View allAll Photos Tagged practicality
On our way back from the cloud forest to Quito, we stopped in Tulipe, a small village nestled in the lush green hills of the Andean foothills. Our first visit was to the Museo de Sitio de Tulipe, a small but well-curated museum that provides insights into the Yumbo people—a pre-Inca civilization known for their ceremonial water structures and strategic trade routes through the cloud forest.
Afterward, we took a brief walk through the village itself. Tulipe consists of just a few quiet streets but is full of character. There's a local shop that also serves as someone's home—motorbikes parked outside, laundry hanging from the balcony, and a dog napping by the front gate. It's a lively scene where practicality combines with daily routine.
Just around the corner, a bright mini-market greets passersby with hand-painted signs advertising cold beers and lively music. Inside, shelves are stocked with everyday essentials that keep a household running smoothly.
Tulipe isn't about postcard views or famous landmarks. Its charm lies in the small details—the texture of a wall, the curve of a staircase, the rhythm of everyday life. Unpolished, genuine, and unmistakably local.
Rotterdam Centraal Station is one of the most important transport hubs in The Netherlands. With 110,000 passengers a day, the public transport terminal has as many travelers as Amsterdam Airport Schiphol. In addition to the European network of the High Speed Train (HST), Rotterdam Centraal is also connected to the light rail system, RandstadRail. (...)
Rotterdam HST is the first stop in the Netherlands when travelling from the south and is strategically positioned in the middle of Europe, with Schiphol only twenty minutes and Paris a mere two and a half hours away. (...) It matches in all respects the practicality, capacity, comfort and allure, of the central stations of Madrid, Paris, London and Brussels.
The grand entrance on the city side is clearly the gateway to the high-rise urban center. Here the station derives its new international, metropolitan identity from the hall made of glass and wood. The roof of the hall, fully clad with stainless steel, gives rise to building’s iconic character and points to the heart of the city.
Source: www.archdaily.com/588218/rotterdam-central-station-benthe...
A treasured sight of many pilgrimages, both for practicality and superstition’s sake, the Aquam de Petra lies deep within the rocky crags of the North Hills, and is one of the main tributaries of the Great River. This seemingly bizarre phenomenon – a life-giving spring in the midst of a stony wasteland – has caused hundreds through the ages to revere this spot as a source of Life. Some even believe that a cup filled at this spring will give the drinker eternal life.
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Wow, it feels so good to be posting! This is a project I’ve been working on for the last months in between school and stuff, after scrapping some summer WIPs. Not really sure how much I like it…it really good from some angles irl, and not so good from others. It was pretty intense fun to build though! ;)
Now to begin work on some CCC entries! :D
Soli Deo Gloria!
This 38 foot, 1947 Chris Craft Yacht, has been elegantly restored and decorated with vintage boating memorabilia. Enjoy this cozy v-berth sleeping area with one bed. It’s the perfect getaway for a romantic night or weekend of solitude. The galley is fully equipped, and includes a comfortable sitting area and refrigerator complete with champagne. Sleeps 1-2, V-shaped full-size bed, private toilet with sink.
The Shady Dell Vintage Trailer Court’s long and epic journey began in 1927 as a place to provide trailer and camping spaces to weary travelers along the famous Highway 80, which stretched from Savannah, Georgia to San Diego, California. Like its more famous brother Route 66, Highway 80 was a center of travel, exploration and family getaways in the early portions of the 20th century. Today, the trailer court is a nice mix of practicality and vintage fun-seeking for travelers.
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The Dao Thanh Phán women’s dress features vibrant embroidered garments with symbolic motifs, red box hats adorned with tassels and silver ornaments, and indigo-dyed fabrics. The intricate designs and bright colors, especially red, are believed to ward off wild animals and evil spirits, providing protection in their mountainous environment. Their attire reflects their cultural identity, spiritual beliefs, and connection to nature, blending practicality with tradition.
I will never forget the mment i first saw these brightly dressed women working in the rice fields of Binh Lieu. These elaborate costumes are their daily wear.
“Finally - a fragrant, disease-resistant rose!It's the dawn of a new day for roses: At Last® combines all the romance of a fragrant, fully-petaled tea rose with the no-nonsense practicality of a disease-resistant landscape rose. No spraying is required to enjoy a non-stop display of large, sweetly perfumed sunset-orange blossoms from late spring through frost. Handsome, glossy foliage and a vigorous, rounded habit makes it ideal for use in the landscape or the flower garden. Top three reasons to grow At Last rose:
Combines fragrance and disease resistance
Easy care: no spraying required, no need for fussy pruning.
Very long blooming, with flowers present from late spring through frost.”
Cozy Chic in the [COSMOS] Zofia Top & Skirt Set – Winter Style Elevated
When I slipped into the [COSMOS] Zofia Top & Skirt Set, it was like wrapping myself in the perfect mix of style and comfort. The sweater top is made of a beautifully soft knit, with a slightly cropped cut that hugs just right, and ribbed cuffs and hem that add a touch of elegance. The pleated skirt is its perfect match—falling just above the knee with crisp knife pleats that move gracefully as you walk. The subtle sheen of the fabric gives it a polished edge, making it the ultimate outfit for any occasion.
To top it off—literally—I added the Tastic Pom Pom Beanie. This isn’t just any beanie; it’s a masterpiece of cozy fashion. Crafted from a chunky cable-knit texture, it offers warmth with a luxe feel. The snug ribbed brim lends it a comfortable and secure look, while the oversized pom-poms on top add a playful, whimsical touch. Whether you choose a neutral color to blend in or a bold shade to pop, it’s the perfect accessory to crown this winter-ready look.
For a seamless blend of style and practicality, I grabbed the Raga Bag by VESTA. Its structured design, gleaming metallic accents, and buttery leather finish elevate the outfit with a dose of sophistication. It’s the kind of bag that makes you feel effortlessly chic while holding everything you need.
Finishing off the look, the Yokana (YK) Nona Boots with Tartan Socks were an absolute must. The boots add a bold, chunky edge, but it’s the tartan-patterned socks that make them irresistible, peeking out just enough to give the ensemble a playful, quirky vibe. Together, they ground the outfit with a perfect mix of comfort and style.
This is my go-to winter look—cozy, chic, and just the right amount of fun. Whether you’re exploring wintery landscapes or hitting up a holiday party, the [COSMOS] Zofia Top & Skirt Set, paired with these standout accessories, will keep you warm and effortlessly fashionable. Trust me, you’ll fall in love with every detail!
Here’s the best part: you can grab all these fabulous pieces at the January Swank Renew Yourself Event! 🎉 So don’t wait—these finds won’t last forever.
🚕 Taxi to Event: Swank Renew Yourself Event
maps.secondlife.com/secondlife/Swank%20Events/128/124/38
Go ahead—treat yourself, because you deserve to look and feel amazing. See you there, fashionista! 💃
We hope you all had an amazing Christmas, along with some downtime to get the camera out! We have been spending some time shooting pocket watches in our latest Youtube video. You can watch it here - youtu.be/MRS2BOdr9po
Many of you will recognise this little pocket watch from The Photography Show, we use it quite a lot to demonstrate the capabilities of the Adaptalux Studio. Reflective, detailed subjects like this can be tricky to light, so you need the flexibility that the Lighting Arms of the studio provide.
In this video, we spend some time looking at the differences between white Diffusers, Colour Filters and Lighting Arms. Adding colour to subjects like this can often be done more for fun than practicality, but there are some subtle tricks you can use to enhance even a "natural" looking shot.
For this shot, we went a little wild with the blue and red lights, but replacing those colours with white would be equally effective at showing off the engraved details of the watch. If you want to read a little more about how we set up the lighting for a shot like this, check out the blog post on our website - bit.ly/adaptaluxWatches
I once read that maple trees symbolize balance, promise and practicality. I'm fond of the notion that people specifically choose to plant these trees in order to call out to those specific traits and bring them into their lives.
The older I get, the more I see the need to cultivate these laudable traits. I've spent most of my life bulldogging my way to whatever goal I've set for myself. Photography is teaching me, slowly, that in order to tell a story I must sometimes tap into these other traits.
All a part of the journey, I guess.
The camera is on a downtown city walk.
This statue of five cars balanced on top of a tall cedar tree stump was installed on a temporary basis at Pacific Blvd. and Quebec St. in 2015 as part of the Vancouver Biennale (2014-2016).
The car bodies on top of the old-growth cedar are a Trans Am, BMW, Honda, Cabriolet and Mercedes. The sculpture is by Vancouver artist Marcus Bowcott and his wife, Helene Aspinall.
The future of the Trans Am Totem sculpture is no longer in doubt thanks to a $250,000 donation by Chip and Shannon Wilson founders of Lululemon Athletica.
The Wilsons funding means Trans Am Totem is now a permanent part of the city’s public art collection.
The sculpture will eventually need to move because of the city's 20-year plan to revitalize the northeast False Creek area and develope the surrounding real estate. A new location is yet to be chosen.
The sculpture, a favourite roost for the rats of the sky, looks to be in need of some TLC.
Bowcott’s view of the sculpture:
“The automobile holds a unique position in our culture. It’s a manufactured want and symbol of extremes; practicality and luxury, necessity and waste. We can see this in the muscular Trans Am, the comfortable BMW, and the workhorse Civic. Trans Am Totem also questions the cycle of production and consumption.”
By stacking smashed automobiles and levitating them high above the roadway, Bowcott serves to remind us of the ultimate responsibilities we bear to our planet and future generations.
Trans Am Totem fantasizes a justified end to car culture even as countless automobiles zoom past on asphalt and concrete ribbons and ooze pollutants and spent carbon fuels into the atmosphere.
The artist’s vision of Nature triumphant subversively reminds us ultimately of our ongoing contributions to global warming and further environmental degradation.
Zeiss ikon Contax II with collapsible Sonnar.
I bought it because I wanted the lens for something else. The camera body was sold as defective. However, it seems to me that it is working. I'll just have to find out whether the exposure times are all over the place. I loaded a roll of XP2 and I'll see what comes out.
The Contax I, designed by Heinz Küppenbender, came out in 1932, Zeiss Ikon's attempt to compete with the Leica. However, the Contax I, though beautifully made, was not a very reliable camera and its handling was somewhat unwieldy.
In 1936, a different (better) engineer, Hubert Nerwin, performed a complete redesign of the Contax, which became the Contax II. It was a very advanced camera, far ahead of its age. Unlike all Leicas until the M3 and unlike the Contax I, the Contax II was already a true rangefinder; the ranging mechanism was combined with the viewfinder and the photographer needed to look through one peephole only.
Personally, though I'll readily acknowledge the superiority of the Contax II, I have a soft spot for the Contax I, the smoothness of all mechanism is just so sweet to feel. I don't care about practicalities, few things beat working with a Contax I.
Shot with:
Canon EOS600D
Leica Bellows R (16860)
Leica 100mm f/4 Macro Elmar-R, bellows version (11230)
When it comes to photographing birds, you know that they are comfortable with your presence when personal hygiene, not survival becomes their priority. In this case, a small flock (20+) of Sanderlings decided to bathe in the gentle waves of Pensacola Bay, Florida as I sat some 20 yards away.
Normally I pass on shore birds in this area because frankly, they are too easy. However, I found their bath time behavior amusing. Of the 20+ birds, only 2-3 would enter the wave area at a time. All the others stood watch on the beach and small sand dunes above. Of the 2-3 in the water, only one would stick its head under water as the others stood watch. Without arms, hands or soap, their best option was to place their heads down by their feet, allowing the wave pass over them. After each wave, they vigorously shook and preened. Each one repeated the process for 2-3 waves and then leapt into the air (as photographed here), circled back to the dunes to for a few more seconds of preening before assuming the watch for the rest of the flock.
I love and respect the simple practicality of nature…every member of the flock participating in a three-tier security perimeter, knowing that in that split second that the wave passes over, that member is at its most vulnerable.
From the archives and taken on 03 April, 2021.
DESCRIPTION:
Miss Russia, born on the last day of summer, according to the zodiac - Virgo. Representatives of this sign are characterized by an analytical mindset, accuracy, practicality, attentiveness, prudence, exactingness. Virgo is sensitive to the energy of others and rarely makes mistakes. Due to the perfectionism inherent in Virgos, she strives for perfection in everything. Her penchant for innovation and experimentation led her to create a style inspired by the avant-garde fashion of one of Japan's leading designers, Rei Kawakubo, which brought the unfinished garment philosophy to fashion.
Miss Russia emphasized her image with beautiful maidens circling to the sounds of enchanting music in a round dance - an ancient folk ritual dance of the Eastern Slavs in Rus'.
Miss Russia's gown features an impressive range of white, silver and violet blue, bringing hope and an omen of a brighter future through a mysterious star-studded night sky.
STYLE CARD:
Hair | [Aleutia] - Jessie Metallic Wig
Headpiece | Zibska - Ouida
Body | [ADD] - Holly
Halo | /CUREMORE/ - Innistrad
Halo | AngelinkaNega - Virgo
Boots | Garbaggio - Diana
Nails | [FORMANAILS] - BALLERINA COUTURETE
Eyeshadow | alaskametro<3 - "Cyberspace"
Eyeshadow | LUCCI. - Show
Eyelashes | *Booty's Beauty* - Kiwi
Lipstick | alaskametro<3 - "Cyberspace"
Particles | little stars for body and whirl
(night) Blue Body Illuminator
DAY 7
The musketeers wear their plumed black felt hats with great panache! Waiting, while the royalty enters the arena, lol, they stand holding the pikes.
The latter would originally have been 18 feet long but for reasons of practicality 12-foot pikes are used today.
I wish you a day full of beauty and thank you for your visit, Magda, (*_*)
For more of my other work or if you want to PURCHASE (ONLY PLACE TO BUY OUR IMAGES!), VIEW THE NEW PORTFOLIOS AND LATEST NEWS HERE on our website: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
One of the most important factors of the success of Stockholm’s bicycle network is that it is conceived and perceived as a system. This means that one can find different categories of bicycle lanes, starting from those that cross the city and connect it to nearby towns, to the neighborhood lanes which take you to the local store, school or the nearby metro station.
www.slowtravelstockholm.com/resources-practicalities/biki...
When I was a child I was obsessed with tools. My Grandpa was a carpenter, and he had passed a lot of that knowledge onto my dad. I used to "help" dad a lot with woodwork when I was a kid. I loved all the tools, but there was a few that were more special than others. First and foremost was dad's saw: "Black Prince" - that was my favourite tool as a kid (although I was never allowed to use it - probably why I was so fascinated by it). Secondly was his pocket knife - basically all the useful tools sitting in one convenient little package.
I remember dad going away on business when I was about 5 years old. As the oldest child, I was left "in charge" of the house - I had to look after mum. Dad let me hold onto his pocket knife while he was away - a symbol that I was in charge. Predictably, this ended in disaster - I cut my self several times with it (nothing bad, just a knick here and there on my hands).
When I was a bit older, I was allowed to get a pocket knife of my own - the one pictured here. I bought this with my birthday money just after turning 12, and it's been heavily used for nearly 20 years now. I've used every tool on this thing many many times, and while I have proper tools for doing most of what my pocket knife can do, nothing beats the practicality and portability of these things - especially because I spend a lot of time out in the bush and can't carry every individual tool with me.
So this photo sums up a lot about my child hood. It's something I bought as a child, and symbolises that fascination I had with tools as a kid. I pulled out the saw blade because I remember so clearly how much I loved that damn saw as a kid (something that was also disastrous - I got a small saw for my birthday one year and proceeded to cut up various bits of furniture). The background in this photo is the wooden top of a coffee table, unfortunately not one of the ones that dad or I made, but I wanted to have a wooden background because I think it was more than just the tools I loved, it was the idea of being able to make something. One day I'll have my own house with a big shed and be able to return to that childhood obsession of building things with my tools.
This was a cool theme. I look forward to seeing what everybody else did!
HMM Flickrites :)
Add some practicality to your entryway with the Koti Unit with coat & shoe rack.
Available in black or wood texture. 8 LI.
The story of the E-type 2+2 goes all the way back to when the original two-seater was launched in 1961. Jaguar boss Sir William Lyons almost immediately started pushing for a longer, wider version of the groundbreaking design, and during the next couple of years his engineers worked on a project that was designated ‘XJ4’.
In the end, the XJ4 morphed into a very different-looking saloon car that would eventually be launched in 1968 as the XJ6. As for the concept of an E-type 2+2, it was Bob Blake who eventually came up with a design in which the existing E-type was ‘stretched’ by nine inches, and a prototype had been built by August 1964.
The Series 1 E-type 2+2 combines the unmistakable style of Jaguar’s landmark design with the extra practicality of two rear seats.
This 1967 Jaguar E-Type Series 1 2+2, MWV 294F, seen at the Classic Motor Hub on 22 March 2025.
I met Graham while walking around the local market. Graham rides a heavily modified Mobility Scooter. It had been decked out to resemble an 'Easy Rider' style motorcycle yet has been done in a manner which exudes both practicality and quality. Graham told me hadn't got any thing else to spend his money on so he spent it on his Mobility Scooter. Well done Graham.This picture is no39 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page Richard
The Prophet is a concept ship designed more as a showpiece rather than for practicality. The ship is powered by a rotary anti-gravity engine with the ships-rims functioning as stylized radiators for the ships components, with heat pipes connecting it to the main frame.
The ship can carry 2 passengers and 2 pilots with a large viewing angle from the cockpit.
The ship also features a set of landing gear and an easy access lower-able ramp directly into the cockpit.
The SHIP is 138 studs (1.1m) metres long.
Trans Am Totem, installed in 2015 was removed. The reason is 2 parts.
One, the nearby viaducts will be demolished and the sculpture is in the way for a new road configuration.
Two, the amount of pigeon shit in and on the structure has deteriorated the sculptures viability. The birds were so persistent they broke through the protective netting and destroyed a solar light battery. We do not love “rats of the sky” aka pigeons.
The work is being restored and stored until a new permanent location is chosen.
The piece is a Vancouver Biennale (2014-2016) installation at the intersection of Vancouver’s Quebec Street and Pacific Boulevard.
Trans Am Totem was created by artists Marcus Bowcott and Helene Aspinall for the two-year public art exhibition and later made a permanent city public art piece with a $250,000 donation from Vancouver philanthropists Chip & Shannon Wilson (Lululemon).
On the Biennale’s website, Bowcott described his piece in the following way: “The automobile holds a unique position in our culture. It’s a manufactured want and symbol of extremes; practicality and luxury, necessity and waste. We can see this in the muscular Trans Am, the comfortable BMW, and the workhorse Civic. Trans Am Totem also questions the cycle of production and consumption.”
From top to bottom, the vehicles are a Pontiac Trans Am, BMW 7 Series, Honda Civic, Volkswagen Golf Mk1 Cabriolet, and Mercedez-Benz, all donated by a local scrapyard.
The Fremont Street Experience (FSE) is a pedestrian mall and attraction in Downtown Las Vegas, Nevada. The FSE occupies the westernmost five blocks of Fremont Street, including the area known for years as "Glitter Gulch," and portions of some other adjacent streets. The central attraction is a barrel vault canopy, 90 ft (27 m) high at the peak and four blocks, or approximately 1,500 ft (460 m), in length. While Las Vegas is known for never turning the outside casino lights off, each show begins by turning off the lights on all of the buildings, including the casinos, under the canopy. Before each show, one bidirectional street that crosses the Experience is blocked off for safety reasons. Concerts, usually free, are also held on three stages. The venue has become a major tourist attraction for downtown Las Vegas, and is also the location of the SlotZilla zip line attraction and the city's annual New Year's Eve party, complete with fireworks on the display screen. Fremont Street had Las Vegas' first hotel (the Hotel Nevada in 1906, present day Golden Gate), first telephone (1907), first paved street (1925), first Nevada gaming license — issued to the Northern Club at 15 E. Fremont St, first traffic light, first elevator (the Apache Hotel in 1932), and the first high-rise (the Fremont Hotel in 1956). The Horseshoe was the first casino to install carpeting, while the Golden Nugget was the first structure designed from the ground up to be a casino. For many years, the western end of Fremont Street was the area most commonly portrayed whenever producers wanted to display the lights of Las Vegas. The large number of neon signs earned the area the nickname "Glitter Gulch." By 1992, 80 percent of the Las Vegas casino market was on the Strip. Downtown Las Vegas hotels and casinos sought to build an attraction that would lure more visitors to their businesses. After Paramount Pictures head Stanley Jaffe refused to approve a proposal to build a life-sized Starship Enterprise, the Fremont Street Experience was chosen as the project. FSE, LLC is a cooperative venture, owned and operated by a group of downtown hotel/casino companies (comprising eight hotel/casinos) as a separate corporation, responsible for financing, developing, and managing the Fremont Street Experience. It was the second Las Vegas project of architect Jon Jerde, whose firm was paid approximately $900,000 by the City of Las Vegas to create a show concept for the downtown area. Jerde's design included a floating sky parade which was to be suspended from the canopy. The concept was accepted by the Fremont Street Experience as well as the City of Las Vegas. Ultimately Jon Jerde's sky parade concept was scrapped, but the architectural design for the canopy was carried through. The local architect of record, Mary Kozlowski Architect Inc., cited the following as problems with Jon Jerde's sky parade concept:
1.) Perspective: The view of the parade from below made the concept unworkable — to properly view the project would require that visitors stand at a raised elevation such as a third or fourth floor vantage point.
2.) Wind: The addition of the canopy over Fremont Street would create a wind tunnel causing a dangerous condition for people on the floats who would be trapped. Also the potential for harmonic motion as the floats swung back and forth in the wind potentially resulting in massive structural failure of the canopy and fatalities.
3.) Sand: The combination of desert sand and the mechanical systems of the sky parade would make the attraction difficult to maintain.
A new concept for the show was necessary quickly as funds were already available and the overall schedule was set. The concept for the show as it now exists was conceived by architect Mary Kozlowski who had grown up in Las Vegas and knew and loved Fremont Street. It was a light show on the underside of the canopy — the world's largest and most spectacular. Peter Smith, executive vice-president of Atlandia Design, recognized the beauty and practicality of the concept. Jon Jerde, FSE and the City of Las Vegas embraced the show concept. Kozlowski's concept was to use a combination of four colored light bulbs per "light" which allowed a full spectrum of colors. The Young Electric Sign Company assisted in creating the test panels and in the final installation. After the Fremont Street Experience opened, the light bulbs were checked nightly to ensure that all were functioning properly. To accomplish this massive undertaking, the length of the canopy was divided into panels. Each panel was checked by separately turning on each of the four colored light bulbs. A maintenance worker on a lift would then replace any bulbs that were out. The most expensive bulb cost nearly $15 to replace. On September 7, 1994, a five-block section of Fremont Street was closed to automobile traffic for good, and groundbreaking was held on September 16. After that, the digging up of the street and the installation of the support poles continued into December. On February 15, 1995, the space frames were brought in and the roof began to take shape. The last piece was installed in July 1995. The official public preview was held in conjunction with the Nevada Symphony. The light show was opened on December 14, 1995. The first New Year's party was held on December 31, 1995. The Neon Museum at the Fremont Street Experience opened in November 1996 with the Hacienda Horse & Rider sign being lit at the intersection of Las Vegas Boulevard and Fremont Street. The museum features signs from old casinos and other businesses displayed outdoors. For many years, the Young Electric Sign Company stored many of these signs in their bone yard. The signs were slowly being destroyed by exposure to the elements. The museum is slowly restoring the signs and placing them around the FSE. Permanent stages were added in the early 2000s, eliminating the need to bring in temporary stages for every event. The sound system was upgraded in June 2001. On June 14, 2004, a $17 million upgrade was unveiled that would feature a 12.5-million LED display and more color combinations than the original display, which was composed of incandescent lighting. The initial $70 million investment and the continued improvements have resulted in successful and ongoing downtown redevelopment. The City of Las Vegas and the downtown casinos have benefited as more than 60% of visitors to Downtown are lured by the Fremont Street Experience overhead light show and stage shows and stay to enjoy the attractions of some of the most famous casinos in the world.
Taken at Sheikh Saeed Al Maktoum House. The house represents traditional architecture reflecting simplicity, practicality and cultural elegance.
One of the many incredible aspects I really enjoy is the sense of liberation that each of the characters go though in Fury Road. Those freedoms and ideologies really shine particularly through in the supporting characters, like Imortan's Wives or Nux for example. I could go on for hours on end about the emotional beats and the ingenious writing and how well that damn George Miller can film a movie, but I'll keep this final upload to a minimum.
There's a great podcast that goes extremely indepth into the themes, ideologies, and practicality's of Fury Road. It's called “You Are Awaited” and if you enjoyed even a fraction of the film, you'll find that it's worth a listen... plus I'm sure anything I type over here has already been said over there anyway so I'll just stop here :P
On a different note, I feel like I'd be pulling a fast one on you guys if I had only built The Interceptor, so here's a few of the Fury Road side characters I've been tinkering with for a while. I contemplated hiding this for just my Patron's, but what the hell, they get plenty of exclusive stuff anyway! Perhaps I'll even try tackling some other characters in the future... ;)
L-R: Max Rockatansky, The Dag, Cheedo The Fragile, The Splendid Angharad, Toast The Knowing, Capable, Nux, and of course The Imperator Furiosa!
On a side note, a friend reminded me that Citizen Brick had recently released some Mad Max figs! Support me on Patreon and perhaps I can pick up one of those packs and photograph them!
Wow! What a cool and supportive idea and not a ploy at all! ;)
Aaaaannd in case you forgot which you probably didn't because I'm constantly reminding you.... Patreon's got all those other crazy BTS photos with the work in progress lighting, the interceptor build in clear/clean lighting, and another exclusive car photographed only for Patrons! :)
...Okay okay okay I promise this is the last Mad Max photo for real this time! We'll get back to Superheroes next week, I promise!
I just really love these ridiculous beautiful movies okay?!
Geez leave me alone! Gosh!
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By the gates of Valhalla may you never be addicted to aquacola! Witness early photography, behind the scenes images, and WIPs of upcoming projects, and take haste in your journey to die immortal upon the fury road!
My light is a dangerous one
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The Look:
Description Section:
This cozy-chic ensemble is all about warmth, comfort, and effortless style! I'm wearing the Sapphire Set by Brior, a head-to-toe look featuring a sleek bodysuit, matching boots, and a snug beanie. Its tonal, neutral shades create the perfect balance between minimalism and sophistication, ideal for stepping out in style on a chilly day.
Accessorizing the outfit is the ultra-stylish Teflar Puffer Bag by The Reload, which combines practicality with high fashion. Its texture and iconic design make it a statement piece that complements the earthy tones of the ensemble.
Adding a touch of flair are the edgy Jody Sunglasses by Black Lotus, with their cat-eye design that screams bold and modern. Together, these pieces create a look that’s cozy yet undeniably glamorous, perfect for coffee runs or casual outings!
Quando vejo fotos como essa sinto-me orgulhosa de amar a natureza .Sou minimalista gosto das coisas boas , porém, gosto de viver do que realmente preciso ,as pessoas não entendem. Sou prática amo a praticidade! When I see pictures like this I feel proud to love nature, I'm minimalist, I like good things, but I like to live in what I really need, people don't understand what we need from nature, air, fruits, we want a car home .. ok I have one, I have one, ok I'm happy because what I really need is health, I have it, but I'm practical, I love practicality!
"My fellow Americans. Those of you who have been following the ongoing discussions around space defences will have undoubtedly heard the phrase 'Rods from God'. The feasibility and practicality of this idea has been debated for many years now. I am here to tell you that not only is it a possibility, but as of 0500 this morning, it is a reality. Thanks to the hard work and dedication of both our citizens and our allies, we have successfully launched our first 'Rods from God' prototype into the atmosphere. NATO is working hard to keep us safe, and today, we are that much safer. God bless you, God bless America, and God bless our enemies with tungsten rods."
Excerpt from www.stjacobsvillage.com/artwalk:
The Culture Lot @ The Three Sisters Centre (art pieces):
A place where visitors to the Village can have a seat, meet some friends, and relax between shops. Featuring art by Roger Witmer, Cathy Amos, Christina Vogiatzis, Amy Ferrari and Sarfraz Qandeel Faraz.
The Usherer by Amy Ferrari
“This tree is mighty and responsible for ushering the clouds along their way. The road and telephone lines think the tree’s methods are
outdated, but the tree knows human technologies come and go, and can never compare to Nature”
A compulsive doodler, Amy has always been fascinated by line, shape, colour and pattern. The desire to celebrate the disregarded has always propelled her creativity.
Quilting Bee by Roger Witmer
It is easy to describe this as a typical Mennonite pastime but the art of quilting speaks to so much more. It is a community building art form that culminates in an incredibly practical item. Community, creativity and practicality are perfect descriptors of not only the local Mennonites but also the entire Region.
Roger has been a professional artist in Waterloo County for over 35 years and ran his own gallery in St. Jacobs from 1991 to 2008 when he retired and now paints for his own pleasure. Roger showed and taught in the building that is part of this Cultural Centre Hub now opened as THE TASTING HOUSE.
The 2001 Porsche 911 Turbo was a high-performance sports car featuring a 3.6-litre twin-turbocharged flat-six engine producing 415 bhp, paired with all-wheel drive for superb handling. With its sleek design, everyday practicality and blistering speed, it became a favourite among enthusiasts and a standout of the 996 generation.
Short Shot.
The Alfa Romeo Giulia GTA has it all; beautiful lines, fine details in all the right places and the brawn to match. It is so well balanced in a clean and uncluttered package that it might just be the very spirit of the ultimate classic sports car. The track spec editions embody a mash up attitude of carefree practicality and track-dedicated aggressiveness and have always been timeless to my eyes. Here you’ll find a favorite Alfa livery example run through the filter of my 5w Toon style.
I hope you enjoy!
The 1976 Jensen GT was a sleek 2+2 sports estate car powered by a 2.0-liter Lotus twin-cam engine, offering a unique blend of performance and practicality. With its limited production run and elegant design, it has become a rare and collectible example of British automotive craftsmanship from the 1970s.
Cross' latest in its wildly successful line of robotic solutions for civilian and Military/LE challenges.
The High Mobility Platform provides the user with an extremely versatile and capable frame suitable for a number of different roles. What the HMP may lack in armor it makes up for in speed and agility, and with a degree of rugged practicality that sets it apart from other platforms in its class.
------------------------------------
Near the end of January my buddy Craig challenged me to build a mech that was practical in a realistic setting. I feel this is a decent attempt at that, but its up for debate.
Part of a series of images proposing a new look at architecture beyond the paradigms of profit and cold practicality. The engineering and financial considerations etc, of course, have to be maintained but the question is asked "what if we were to go beyond the current "bottom line" and move the constructions we live and work in more in the direction of providing an enobling and uplifting effect? What if we were to actually, as a culture, embrace the practicality and deep human importance of beauty?"
This series looks at ceilings, windows, atriums and a offers more imaginative take on structure itself. I take straight shots and do a 'mash up' and then process them. I'm inspired by maverick architects like Frank Lloyd Wright, Antonio Gaudi and Frank Gehry.
View Large on Black.
As it happens, I have a bottle of real blackberry wine in my refrigerator, the gift of a West Virginian named Squirrel whose homespun practicalities are probably more amazing than Jackapple Joe's (and who wields a mean butcher knife.) His 1998 blackberry "Bang" is a true potion, thick with the flavors not just of berries so ripe they're almost turned but also burnt caramel, damson, dark honey, and the oddest aromatic searing of cork and rosemary. While you're not likely to partake of Squirrel's special, you can easily get, for only $18 or $20, a real magic carpet ride: Lindeman's 1997 Padthaway Shiraz, which opens with a burst of rich blackberry and black cherry flavors, broadens into plum, deepens into wild mushroom and chocolate and tobacco, and tops off with a soft, lightly peppery finish and a hint of walnut. (And don't worry if your store has already moved into the 1998; it may even be better.)
rewiew taken from "Bookpage"...Inspired by Rougerouge and Joanne Harris - author of this delicious novel :) If you havn't had it in your hands yet - go ahead!
PS> ok ok so i know those are beer bottles :P SO WHAT? lol
The Fremont Street Experience (FSE) is a pedestrian mall and attraction in Downtown Las Vegas, Nevada. The FSE occupies the westernmost five blocks of Fremont Street, including the area known for years as "Glitter Gulch," and portions of some other adjacent streets. The central attraction is a barrel vault canopy, 90 ft (27 m) high at the peak and four blocks, or approximately 1,500 ft (460 m), in length. While Las Vegas is known for never turning the outside casino lights off, each show begins by turning off the lights on all of the buildings, including the casinos, under the canopy. Before each show, one bidirectional street that crosses the Experience is blocked off for safety reasons. Concerts, usually free, are also held on three stages. The venue has become a major tourist attraction for downtown Las Vegas, and is also the location of the SlotZilla zip line attraction and the city's annual New Year's Eve party, complete with fireworks on the display screen. Fremont Street had Las Vegas' first hotel (the Hotel Nevada in 1906, present day Golden Gate), first telephone (1907), first paved street (1925), first Nevada gaming license — issued to the Northern Club at 15 E. Fremont St, first traffic light, first elevator (the Apache Hotel in 1932), and the first high-rise (the Fremont Hotel in 1956). The Horseshoe was the first casino to install carpeting, while the Golden Nugget was the first structure designed from the ground up to be a casino. For many years, the western end of Fremont Street was the area most commonly portrayed whenever producers wanted to display the lights of Las Vegas. The large number of neon signs earned the area the nickname "Glitter Gulch." By 1992, 80 percent of the Las Vegas casino market was on the Strip. Downtown Las Vegas hotels and casinos sought to build an attraction that would lure more visitors to their businesses. After Paramount Pictures head Stanley Jaffe refused to approve a proposal to build a life-sized Starship Enterprise, the Fremont Street Experience was chosen as the project. FSE, LLC is a cooperative venture, owned and operated by a group of downtown hotel/casino companies (comprising eight hotel/casinos) as a separate corporation, responsible for financing, developing, and managing the Fremont Street Experience. It was the second Las Vegas project of architect Jon Jerde, whose firm was paid approximately $900,000 by the City of Las Vegas to create a show concept for the downtown area. Jerde's design included a floating sky parade which was to be suspended from the canopy. The concept was accepted by the Fremont Street Experience as well as the City of Las Vegas. Ultimately Jon Jerde's sky parade concept was scrapped, but the architectural design for the canopy was carried through. The local architect of record, Mary Kozlowski Architect Inc., cited the following as problems with Jon Jerde's sky parade concept:
1.) Perspective: The view of the parade from below made the concept unworkable — to properly view the project would require that visitors stand at a raised elevation such as a third or fourth floor vantage point.
2.) Wind: The addition of the canopy over Fremont Street would create a wind tunnel causing a dangerous condition for people on the floats who would be trapped. Also the potential for harmonic motion as the floats swung back and forth in the wind potentially resulting in massive structural failure of the canopy and fatalities.
3.) Sand: The combination of desert sand and the mechanical systems of the sky parade would make the attraction difficult to maintain.
A new concept for the show was necessary quickly as funds were already available and the overall schedule was set. The concept for the show as it now exists was conceived by architect Mary Kozlowski who had grown up in Las Vegas and knew and loved Fremont Street. It was a light show on the underside of the canopy — the world's largest and most spectacular. Peter Smith, executive vice-president of Atlandia Design, recognized the beauty and practicality of the concept. Jon Jerde, FSE and the City of Las Vegas embraced the show concept. Kozlowski's concept was to use a combination of four colored light bulbs per "light" which allowed a full spectrum of colors. The Young Electric Sign Company assisted in creating the test panels and in the final installation. After the Fremont Street Experience opened, the light bulbs were checked nightly to ensure that all were functioning properly. To accomplish this massive undertaking, the length of the canopy was divided into panels. Each panel was checked by separately turning on each of the four colored light bulbs. A maintenance worker on a lift would then replace any bulbs that were out. The most expensive bulb cost nearly $15 to replace. On September 7, 1994, a five-block section of Fremont Street was closed to automobile traffic for good, and groundbreaking was held on September 16. After that, the digging up of the street and the installation of the support poles continued into December. On February 15, 1995, the space frames were brought in and the roof began to take shape. The last piece was installed in July 1995. The official public preview was held in conjunction with the Nevada Symphony. The light show was opened on December 14, 1995. The first New Year's party was held on December 31, 1995. The Neon Museum at the Fremont Street Experience opened in November 1996 with the Hacienda Horse & Rider sign being lit at the intersection of Las Vegas Boulevard and Fremont Street. The museum features signs from old casinos and other businesses displayed outdoors. For many years, the Young Electric Sign Company stored many of these signs in their bone yard. The signs were slowly being destroyed by exposure to the elements. The museum is slowly restoring the signs and placing them around the FSE. Permanent stages were added in the early 2000s, eliminating the need to bring in temporary stages for every event. The sound system was upgraded in June 2001. On June 14, 2004, a $17 million upgrade was unveiled that would feature a 12.5-million LED display and more color combinations than the original display, which was composed of incandescent lighting. The initial $70 million investment and the continued improvements have resulted in successful and ongoing downtown redevelopment. The City of Las Vegas and the downtown casinos have benefited as more than 60% of visitors to Downtown are lured by the Fremont Street Experience overhead light show and stage shows and stay to enjoy the attractions of some of the most famous casinos in the world.
A house in the newly founded Eslandolan settlement of Ceniza Bajo on Luther Islands. The volcanic nature of the islands is reflected in the materials used to pave the streets and build the houses. The architecture displays a mixture of colonial style, wealth, but also solidity and practicality - because life in a trading town is not about displaying luxury, but about getting the work done, and living a good life. The city is new, less than a year of age, and the houses show little to no signs of erosion yet.
Ceniza Bajo is built on the ruins of an ancient native civilization, that once used to live where the Eslandolans have now settled. The remainders of the natives have been recycled and integrated into the town - that's why quite a few gardens are home to a totem or some other random weird sculpture.
Warning: This description contains controversial opinions and topics. And that's pretty much the only reason this photo came out today. I wanted a moment to rant about this and how personal it is, and this is the only Disneysea shot I could modify to mirror that sentiment. I've added "I hate Disney" to the end of all my descriptions relating to the company up to this point and my hatred runs deep. I'll discuss the shot itself shortly at the end if you're not interested in reading this.
So here goes. I actually was born and raised a Disney adult before that started becoming more widespread. Used to live a couple blocks away from Disneyland for easy access. Used to love it so much, how different and magical it felt to step into a world that doesn't play by the real world's rules.
14 years later, 2017, I fled California and oddly enough that's the year I think it began falling apart. The beginning domino was Tower of Terror's refurbishment which was even lower quality and no ride system issues were fixed, less practicality and an unnecessary IP refurbishment. I eventually brushed it off cause I was so sure this would not become a regular occurrence (oh how wrong I was, come to think of it, the last time Disney did anything original at ALL was Shanghai's Roaring Rapids 9 years ago).
During shutdown is when things got even worse. Every single attraction on American soil was either a cheap rehash of something overseas, something unoriginally movie related and/or something that lacked practicality. And in one particular instance, Splash Mountain's refurbishment, signaling Disney bends the knee to a group I greatly despise and am against (cancel culture, not other races). And that consistency has not even remotely slowed down since. Showing radical politicization in places where none of that should've been.
Iger is such a scumbag as well, knowing fully well that by continuing these patterns, lowering quality at parks and raising prices was pissing many people, including me, off. Promising to change more than once, only to double down later. About a year later, giving in to my conservative and growing populist instincts, I finally reached the point of exasperation and swore off Disney parks, movies, and other products. Despite it being a defining part of my childhood.
And to this day, I have gone full vendetta mode. I HATE this company with all my soul and at this point am wishing for their complete collapse, thinking it's beyond saving. Tokyo Disney got the pass in 2025 after I found out that Disney doesn't own the resort and one of their parks (Sea) doesn't go by the playbook of everything I hate about modern Disney (at least not a lot). So there you have it, went from a loyal fan before it became more popular, to desperately waiting for the day to hear their flops cost them, and karma and justice are finally served, and they are run into the ground for good.
About the photo:
I pressed my camera against the glass of the waterfront trolley as it was going. I realized I can make this image look bleak. I drained the saturation, realigned the image and got rid of the people. I made the sky darker to make it look like a gathering storm instead of haze. Again I primarily edited this photo so I could rant, but I do hope you enjoy the more grounded look.
I hate Disney
The Fremont Street Experience (FSE) is a pedestrian mall and attraction in Downtown Las Vegas, Nevada. The FSE occupies the westernmost five blocks of Fremont Street, including the area known for years as "Glitter Gulch," and portions of some other adjacent streets. The central attraction is a barrel vault canopy, 90 ft (27 m) high at the peak and four blocks, or approximately 1,500 ft (460 m), in length. While Las Vegas is known for never turning the outside casino lights off, each show begins by turning off the lights on all of the buildings, including the casinos, under the canopy. Before each show, one bidirectional street that crosses the Experience is blocked off for safety reasons. Concerts, usually free, are also held on three stages. The venue has become a major tourist attraction for downtown Las Vegas, and is also the location of the SlotZilla zip line attraction and the city's annual New Year's Eve party, complete with fireworks on the display screen. Fremont Street had Las Vegas' first hotel (the Hotel Nevada in 1906, present day Golden Gate), first telephone (1907), first paved street (1925), first Nevada gaming license — issued to the Northern Club at 15 E. Fremont St, first traffic light, first elevator (the Apache Hotel in 1932), and the first high-rise (the Fremont Hotel in 1956). The Horseshoe was the first casino to install carpeting, while the Golden Nugget was the first structure designed from the ground up to be a casino. For many years, the western end of Fremont Street was the area most commonly portrayed whenever producers wanted to display the lights of Las Vegas. The large number of neon signs earned the area the nickname "Glitter Gulch." By 1992, 80 percent of the Las Vegas casino market was on the Strip. Downtown Las Vegas hotels and casinos sought to build an attraction that would lure more visitors to their businesses. After Paramount Pictures head Stanley Jaffe refused to approve a proposal to build a life-sized Starship Enterprise, the Fremont Street Experience was chosen as the project. FSE, LLC is a cooperative venture, owned and operated by a group of downtown hotel/casino companies (comprising eight hotel/casinos) as a separate corporation, responsible for financing, developing, and managing the Fremont Street Experience. It was the second Las Vegas project of architect Jon Jerde, whose firm was paid approximately $900,000 by the City of Las Vegas to create a show concept for the downtown area. Jerde's design included a floating sky parade which was to be suspended from the canopy. The concept was accepted by the Fremont Street Experience as well as the City of Las Vegas. Ultimately Jon Jerde's sky parade concept was scrapped, but the architectural design for the canopy was carried through. The local architect of record, Mary Kozlowski Architect Inc., cited the following as problems with Jon Jerde's sky parade concept:
1.) Perspective: The view of the parade from below made the concept unworkable — to properly view the project would require that visitors stand at a raised elevation such as a third or fourth floor vantage point.
2.) Wind: The addition of the canopy over Fremont Street would create a wind tunnel causing a dangerous condition for people on the floats who would be trapped. Also the potential for harmonic motion as the floats swung back and forth in the wind potentially resulting in massive structural failure of the canopy and fatalities.
3.) Sand: The combination of desert sand and the mechanical systems of the sky parade would make the attraction difficult to maintain.
A new concept for the show was necessary quickly as funds were already available and the overall schedule was set. The concept for the show as it now exists was conceived by architect Mary Kozlowski who had grown up in Las Vegas and knew and loved Fremont Street. It was a light show on the underside of the canopy — the world's largest and most spectacular. Peter Smith, executive vice-president of Atlandia Design, recognized the beauty and practicality of the concept. Jon Jerde, FSE and the City of Las Vegas embraced the show concept. Kozlowski's concept was to use a combination of four colored light bulbs per "light" which allowed a full spectrum of colors. The Young Electric Sign Company assisted in creating the test panels and in the final installation. After the Fremont Street Experience opened, the light bulbs were checked nightly to ensure that all were functioning properly. To accomplish this massive undertaking, the length of the canopy was divided into panels. Each panel was checked by separately turning on each of the four colored light bulbs. A maintenance worker on a lift would then replace any bulbs that were out. The most expensive bulb cost nearly $15 to replace. On September 7, 1994, a five-block section of Fremont Street was closed to automobile traffic for good, and groundbreaking was held on September 16. After that, the digging up of the street and the installation of the support poles continued into December. On February 15, 1995, the space frames were brought in and the roof began to take shape. The last piece was installed in July 1995. The official public preview was held in conjunction with the Nevada Symphony. The light show was opened on December 14, 1995. The first New Year's party was held on December 31, 1995. The Neon Museum at the Fremont Street Experience opened in November 1996 with the Hacienda Horse & Rider sign being lit at the intersection of Las Vegas Boulevard and Fremont Street. The museum features signs from old casinos and other businesses displayed outdoors. For many years, the Young Electric Sign Company stored many of these signs in their bone yard. The signs were slowly being destroyed by exposure to the elements. The museum is slowly restoring the signs and placing them around the FSE. Permanent stages were added in the early 2000s, eliminating the need to bring in temporary stages for every event. The sound system was upgraded in June 2001. On June 14, 2004, a $17 million upgrade was unveiled that would feature a 12.5-million LED display and more color combinations than the original display, which was composed of incandescent lighting. The initial $70 million investment and the continued improvements have resulted in successful and ongoing downtown redevelopment. The City of Las Vegas and the downtown casinos have benefited as more than 60% of visitors to Downtown are lured by the Fremont Street Experience overhead light show and stage shows and stay to enjoy the attractions of some of the most famous casinos in the world.
Why? Because practicality is too mainstream. Plus you'll look like a badass, grizzly operator compared to all the Chris Costa wannabees with there Noveske and JP Enterprise 5.56 sissy guns.
(Not to be taken seriously)
Credit to...
Epicsunrise for his charging handle.
Shockwave for his magpul, handstop/rail cover combo/sling mount, brake, cheek rest, and angled rail
Timathy Hearsecack for his 45degree MBUS
Benjoo for his LaRue grip.
El Mattia for his Trijicon optic.
and Braydenmaine for his Barrett logo.
A modern meeting room is anchored by a large, functional table with a sleek surface and clean lines, designed to support collaboration and presentations with ease. Slimline chairs surround the table, featuring refined profiles and ergonomic shapes that keep the space feeling open and uncluttered. Elegant lighting—such as suspended linear fixtures provide balanced illumination while adding a subtle architectural statement. At one end of the room, a large tripod-mounted screen serves as a focal point for meetings and presentations, blending practicality with a contemporary aesthetic. The overall atmosphere is polished, professional, and purpose-driven, with a calm, modern edge.
Includes
Back Wall Cream Woody
Pharoah Big plant PBR
Vega Luster PBR
Vega Luster controller
Vega meeting chair
Vega meeting chair MOVE!
Vega Meeting room tripod screen with media
Vega Meeting room tripod Screen
Vega Meeting table
Vega office floor flexcarpet PBR material
Vega wood wall panel large
Vega Meeting table MOVE(scene)
Vega Meeting table (scene)
Erfe Mainstore
maps.secondlife.com/secondlife/Corona/101/124/29
Erfe Design's socials
www.facebook.com/ErfeArchDesign
www.flickr.com/photos/196168895@N02
Mia's Socials
www.facebook.com/profile.php?id=100065704706384
This Montego was a much welcomed sight in South West London a couple of weeks ago! It is pretty impressive that Rover kept the Montego in production for so long (11 years), as by the end of production in 1995, they were rather outdated, but remained popular throughout their production, due to their affordability and practicality. This example looked in fair condition, with some aftermarket 'Rover' badges placed around the car! It has been off the road several times over the years, only to pleasingly return again!
Mileage in between MOTs - 2,031 Miles
Mileage at last MOT - 95,542 Miles
Last Ownership Change - 1st September 2007
L619 PAK
✓ Taxed
Tax due: 01 December 2018
✗ No MOT
Expired: 13 December 2017
One of two 1919 headframes of the Cliffs Shaft Iron Mine, Euclid Street between Lakeshore Drive and Spruce Street, Ishpeming, Michigan. The Cliffs Shaft Mine is a former iron mine, now a museum, located on Euclid Street between Lakeshore Drive and Spruce Street in Ishpeming, Michigan. The museum, operated by "Marquette Range Iron Mining Heritage Theme Park Inc.", celebrates the history of the Marquette Iron Range. The site was designated a state of Michigan historic site in 1973 and placed on the National Register of Historic Places in 1992
In 1919, Cliffs Shaft engineers determined that the two wooden headframes atop their A and B shafts were deteriorating and would soon be unsafe. When Cliffs Shaft engineers presented company president William G. Mather with proposals to update the headframes, Mather suggested that, because of the prominence of their location, the headframes combine practicality with architectural beauty. The company retained George Washington Maher, a Prairie School architect from Chicago's Condron Company, to design the new headframes. Maher came up with a distinctive obelisk-shaped, Egyptian Revival design for the headframes. The company immediately began building the new headframes around the old wooden ones. The new headframes were of reinforced concrete, with an interior measurement of 33 feet square at the base, eventually tapering to 21 feet square at the top. A pyramidal roof brought the full height to 96 feet 9 inches. The structures are substantially similar, but mirror images of each other. The positions of interior beams were largely determined by available openings in the wooden headframes being built around. Work continued from July into December 1919.
Power plant Peenemünde
Now Peenemünde Historical Technical Museum, Usedom Island
"From 1936 to 1945, the research stations in Peenemünde formed the largest armaments centre in Europe. Over an area of 25 km², up to 12,000 people worked simultaneously on guided weapons, most famously the world’s first cruise missiles and the first ever functioning large-scale rockets. Both were designed as a weapon of terror against the civil population, made mostly by forced labourers and from 1944 they began to be used in the Second World War as “Vergeltungswaffen” (V-weapons)."
"At the end of 1939, the planning and construction of the power plant at the Peenemünde harbour was started by Siemens-Schuckert AG, with it being gradually put into service up until 1943. [...]
With its construction and design – with cubic shapes and the dark bricks on the façade – the power plant emulates the large power plant constructions of the 1920s, somewhat following the style of Werner Issel. This practicality coupled with monumentality, ultimately associated with the “new construction”, shaped the overall appearance of the military and industrial buildings in Peenemünde. [...]
Architecturally, the former power plant is still in good, restored condition and illustrates the characteristics of Nazi architecture, despite an extension from the GDR era. As well as its modernity in shape and function, and the key importance attached to the facility for the energy supply of the Peenemünde sites, its special role is highlighted by the fact that the power plant, its conveyor system and the Bunkerwarte control room, as well as the harbour facility, have been practically completely preserved as a whole complex. [...]"
(Digital Art)
Dercohe, BC Canada
The Austin A40 10 CWT Pick-Up holds an interesting place in automotive history. Introduced in 1947, this pick-up truck was part of Austin's broader A40 series, which featured a range of body styles like sedans, vans, and pickups. Its practical design and reliability made it a favorite among small business owners and farmers who needed a versatile vehicle for light commercial use.
The A40 10 CWT Pick-Up was powered by a modest yet efficient 1.2-liter engine, delivering around 40 horsepower. Its payload capacity of 10 hundredweight (about 500 kilograms) gave it the name "10 CWT." This vehicle was known for being durable and economical, making it ideal for post-war recovery in the United Kingdom and beyond.
During its production run from 1947 to 1953, the model gained a reputation for being a workhorse, capable of handling tough tasks in both rural and urban settings. The pick-up embodied the spirit of practicality and simplicity that defined many vehicles of its era.
Thank you for your visit and any faves or comments are always greatly appreciated!
~Sonja
Automobile - At one time this was my dream car, although I wanted a Midnight Blue Corvette. Practicality took over and I ended up with a Jeep Grand Cherokee. This small Vette is on the tire of my Jeep. HMM
“Azaleas by Charleston’s Middleton Garden. Lace Tea Gown by Fontana of Rome.”
While the 1956 Chevrolet (often called the "Sweet One") shared the same basic body shell as the revolutionary 1955 model, it featured several distinct styling updates that made it look longer, lower, and more upscale.
The most significant change for 1956 was the introduction of the 4-door Sport Sedan (a pillarless hardtop), which is the exact model shown in the “Saturday Evening Post” ad. This body style was brand new for 1956; in 1955, "Sport" hardtops were only available as 2-door models.
The 1955 had a “Ferrari-inspired” egg-crate grille that sat between the headlights. For 1956, Chevrolet moved to a full-width grille that stretched all the way across the front, making the car look wider and more important. The 1956 hid the gas filler neck behind the left taillight, the side chrome was completely redesigned, and the rear wheel openings were reshaped to be more flattened or “squat,” contributing to the longer, lower look.
Beyond the looks, the 1956 was "hotter" under the hood. It saw the debut of the high-performance 225-horsepower V8 (the "Super Turbo-Fire") with dual four-barrel carburetors—essentially a Corvette engine in a family sedan. The new 4-door Sport Sedan was a massive sales success that year, proving that people wanted the "breezy" look of a hardtop with the practicality of four doors.
[Source: Google Gemini]
Used by peeps in space. From private enforcement groups to rich individuals seeking thrills. The Saga chain-of-planets/state has a mix ancestry of Eurasian cultures that somehow reflects in the Hokkien's design. Some well known factories specialize in sleek pods, frames and comfort, others in practicality and strength. Kavalerovo and Kusong managed to mix both with little gradient inbetween. .. whatever sells I guess.
Super excited about the simplicity of this new picture. It always feels good to get back to basics.
Some thoughts on creating a series, and a new video in the link:
I think that for most artists, of any variety, there comes a time when practicality and reality meets the dream world that we so often live in. We create because we love it, and in doing so, produce works that are meaningful and special to us. I fully believe that the vision of an artist should never be compromised; yet that doesn’t mean that artists must be oblivious to business.
I create because I love to create. Whether it is writing, photography, or filmmaking, I am constantly searching for a new project – something to excite my creative juices. When I started out in photography it didn’t occur to me to make it a career. I did it because I loved it. But at a certain point I realized that I could either continue going to a job that I hated while doing what I loved on the side, or I could change all of that.
I had a specific idea of how my business would be run. I told myself I wouldn’t turn photography into just another job, doing something that I didn’t like for the sake of money. I would have rather gotten a job outside of the photo world to maintain purity of the craft, and that is just what I did for some time while I was trying to grow my business.
My first encounter in the professional world of photography came when I had my first meeting with a gallery. That gallery told me that if I could create a cohesive series around one of the images in my portfolio, I could have a show with them. And so I went on to create a series, or in other words, a set of images that all link together in one form or another. The gallery explained that if they exhibit a series, they are more likely to sell multiple prints during the show.
Creating a series also helps to identify a style within an artist’s work, which can be paramount for creating a recognizable name in the industry. Creating a series creates trust between artist and client, no matter who that client is. It could be that you are creating a commissioned portrait or selling a print; but no matter what the medium of the exchange, you have proved that you can create consistently by creating a series.
www.promotingpassion.com/promoting-passion-week-34-creati...