaze work is in the Majolica style and is done very much like a watercolor on soft paper. The pots are fired twice. They are bisqued to cone 05 and glazed to cone 04. Some may have an additional firing to Cone 018 for low temperature luster and enamels. They are fired in an oxidizing atmosphere using an electric kiln.
William Brouillard June, 22 1993
Resume
William Craig Brouillard
CURRENT POSITION:
Associate Professor of Art, Ceramics department, The Cleveland Institute of Art, Cleveland, Ohio, from 1980
EDUCATION:
M.F.A., Ceramic Art, The New York State College of Ceramics at Alfred University, Alfred, NY, 1976
University of Wisconsin, at Madison, Wisconsin, 1973
B.A., Art Education, State University of Wisconsin, Stout at Menomonie, Wisconsin, 1969
RELATED WORK EXPERIENCE:
Brouillard Studios, 2662 W14th st. Cleveland, OH 44113, production of pottery and ceramic commission work 1980-1993
Resident Craftsman at The Penland School of Crafts, Penland, North Carolina, as a full time self supporting studio artist in clay, with some related teaching duties, 1976 -1978
TEACHING EXPERIENCE:
Instructor, Teaching beginning intermediate and Graduate level ceramics, East Tennessee State University, Johnson City, TN. 1978-1979
Teaching Assistantship, teaching Kiln Design and Construction, to advanced and graduate level students at New York State College of Ceramics at Alfred University, Alfred, NY. 1974 - 1976
Teaching Assistantship, teaching Two and Three Dimensional Design to beginning and advanced Students, also instruction in materials and techniques of woodworking, at The New York State College of
GRANTS AND AWARDS
National Cup Show, purchase award, University of Southern IL. 1992
Ohio Designer Craftsmen, purchase award, Best of 92 exhibition, Columbus, OH. 1992
Excellence in Design Award Ohio Designer Craftsmen, Best of 92 Exhibition, 1992
American Craft Museum, Design Award , for Excellence in Design, in conduction with the Designed and made for use Exhibition, at The American Craft Museum, NY 1986
Purchase Award, The Clay Cup Show, Southern IL. University, 1986
Art Park , Lewiston NY. Summer work and travel grant 1980
COLLECTIONS REPRESENTED BY
The Detroit Museum of Art [DIA], Detroit MI.
The Cleveland Museum ofArt, Cleveland OH.
The Millard Collection, St Louis, MO
The Sinker Collection, Detroit, MI.
The Vincent Lim Collection,Philadelphia, PA
The Pfannebecker Collection, Lancaster, PA
University of Southern Illinois
Ohio Designer Craftsman, Columbus, OH
Ceramics Monthly, Columbus, OH
The Cleveland Art Association, Cleveland, OH
Alfred University, Museum of Ceramics, Alfred, NY
University Hospitals of Cleveland, Lerner Tower, Cleveland, OH
PUBLICATIONS, REF.
American Ceramics Magazine, Jan. 1994 Studio Potter Magazine, Jan, 1992, "The Language of the Lip" NCCECA Journal "Developing a Plastic Alphabet", volume 6, 1985 Studio Potter "Ohio Potters", October, 1983 Craft Horizons, December , 1978 Ceramics Monthly, "Penland Potters", October 1977 The Alfred Kiln Drawings, New York State College of Ceramics, Alfred University, Publication of The Department of Art and Design, 1976
GALLERIES REPRESENTED BY
-The Clay Place, 5416 Walnut St., Pittsburgh, PA. 15232, 1-412-682-3737
-The Pewabic Pottery, 10125 East Jefferson, Detroit, MI. 48214, 1-313-822-0954
-The Farrel Collection, 2633 Connecticut Ave., NW, Washington, DC 20008, 1-202-483-8334
-Objects Gallery, Chicago, IL
ORGANIZATIONAL MEMBERSHIP
-NCCECA, National Conference For Education in the Ceramic Arts
-SPACES, Arts Organization, Cleveland, OH
-OHIO DESIGNER CRAFTSMEN, North Central Area Represenitive, Columbus, OH
-AAUP, American Association of University Professors, Washington DC
1975 Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Church of St Brynach , Llanfrynach
Llanfrynach Church is in the Diocese of Swansea and Brecon, in the community of Llanfrynach in the county of Powys. It is located at Ordnance Survey national grid reference SO0752325791.
The church is recorded in the CPAT Historic Environment Record as number 16859 and this number should be quoted in all correspondence.
Summary
St Brynach's church is situated in the centre of Llanfrynach village some 4km from Brecon. It is a Victorian structure attached to a medieval tower and contains only a few items of interest, namely the only survivor of three early medieval stones found during the rebuilding of 1885 and a medieval font. The churchyard is large for a village church and may once have been more curvilinear than it now appears.
Tower is attributed to 14thC, though it is as likely to be 15thC, but rest of the building dates from 1885.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
An early medieval foundation here seems likely, though the dedication and the three reputedly sculptured stones apart there is no evidence to collaborate such a view.
The 1291 Taxatio records 'Ecclesia de Lambernach' at the unexceptional value of œ4 6s 8d.
The nave and chancel were replaced by a local builder, William Jones, in the Decorated style in 1885. The rood loft which functioned as a gallery according to Theophilus Jones was removed a this time and of three early medieval stones found at the time only one can now be located.
In 1864 the tower wall was broken through to create space for a set of pews for the de Winton family. A west window was created at the same time. The vestry was added in 1892, the tower was re-roofed in 1905, and internally the font was re-dressed in 1892.
Architecture
Llanfrynach comprises a nave with a slightly narrower chancel, a west tower of the same width as the nave, a north vestry with a boiler room underneath, and a south porch towards the south-west corner of the nave. It is aligned north-east/south-west but 'ecclesiastical east' is adopted here for descriptive purposes.
Fabrics: 'A' consists of greyish red sandstone, though with some variations in colour, in both blocks and slabs, irregularly coursed and with ashlar quoins. 'B' is of more regular blocks and slabs, less weathered, and randomly coursed. All this stone looks new and there are buff-yellow sandstone dressings.
Roof: reconstituted clay tiles. Cross finials on chancel and porch.
Drainage: there are no obvious signs other than downpipes into raised drain holes against the walls. It is possible that any trench around the wall has now grassed over.
Exterior
Tower. General. Fabric A. Wall faces are heavily pointed, obscuring the masonry. Certain features are consistent to all faces: there is a chamfered plinth at a height of 1m, a string-course in rounded section at 1.5m, a string-course defines the top of the second stage about two-thirds of the way up the tower, and a third with hollow moulding at the top of the belfry stage; above this is a battlemented parapet, which Griffiths of RCAHMW thought was modern. The whole tower is usually attributed to the 14thC.
North wall: at base of second stage is a trefoil-headed lancet of buff sandstone with a relieving arch over, completely Victorian, inserted. This stage also shows some possible plaster remnants. Belfry is lit by a four-centred arched window, the two lights having cusped tracery and louvre boards; some of the dressings renewed.
East wall: nave apex reaches to just below the second stage string-course. Third stage has standard belfry window but not possible to determine whether any of the dressings renewed. Two waterspouts on the string-course above.
South wall: second stage has an inserted Victorian window as in north wall. At the top of this stage there is also a slit window with unchamfered jambs and a lintel that is splayed on the underside. This slit is blocked up as is part of the standard belfry window in the third stage.
West wall: the second stage carries a large two-light window of Victorian date, and above it is a slit window with undercut lintel as on the south side. The standard belfry window has some renewed tracery, and there are two waterspouts on the string-course above.
Nave. General. Fabric 'B'. Plinth with chamfer at height of between 0.3m-0.6m. Windows of regular form and all have relieving arches in 'B'.
North wall: two two-light windows. Buttress overlies junction of nave and tower.
South wall: three two-light windows, having quatrefoils above, hoodmouldings with ballflower stops; two buttresses, one at south-east angle, the other overlapping tower wall as on the north.
Chancel. General. Similar to nave in terms of fabric, plinth, windows etc. The roof is lower by almost one metre.
North wall: almost completely disguised by vestry.
East wall: three-light window with cusped tracery, hoodmoulding with weathered human-headed stops, relieving arch; two diagonal buttresses at corners.
South wall: one two-light window with trefoiled heads, hoodmoulding with ballflower stops, relieving arch.
Vestry. General. Boiler house beneath with flight of steps leading down to it. Door plus windows are square-headed and the latter have lights with mock Caernarvon arches. Blocked window in east wall.
Porch. General. Fabric 'B'.
East wall: one trefoiled window with a 'decorative' relieving arch; buttress at south-east angle.
South wall: high-pitched gable end. Two-centred arched doorway with complex mouldings and a hoodmoulding with ballflower stops. Old gravestones leant against wall.
West wall: as east wall.
Interior
Porch. General. Stone flags for floor, plastered walls; roof of rafters with collars.
North wall: Gothic arched doorway with complex moulding and ballflower stops to the hoodmoulding. Plain wooden door.
East wall: small splayed window with stone bench beneath.
West wall: as east wall.
Tower. General. Floor is reached by two steps up from nave. Wooden floor with pews set on it. Plastered walls.
North wall: nothing significant.
East wall: high two-centred arch, chamfered on both faces but only above springing points. Early medieval stone (see below) attached to northern reveal.
South and west walls: nothing of significance.
Nave. General. Tiles, some decorated, and raised wooden floors under seats; no grilles or obvious heating ducts. Walls plastered and whitewashed. Roof of spaced scissor-trusses with collars.
North wall: splayed windows, two-centred arched doorway of Victorian form to vestry. Three mural tablets, one of 1763/1785, the other two 19thC.
East wall: high two-centred arch with stops and responds. Galvanised steel plaques bear Lord's Prayer and Ten Commandments.
South wall: splayed windows. Two mural tablets of 19thC and 20thC.
Chancel. General. One step up to chancel and two to altar. Tiled floor with carpets over. Roof as nave but no scissor trusses.
North wall: has organ against it and two 19thC mural tablets.
East wall: galvanised reredos painted with 'Art Noveau' angels on either side of altar.
South wall: 20thC mural tablet.
Churchyard
Llanfrynach churchyard is exceptionally large and flat. Its present shape is sub-square and there is no evidence to indicate an earlier fossilised boundary.
It is overgrown on the east and north sides where there are fewer burial, but the areas of more recent burials are better maintained.
Boundary: the perimeter is defined by a stone wall, replaced by breeze block walling at the north-west angle.
Monuments: their spread is irregular. The area north-west of the church is currently in use, there is a single row east of the chancel, 19thC groups to the south of the church, and further graveslabs have been cleared and are now set against the east and much of the north wall of the churchyard.
Furniture: a churchyard cross, but of the 20thC, having been copied from one at Merthyr Mawr, Glamorgan, in 1910.
Earthworks: church is set on a slight platform, visible at the eastern end and around part of the north side. The earlier bank of the churchyard can be seen running about 2m outside the present eastern perimeter wall.
Ancillary features: small, double iron gates at the western corner, similar gates with the addition of a kissing gate on the south, both served by tarmac paths. On the south-east opposite the pub is a stone stile and on the north-east access from Ty-mawr was provided by a mock crenellated gateway; both of these served by grass paths. The rectory was linked to the church by a vertical stone stile in the north wall.
Vegetation: there are a number of large pines and deciduous trees on the north side of the churchyard and yews form both sides of an avenue running from the porch to the south gate with a few more by the grass path leading eastwards.
HDR from 6 exposures. MUST View Large On Black
If you have 2 minutes spare , do have a look at some other Night Shots that I made
It was a gut feeling to use an additional 6th shot. Actually when I started, I took 17 shots. Cars and buses kept annoying me (yes I was on road with tripod) and having got home I realized that only 7 frames matched. I used 6 of them. Another annoying thing is that car that came right in the middle of my shoot.
Curves and enhancements in Photoshop CS2. Color correction and Cooling Filter (the lamps here dominate yellow shades and destroy the the color profile of pics). Would like to dedicate to Vikrant Gupta (yet to start an account) as he really waited for me to complete the shot. When at ease, do take out some time to take a Slide Tour of HDRs that I made.
© 2007 Ayush Bhandari
William Brouillard
www.cia.edu/faculty/directory.php?faculty_id=15
Artist Statement
The platters I have sent to this exhibition combine several ceramic traditions. The first is, The Palace Art Pot. Palace Art Pots were made to demonstrate wealth and power. They were made to tell a story, to commemorate an event or a person, and to demonstrate skill and challenge the abilities of the artisans who made them. The second tradition is the Fish Platter. Fish platters were a staple of the Neo Arts and Crafts Movement of the 1950s and 60s. The third and last tradition is the One-Line visual and verbal Pun, Platters of the ceramic Funk Movement.
Humor through the use of the visual pun was a mainstay of the California Funk movement. Humor in clay has a tradition as old as the use of the material. I have always felt that humor has been given short shift as a serious emotion. Art work that uses humor and has been actively excised from collections of serious art. It may be that we do not understand the function of humor as well as we understand the function of the other emotions.
In the work presented I have tried to inject some humor into the decorative / commemorative object. The platters are big to give them a slightly overblown sense of their own importance and to be able to be viewed from a distance . They are meant for the wall and the table. The large size to fit the importance of large gatherings.
I have tried to replace historical patterns with objects reduced to pattern. Some of the objects are extensions of my environment or reflections of personal interests. Images of turn of the century technology, (the Machine Age), are a personal favorite. Subject matter ranges from humorous depiction of everyday objects to gender stereotypes. My abilities as A draftsman are limited but seem to be adequate for the kind and quality of image that the subject requires. They have a cartoon look as opposed to the crisp complexity of fine china.
The clay body, a red earthenware, is heavily potted and makes no secrete of its variations and flaws. The glaze work is in the Majolica style and is done very much like a watercolor on soft paper. The pots are fired twice. They are bisqued to cone 05 and glazed to cone 04. Some may have an additional firing to Cone 018 for low temperature luster and enamels. They are fired in an oxidizing atmosphere using an electric kiln.
William Brouillard June, 22 1993
Resume
William Craig Brouillard
CURRENT POSITION:
Associate Professor of Art, Ceramics department, The Cleveland Institute of Art, Cleveland, Ohio, from 1980
EDUCATION:
M.F.A., Ceramic Art, The New York State College of Ceramics at Alfred University, Alfred, NY, 1976
University of Wisconsin, at Madison, Wisconsin, 1973
B.A., Art Education, State University of Wisconsin, Stout at Menomonie, Wisconsin, 1969
RELATED WORK EXPERIENCE:
Brouillard Studios, 2662 W14th st. Cleveland, OH 44113, production of pottery and ceramic commission work 1980-1993
Resident Craftsman at The Penland School of Crafts, Penland, North Carolina, as a full time self supporting studio artist in clay, with some related teaching duties, 1976 -1978
TEACHING EXPERIENCE:
Instructor, Teaching beginning intermediate and Graduate level ceramics, East Tennessee State University, Johnson City, TN. 1978-1979
Teaching Assistantship, teaching Kiln Design and Construction, to advanced and graduate level students at New York State College of Ceramics at Alfred University, Alfred, NY. 1974 - 1976
Teaching Assistantship, teaching Two and Three Dimensional Design to beginning and advanced Students, also instruction in materials and techniques of woodworking, at The New York State College of
GRANTS AND AWARDS
National Cup Show, purchase award, University of Southern IL. 1992
Ohio Designer Craftsmen, purchase award, Best of 92 exhibition, Columbus, OH. 1992
Excellence in Design Award Ohio Designer Craftsmen, Best of 92 Exhibition, 1992
American Craft Museum, Design Award , for Excellence in Design, in conduction with the Designed and made for use Exhibition, at The American Craft Museum, NY 1986
Purchase Award, The Clay Cup Show, Southern IL. University, 1986
Art Park , Lewiston NY. Summer work and travel grant 1980
COLLECTIONS REPRESENTED BY
The Detroit Museum of Art [DIA], Detroit MI.
The Cleveland Museum ofArt, Cleveland OH.
The Millard Collection, St Louis, MO
The Sinker Collection, Detroit, MI.
The Vincent Lim Collection,Philadelphia, PA
The Pfannebecker Collection, Lancaster, PA
University of Southern Illinois
Ohio Designer Craftsman, Columbus, OH
Ceramics Monthly, Columbus, OH
The Cleveland Art Association, Cleveland, OH
Alfred University, Museum of Ceramics, Alfred, NY
University Hospitals of Cleveland, Lerner Tower, Cleveland, OH
PUBLICATIONS, REF.
American Ceramics Magazine, Jan. 1994 Studio Potter Magazine, Jan, 1992, "The Language of the Lip" NCCECA Journal "Developing a Plastic Alphabet", volume 6, 1985 Studio Potter "Ohio Potters", October, 1983 Craft Horizons, December , 1978 Ceramics Monthly, "Penland Potters", October 1977 The Alfred Kiln Drawings, New York State College of Ceramics, Alfred University, Publication of The Department of Art and Design, 1976
GALLERIES REPRESENTED BY
-The Clay Place, 5416 Walnut St., Pittsburgh, PA. 15232, 1-412-682-3737
-The Pewabic Pottery, 10125 East Jefferson, Detroit, MI. 48214, 1-313-822-0954
-The Farrel Collection, 2633 Connecticut Ave., NW, Washington, DC 20008, 1-202-483-8334
-Objects Gallery, Chicago, IL
ORGANIZATIONAL MEMBERSHIP
-NCCECA, National Conference For Education in the Ceramic Arts
-SPACES, Arts Organization, Cleveland, OH
-OHIO DESIGNER CRAFTSMEN, North Central Area Represenitive, Columbus, OH
-AAUP, American Association of University Professors, Washington DC
Hilo de la Fotohistoria en Pullip .es: AFTER THE CONCERT (5 of 9): Shin askes for Yas /
DESPUÉS DEL CONCIERTO (5 de 9): Shin pregunta por Yas
(Read in order, this is: SHOT/FOTO 69 of 184) 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, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107,108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184.
FOTOSTORY: In English / En Español
Shin: Oookaaaay... I see you didn't... ¬¬
/
Shin: Valeeeeeee.... ya veo que no lo has visto... ¬¬
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
Graduate School of Design Exhibition
Gallery 224
ofa.fas.harvard.edu/ceramics/gallery224.php
Exhibition: January 26–February 27, 2015
Closing Reception: Friday, February 27, 5–8 PM
Gallery Hours: Tuesday–Saturday, 10 AM – 7 PM
Faculty: Leire Asensio Villoria & Felix Raspall in collaboration with Harvard’s Ceramic Lab
TAs: Jake Rudin & Haemin Kim
The translation between the architectural design and the subsequent actualization process is mediated by various tools and techniques. Through the adoption in architectural design practice of computation and information technologies, with their capacity for a relatively seamless transition between design and fabrication, a more integrated workflow across the design and actualization process is made more accessible to designers. In recent years, designers have become increasingly able to move effortlessly between digital modeling, performance simulation, and physical realization. As technology evolves, this rapidly evolving field continually presents architects and designers with new challenges and opportunities for creative exploration as well as a more materially intelligent practice. This course pursued research in architectural design placing technology as a driver in the creative processes. In the course, ceramics served as the framework for research, discussion and experimentation on digital design and fabrication technologies. While ceramics has one of the longest histories as a material in architecture, it may also still be one of the material families to offer the potential and mutability to generate a range of novel applications by engaging a variety of emerging digital fabrication processes. The Craft-based manufacturing and high-volume industrial production traditionally associated with clay-based ceramics was rethought through the lens of digital design and fabrication techniques. The extension of the capacity for the application of ceramics in architecture through an engagement with digital design and fabrication was explored during semester-long group research projects with the additional guidance of the Harvard Ceramics Program and with support from the Spanish Ceramic Tile Manufacturer’s Association (ASCER).
Acknowledgements
Research sponsored by:
ASCER- Spanish Ceramic Tile Manufacturers¹ Association
Harvard University Graduate School of Design, Design Robotics Group
Research support provided by:
Harvard University Office of the Arts, Ceramics Program
Harvard University Graduate School of Design,Fabrication Laboratory
Special thanks to:
Harvard University Office of the Arts, Ceramics Program
Kathy King, Director of Education
Shawn Panepinto, Director of Studio Operations
Kyla Toomey, Ceramics Program Instructor
Jessica Brandl, Ceramics Program Instructor
Pam Gorgone, Ceramics Program Staff
Harvard University Graduate School of Design
Dean Mohsen Mostafavi
Prof. Inaki Abalos
Prof. Martin Bechthold
Prof. Hanif Kara
Prof. Achim Menges
Rachel Vroman, Manager, Fabrication Laboratory
Burton LeGeyt, Lab Supervisor, Fabrication Laboratory
Jake Rudin, Course Teaching Assistant
Haemin Kim, Course Teaching Assistant
Exhibition Curator
Leire Asensio Villoria, Lecturer in Architecture and Landscape Architecture, Digital Media Workshops Coordinator, Co-director of WTE Research Lab
Felix Raspall, Instructor in Architecture, Project Manager of the Material Processes and Systems Group, Doctoral Candidate in Design and Technology Harvard Graduate School of Design
Kevin Hinz, Exhibition Coordinator
Students:
Annapurna Akkineni, Akshay Goyal, Quarat-ul-ain Malick
Spyridon Ampanavos, Jacob Hamman, Alkistis Mavroeidi
Aziz Barbar, Kevin HinzMichael Meo, Sofia Blanco Santos, Alexander JacobsonJulia Michalski, Lisa CaplanJiyoo Jye, Fani-Christina Papadopoulou, Tiffany ChengMehdi Khelif, Jake Rudin
Laura Day, Frederick KimJoshua Schecter, Kritika Dhanda, Hea Min Kim, Raphael Stahelin, Suruchi Dumpawar. Linxue Li, Adelene Tan
Roland Faust, Ping Lu
History of the Bellevue Kentucky Fire Department
The Bellevue Fire Department is a product of three volunteer fire companies organized in the mid 1800's to protect a developing riverfront community and its nearly 400 residents. This community known as "Bellevue" had been incorporated as a City on March 15, 1870.
The original fire company of 35 men called themselves the "Peerless" and arranged for the purchase of Bellevue's first fire equipment, a man-powered hose and reel. Other companies soon were put into operation and were called the "Summit" and the "Centers". With each company manned by over 30 members the rivalry was fierce. Contest and competitions were held regularly and increased the antagonism of the companies. Eventually all companies responded with man-powered hose reels. Stations were located behind the school at Center and Lafayette Avenues, the Balke Opera House at Berry & Fairfield and on the west side of O'Fallon Avenue just south of Fairfield Avenue.
The department progressed from its man-powered hose reel days in the year 1900 with the procurement of its first horse drawn equipment. The Bellevue City Council decided to purchase a hose and ladder wagon for the volunteers but the appropriation lacked one thing: money for a horse to pull the wagon. As firefighters have done throughout their history, Bellevue's Bravest improvised. When an alarm sounded, the firefighters would commandeer the first horse in sight and unhitch the animal from the wagon he was pulling and harness him to the fire wagon. Some horse owners were said to give battle during this practice in fear of harm to the animal. More often, the horse would object by rearing, kicking, and snorting.
Plan 2 came about in the early 1900's when Bellevue had one garbage collection wagon and a horse to pull it named "Dobbin". Ole Dobbin was assigned double duty. When a fire alarm came in, the horse would be intercepted on his aromic rounds, unhooked and galloped to the fire station to be hitched to the fire wagon. At night the horse was stalled in the fire station.
In 1918 motor power became a reality in Bellevue with the purchase of an Ahrens Fox 500 gallon per minute pumper and in 1920 when a second 500gpm pumper was bought. The city arranged to pay a fire chief and two full time firemen. With the paid fireman handling most alarms and duties, many volunteers began drifting away from the department. A policy was later developed that when the fire alarm bell sounded, the chief asked bystanders to help fight the fire. Each person rendering assistance was paid $ 2.00 by the city, for their efforts.
This system was used until 1934 when the need for more adequate fire protection was recognized. The Bellevue Volunteer Fire Department was reorganized. Two dozen badges were purchased from the American LaFrance Company for seventy five cents each and the Constitution and By Laws were initiated for adoption. The men took upon themselves the duties of emergency response and fundraising. The volunteer organization operates basically the same to this day. The first money raised by the volunteers was through a monthly lotto.
In 1936, the volunteers purchased a used fire truck from the Cheviot, Ohio department for $175.00. This apparatus proved valuable the next year as the 1937 flood cut the City of Bellevue into two parts. Most members voluntarily worked 24 hour duty shifts during the flood, which was followed with many days and nights of pumping water from flooded basements while the floodwaters receded. By 1939, the benefit of a first class volunteer fire department was obvious and the department flourished with over 60 active members.
In 1940, through several years of fundraisers including street fairs, the volunteers made the down payment on a new 750 gpm Ahrens Fox pumper. The fire truck purchased in 1936 was later sold to Crescent Springs. In short order the entire $8,900.00 cost of the new "Fox" truck was paid off. The Ahrens Fox pumper was considered one of the finest in the state for a city of its size.
As of October, 2011, we have received the U.S. Navy's final approval to move IOWA to the Port of Los Angeles. The 2 BEST sources for updates are: www.pacificbattleship.com/blog/ - www.facebook.com/pacificbattleship
UPDATE Oct. 27, 2010: The NEWS IS GOOD! The IOWA has gained incredible support, and the LA Harbor Commission meeting Nov. 4, 2010 will hopefully announce that a berthing location has been approved for the San Pedro area of LA Harbor! IMPORTANT LINKS, TO CHECK OFTEN... www.pacificbattleship.com/ AND www.pacificbattleship.com/blog/presentations/
UPDATE Feb. 28, 2010: The Port of Los Angeles has rejected a 16-page proposal by the Pacific Battleship Group to move IOWA to San Pedro, CA. The nearby city of Vallejo, CA has been seeking donations to move her to Mare Island for years.
It is a very dark time for this proud warrior, which represents so much of this country's history.
Battleship IOWA (BB-61) ~ en.wikipedia.org/wiki/USS_Iowa_(BB-61) In the National Defense Service Fleet (aka the Mothball Fleet) at Suisun Bay, near Benicia, CA. Her forward 16-inch (rifles) guns are visible in this view. Mount Diablo's foothills rise in the background. From land, one of the closest viewing spots is from Industrial Way in Benicia. This photo was taken at the extreme range of my 40x telephoto. There is also the Levee Trail off Bayshore (it begins beneath the most easterly span of the Benicia-Martinez Bridge (there is free parking - look for the public access sign at the entrance of the giant 'new cars' import storage yard). About a 20 minute walk to the trail's end: Don't try walking in the marsh... it's very wet and muddy.
I've been tagged....for the first time...and had no idea what that meant or what I was supposed to do. But thanks to Clay Wells he thought I was worthy enough to play this freaking Flickr game of tag. SO if you are one of the unlucky 16 contacts of mine I hit....don't blame me.....blame Clay....he's a pest. And I ask this: who the hell thought listing 16 things about yourself was a fab idea? And I did say fab.....I say fab because this little listing game feels like being Paris Hilton's new BFF.....contrived and silly..so i say FAB!
So after all the shoveling of snow, and blowing of driveways, and scraping of ice, I set back for a second and took in the gorgeous view off the front deck. I struggled with this shot....I wasn't sure if I should go for a long drawn out exposure to emphasis the dramatic skies...but once I clicked the shutter a few times, I figured mother nature did a darn fine job on her own and no ND grad filters were needed to help her this time.
I did however utilize a circular polarizer on this one and then converted to Black and White with a heavy red filter emphasis...something about the IR look and effect really appeals to me
Canon 40d
Sigma 10-20mm @ 20mm
ISO 100
f/16 @ 1 second
So I guess I have to now list 16 things about me.....grrrr Clay...grrrrr
1) I'm taller than 6'2" but shorter than 6'4"
2) I hate brussel sprouts, okra, egg plant, and any othe vegatable that are used to torture kids
3) I once faked being drunk (in my 20's) so i wouldn't have to spend anymore time of a painfully boring evening with a girl I was set up with on a blind date. She later asked her friend (who had set us up) if i was allergic to alcohol because I had reacted so violenly to one Coor's Light.....I thought she wouldn't have noticed I had only bought one beer....obviosuly her boring stories included relatively awesome observation skills.
4) I snore......relentlessly.....get some ear plugs cause I'm never having that silly surgery that every wife tries to get her husband to have....I mean really...surgery? Did Alexander the Great, or Hannibal, or Braveheart have surgery to lessen their manly snore horn...for crying out loud
5) I had a bunk mate in college that was from Ireland.....he played a game at parties (after a few pints) called "Hide the dook." i won't give you the details since the name simply says it all...i will say this though....there were many places we were never invited back to when they "found the dook."
6) I once got busy in a Burger King Bathroom......well not really but I did love me some of the Humpty dance back in the day....lyrical genius! And in a roundabout way this reveals I liked silly hip hop songs with guys with pickle noses.
7) I tend to exaggerate.....but only if it gets a really big laugh
8) I tend to like getting a laugh...which causes me to exaggerate
9) I played a professional sport after college.....
10) Both of my grandfathers were veterans of WWII...surprisingly, one of them was stationed on an aircraft carrier in the Pacific, and the other was a Seabee....
11) I am a huge Hockey fan.....go Sharks Go!
12) Quite possibly the funniest and my most favorite movie ever is 3 Amigos.....I mean, who could deny that its probably the last funny movie Chevy Chase made before his failure as a talk show host? And El Huapo....he's so dreammmmmyyyyy
13) I love to read.....when i was in 4th grade I guess I was reading a little better and faster than the other kids in my class (we won't talk about how far behind them I was in math). Anyways. my teacher met with my parents and told them they needed to start challenging me with more adult and abstract reading material. My father asked her "Like What?" She suggested Stephen King and Playboy......to my dismay, I never got the playboy reading materials...but my twisted parents, in their weird attempt at trying to "challenge" me were succesful in having me read "the Shining" and never wanting to sleep or ride an elevator again....as if looking at some breasts and reading about Stephen Spielberg interviews in Playboy would have been so detrimental....
14) I like and will continue to use Flickr as long as the sense of community, reciprocation, and feedback continue to be a staple diet of my daily experience here....I will however begin to weed out contacts whom I comment on photos regularly for (whether it be for praise, questions about their process, or just to comment about what did or did not work in their shot) but never seem to visit or comment on my or other people's streams. This is not a whine, merely a point ot be made...the community is only as good as the two way street it was desgined to be.....those that are takers only don't interest me...no matter how great they might be.....we are all in this together and reciprocation, no matter how slight, is an important part of the feedback we receive here.....
15) I love TollHouse Chocolate Chip cookies hot, gooey, straight out of the oven
16) I am not allergic or reactive to Poison Oak
Phew......thanks for hangin in there
Hilo de la Fotohistoria en Pullip .es: LIVING ROOM (2 of 7): Toilet /
LA SALA DE ESTAR (2 de 7): El Baño
(Read in order, this is: SHOT/FOTO 24 of 106) 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, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106.
FOTOSTORY: In English / En Español
Lenn: Ò___Ó
/
Lenn: Ò___Ó
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es