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Historical thing has happened: a non-red, non-TfL bus on a TfL route. In regular service!! Except it doesn't have the blinds programmed n̶o̶r̶ ̶h̶a̶s̶ ̶a̶n̶ ̶O̶y̶s̶t̶e̶r̶ ̶t̶i̶c̶k̶e̶t̶ ̶m̶a̶c̶h̶i̶n̶e̶.
Opted to go for this shot as it depicts stunned passengers learning that's their bus. I mean, it looks nothing London!!
Metroline have reportedly been struggling with their loaned Solos so this was drafted in. But heck, this is history in the making!
Found out about this via Facebook and happened to be in a convenient position to grab it.
EDIT: Interior shots for those interested: twitter.com/RandomBusesGirl/status/1016404472241754112?s=19
Now for the real deal. A Metra inbound rolls under the PRR Position Lights at CP Morgan Street, preparing to enter the canyon of skyscrapers that make up Chicago's massive skyline. This was probably one of the most successful shots that resulted from today's expedition into the city.
Highest position: 117 on Saturday, December 21, 2013
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Very much on the 'to do' list for the AFRPS is the "Hutnik" - an 0-6-0T constructed by Fabryka Lokomotywim "Feliksa Dzierztnskiego" of Chrzanów, Poland. The appearance is similar to the the USATC S100 'USA' tanks which were built for the war effort, but there are some design differences between the two types.
Alongside is Avonside Works Number: 1919, "Cranford". An 0-6-0ST which would be our locomotive for the afternoon part of the Steelworks visit.
14th March 2020.
The fabulous, smokey MiG-29 Fulcrum of the Polish Air Force at RIAT 2015. On the aircraft are images in tribute to Polish Ace fighter pilot Marian Pisarek.
Nikon D810 and my amazing 300mm VR f/2.8 lens.
For my brother Tim.
In Explore thank you
Copyright © 2015 Martyn William
Explore Highest position # 151on Monday, April 27, 2009
The Gap and Watson Bay. The above photo was taken at the poit we can see the ocean on both sides, the Gap on the left and Watson bay on the right. The far right is central Sydney which a lot of buildings can be seen. No crop for this shot, this is the limit of my wide angle lens at 14 mm. I should have a fish-eye lens.:)
จุดที่สามารถมองเห็นมหาสมุทรทั้งซ้ายขวา ทางซ้ายคือ The Gap และด้านขวาคืออ่าววัตสันต์ ทางด้านขวาไกลออกไปที่เห็นกลุ่มอาคารสูงคือตัวเมืองซิดนีย์ จุดนี้อยู่ที่ The Gap Park ทางตะวันออกของซิดนีย์, ในรัฐ นิวเซาท์เวลส์, ออสเตรเลีย ซึ่งตั้งอยู่ในชานเมืองตะวันออกของอ่าววัตสัน
Exposure: 1/180 sec, Aperture: f/11, Focal Length:14 mm, ISO: 100, -1eV
Nikon D700, Nikkor AF-S 14-24mm f/2.8G ED
Single shot, layers blended.
(No multi invitations please.:))
Explore Highest Position #129 on Friday, January 16, 2009
Parrots are one of the most colorful members of the entire bird kingdom. They can be cute and cuddly, and sometimes, simply awe you with their majesty and elegance. Parrots have many sub-species. Macaws, cockatoos, cockatiels and budgies are some examples. They are often referred to as winged rainbows...
Thank you for your views, comments and faves...
Model: Hemingway
Position: The Morning Sun Desktop
Light: ambient on a sunny morning
Lens: Sigma 2.8 / 70 mm EX DG macro
Mood: dreaming
Fort Erie Race Track.
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IN ENGLISH BELOW THE LINE
Fotografies de la zona de combats de la Batalla del Ebre (1938).
El turó del cementiri de Vilalba dels Arcs, vist des del poble mateix. És a dir, les posicions avançades republicanes del juliol del 1938, vistes des de les posicions feixistes del poble.
El dia 26 de juliol la 33 Brigada republicana captura el cementiri de Vilalba dels Arcs, situant-se per tant just al est de la vila. Però la vall de Lo Camí de Xivell, que els separa del nucli urbà, es molt facil de defensar des de una fortalesa natural com és Vilalba, sobretot des del est.
Des del 27 fins el 31 de juliol. els republicans intentaran conquerir Vilalba, arribant pel que sembla a les primeres cases del poble, però sent refusats. De fet, el 31 mateix abandonen el cementiri, ja que està massa exposat al foc enemic. Així acaben els combats en aquest sector de la batalla.
La batalla de l'Ebre (25 juliol - 16 novembre de 1938) fou la més important i mortifera de la guerra civil espanyola. Hi ha que també la consideren també la més decisiva, però crec que per desgracia la guerra ja estava decidida de molt abans, com a minim des del trencament del front d'Aragó el 9 de març del mateix any.
Tot i que l'exèrcit republicà creuà l'Ebre el 25 de juliol del 1938 per molts punts entre Mequinensa i Amposta, la major part dels combats de la batalla es donaren a la Terra Alta, a la zona entre Vilalba dels Arcs, La Fatarella, Camposines i Gandesa, a més de la Serra de Pandols.
www.sbhac.net/Republica/Fuerzas/EPR/EprL/GCE_EXT_AntonioQ...
ca.wikipedia.org/wiki/Batalla_de_l%27Ebre
ca.wikipedia.org/wiki/Vilalba_dels_Arcs
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This is part of the Ebro battlefield (1938), in Southern Catalonia.
The Republican frontline positions in the cemetery hill seen from the fascist positions in the village of Vilalba dels Arcs. This small valley was quite almost impossible to pass without being slaughtered by the rifle and MG fire from the medieval village.
On July 26, the 33rd Republican Brigade captured the cemetery of Vilalba dels Arcs, thus being located just east of the town. But the valley which separates them from the village is very easy to defend from a natural fortress such as Vilalba, especially from the east.
From the 27th to the 31st of July. the republicans will try to conquer Vilalba, arriving apparently at the first houses of the village, but being rejected. In fact, on the 31st they leave the cemetery itself, as it is too exposed to enemy fire. Thus ends the fighting in this sector of the battle.
The Battle of the Ebro (July 25 - November 16, 1938) was the most important and deadlier of the Spanish Civil War. There are those who also consider it the most decisive, but I think that unfortunately the war was already decided long before, at least since the breaking of the front of Aragon on March 9 of the same year.
The battle began with the greatest offensive made by the Republican forces, when they crossed the river Ebro between Mequinensa and Amposta (especially between Riba-roja and Miravet), and advanced to the line La Pobla de Massaluca -Vilalba dels Arcs -Gandesa - Serra de Pandols . But in just 48 hours, the dazzling advance was stopped short. Then Franco decided to crush the republican forces hill by hill (with massive artillery and bomber barrages), in a battle of attrition identical to the First World War for which the Republicans had no resources or alternative, especially with the river behind them. The main assaults, which lasted from August 10 to October 29, were concentrated in a very small and devastated area: the triangle Vertex Gaeta - Corbera - Camposines.
Finally, a final offensive on October 30 occupied the ridge of the Serra de Cavalls, making the entire Republican bridgehead unsustainable, which managed, however, to withdraw in an orderly manner until November 16. But the damage was already done, and there were no forces left for a proper defense of Catalonia, which fell three months later. Then, fascist darkness.
www.sbhac.net/Republica/Fuerzas/EPR/EprL/GCE_EXT_AntonioQ...
www.youtube.com/watch?v=bxQZ_gKCHtk
I somehow thought that bats always hang from horizontal-ish places llike a branch or ceiling. This is a corner where a concrete wall (left) and aluminum siding (right) meet at 90 degrees angle.
It's 2 or maybe 2.5 inches from the head to the butt. The guy was hanging in a straight posture so I guess he was sleeping, but noticed that I was approaching and changed its position.
There are trees around, I don't know why this guy ended up sleeping here.
300_2419crop In Explore Highest position: 254 on Saturday, July 4, 2009
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© all rights reserved 2009 fabio c. favaloro
“Ah summer! What power you have to make us suffer and like it.”
[Russell Baker]
in explore 3aug09 - highest position: 50 on tuesday, aug 04, 2009
Another photo from the spider in the park. I just like that I got him right at the side of the picture and with this treatment, his tiny hairs stand out more.
The passage way at the South Western Cairn at Balnuaran of Clava is focused on the sky. Many chambered cairns are aligned either with the position of the Sun, Moon, or the planet Venus. The Sun and Moon alignments bring about a living calendar to any aligned chambered cairn. Such alignments are more easily recorded without the cairns. The Sun and Moon alignment seems set into the stone structures for the use of the cairns beyond clocks and calendars to generate the identity of the structure in the design. These impressive monumental communal structures were open and visited by their constructors for several hundreds of years. Later they were filled in possibly when a new way of worship and reverence was found and so the old sacred sites were closed. The cairns in their large size seem set to hold great importance for many people and yet their small passages and chambers are only available for either small groups, or individuals. The light from the Solstice Sun gives a direct beam along the passage and into the chamber at the day chosen with the Summer longest day and Winter shortest day having positions on the horizon at dawn and at sunset available for the builders to set their structure around. Those that took part in interior ceremony could be experiencing a rite of passage and from their inner seclusion they could be greeted by the Sun entering in at a significant moment and then by all that were gathered around the large monuments as the adorants came back to the community after their isolation.
I remember from a few decades ago the stones at the rear of the chamber being brought to life by the Sun when it shone straight along the passage. This light dancing on a stone with either quartz, or granite in could be the first light for the adorant to see after days of fasting, maybe of eating ceremonial food and of intense meditation so that the light in the stone shone to show life in the bone of the land the stone that would be the collection place for the cleaned bones of the dead as markers of belonging and signs of knowing all returning to the glowering Sun, to the finding of the murmuring of the Moon and to the awakening to the stellar shimmering the stars.
The highlighted section of the chamber could be the projection screen of the tomb. After a period of darkness in the chamber the light returning through projection focused along the passage would dance on the projection screen stones and with a tone from the human voice the dust in the passage could be seen to move in and out of waves and lozenge shapes forming transient structures in the moving dust and light. The light held such delicate structures possible only for a short while along the alignment at either dawn, or sunset and the shapes would slow and cease as the light source moved away from the direct alignment in matter of minutes. These waves and lozenge shapes are were carved into the stones of some chambered cairns leaving a record in the stone on the bone of the land a presentation hammered into the stone that was home to the ancestors and the shaping of the returning regenerating medium that as it wore down gave vital nutrients to the next new growth that through roots and shoots, seeds and flowers would break down the stones into sparkling sands and grits echoing the steady progressions and predictable processions of the lights of the camp fires shining out with hope and potential in the sky above.
© PHH Sykes 2023
phhsykes@gmail.com
Clava Cairns Near Inverness, IV2 5EU
www.historicenvironment.scot/visit-a-place/places/clava-c...
A Visitors’ Guide to Balnuaran of Clava a prehistoric cemetery
www.archhighland.org.uk/userfiles/file/Sites/Historic%20S...
Balnuaran Of Clava, South-west
canmore.org.uk/site/14279/balnuaran-of-clava-south-west
Highland Historic Environment Record
Clàr Àrainneachd Eachdraidheil na Gàidhealtachd
Highest Explored Position: 57
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I don't very often do B&W, and do portrait mode shots even less, but this one seemed to work!
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Shot details:
3 subsequent bracketed handheld shots using: Canon 5D Mark III; Canon 17-40mm f/4L,
Post processing:
1. Lightroom for initial fixups,
2. Merged in HDREfex
3. Post processed (colors, sharpness and so forth) in Lightroom and ColorEfex in Photoshop CS6
4. Finally did a little more processing (vignetting and temp and so forth again in Lightroom) and perspective adjustment
Week 8 in 52 Weeks for Dogs. I noticed the light coming into the conservatory and quickly got Tasku to jump in position for her photo.
Explore 261