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I can't remember where or when I first heard about Nunhead Cemetery, but it has been on my list of places to visit.
Then a couple of weeks ago, a friend visited and took some shots, so put it front and centre in my mind. So, when I realised I had to take a week off, going to Nunhead was upmost in my plans.
And for some reason, I thought that going by train, on the slow train from Ashford, would be the best use of our time.
I say our time, as Jools had the day off too.
So, plans were made and timetables studied, and so we would leave Dover on the 08:52 train to Charing Cross, but getting out at Sevenoaks.
It was a bright morning, but was soon to cloud over. But no rain.
Which was nice.
We had breakfast and loaded the car at quarter past eight, driving into what counts as rush hour traffic around here, into Dover and finding a place to park on one of the narrow, steep streets overlooking the station.
I then hed to negotiate with lady in the ticket office about whether a journey could be broken on the outward or inbound leg. I have always thought it the outbound, and indeed have done so in the past, she said inbound only.
In the end she sold me a ticket and said it wouldn't be her fault.
In fact, it was my fault for wanting to take the slow train up and fast train back. But, hey ho.
We waiting for the slow train, watching the High Speed service leave before us, as travelling on that would have meant us paying double as it arrives in London five minutes before ten, thus making it a peak service. Had it arrived six minutes later, would be an off peak.
Sigh.
Anyway, our train rolled in, so we got our seats and prepared for the 90 minute journey into deepest, darkest Kent. Or Sevenoaks as we call it.
The train filled up as we got nearer London, until we reached Sevenoaks and so we got off as more got on. We crossed over to the far platform for the Thameslink service, but there was confusions, the display was showing the 10:52 cancelled, and that being the next planned departure, but the 10:22, as leaving after, but operating.
A train pulled in, so we got in to see where it would go. It was the 10:22 after all, so all good.
The train trundled along the Darent Valley, past places I knew through churches and/or orchids, until we crossed the M25 and into that London.
I can see for miles and miles We passed through places I have never heard of, parts of the urban sprawl of SE London: Swanley, St Mary Cray, Bromley, all of which are technically in Kent, and each having at least one parish church. Which could mean some urban crawling at some point, but I don't think I will do these historical Kent churches, as they are now London boroughs.
Two hundred and seventy six We arrived at Nunhead, and being just gone 11, were hungry. I knew from GSV there was a café, so we sought it out, and both ordered a medium breakfast and a brew.
Even though this is a few miles from the centre of London, traffic passed outside, sometimes an ambulance or police car with sirens blaring and lights flashing. Houses packed so close together than the selection of wheelie bins made the pavement almost impassable, especially as the London Plane Trees were so mature so that they took half the path.
All Saints Cemetery, Nunhead, Southwark, London After eating up, we made our way through a modern housing estate, through a passageway and found ourselves outside the cemetery.
All Saints Cemetery, Nunhead, Southwark, London Nunhead was one of the "magnificent seven" cemeteries built in the 1840s to find places to bury the city's dead when the churchyards near the centre of the city were full.
All Saints Cemetery, Nunhead, Southwark, London Nunhead is perhaps the least known, and the Victorian part has gotten overgrown, with nature reclaiming the land, with graves and monuments covered in plants and ivy.
All Saints Cemetery, Nunhead, Southwark, London It all makes for fine photography, but also a reminder that in death, we are all equal, as the grand tombs and memorials are claimed by nature now, or partially damaged at a time when it was even more wild than it is now.
All Saints Cemetery, Nunhead, Southwark, London We walked to the ruined chapel, locked, sadly, then up and round a rad, lined with grand tombs and memorials, some at alarming angles due to tree roots.
All Saints Cemetery, Nunhead, Southwark, London We stopped at a bench, and tried to spot the parakeets in the trees above. We could hear them, but not see them.
All Saints Cemetery, Nunhead, Southwark, London We had seen enough, so walked back down tot eh gate, through the estate to the station. We caught a train to Blackfriars, which as it neared the river, weaved through buildings and over roads, passing so close to some flats that I could have reached out and knocked on their windows as we went by.
At Blackfriars we crossed to the other platform to catch a train to Luton, going just two stops up the line, under The City to St Pancras.
We had a 50 minute wait, so I got us a coffee and some honey roast peanuts, so we sat on a bench and watched people passing by, all in a hurry and most carrying luggage.
It's funny, that from the same station you can catch trains to Dover and other places in Kent, Nottingham, Derby and other places in the midlands, trains to Brighton, Gatwick and Luton Airports, Cambridge, as well as Paris and Brussels. Quite an amazing place, and a wide selection of people and passengers.
We went up to the platforms above to wait for our train to come in, delays meant there was a shortage of platforms, so as soon as the Margate train left, some 15 minutes late, ours came in, filled up and we slipped back out, into the tunnel under London to Stratford, then out to Dagenham to Dartford, under the river into Kent.
Phew.
We arrived back in Dover at twenty to four, walked to the car and drive back home, getting back at just on the hour, time for Steve on the wireless.
As usual, we were pooped.
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Nunhead Cemetery is one of the Magnificent Seven cemeteries in London, England. It is perhaps the least famous and celebrated of them.[1] The cemetery is located in Nunhead in the London Borough of Southwark and was originally known as All Saints' Cemetery. Nunhead Cemetery was consecrated in 1840 and opened by the London Cemetery Company.[2] It is a Local Nature Reserve.
Consecrated in 1840, with an Anglican chapel designed by Thomas Little, it is one of the Magnificent Seven Victorian cemeteries established in a ring around what were then the outskirts of London. The first burial was of Charles Abbott, a 101-year-old Ipswich grocer; the last burial was of a volunteer soldier who became a canon of Lahore Cathedral.[5] The first grave in Nunhead was dug in October 1840. The average annual number of burials over the ten years 1868–1878 was 1685: 1350 in the consecrated, and 335 in the unconsecrated ground.[6]
In the cemetery were reinterred remains removed, in 1867 and 1933, from the site of the demolished St Christopher le Stocks church in the City of London.
The cemetery contains examples of the imposing monuments to the most eminent citizens of the day, which contrast sharply with the small, simple headstones marking common or public burials. By the middle of the 20th century the cemetery was nearly full, and so was abandoned by the United Cemetery Company. With the ensuing neglect, the cemetery gradually changed from lawn to meadow and eventually to woodland. It is now a Local Nature Reserve and Site of Metropolitan Importance for wildlife, populated with songbirds, woodpeckers and tawny owls. A lack of care and cash surrendered the graves to the ravages of nature and vandalism, but in the early 1980s the Friends of Nunhead Cemetery was formed to renovate and protect the cemetery.
The cemetery was reopened in May 2001 after an extensive restoration project funded by Southwark Council and the Heritage Lottery Fund. Fifty memorials were restored along with the Anglican Chapel.
Notable burials
Robert Abel, 1857–1936, England test cricketer
George John Bennett, 1800–1879, English Shakespearian actor
William Brough, 1826–1870, writer and playwright
Joseph Lemuel Chester, 1821–1882, American genealogist, poet and editor
Bryan Donkin, 1768–1855, engineer who developed a paper-making machine and food-canning process
Edward John Eliot, 1782–1863, Peninsular War soldier
Vincent Figgins, 1766–1844, typefounder
Sir Charles Fox, 1810–1874, civil and railway engineer
Jenny Hill, 1848–1896, music hall performer
Sir Polydore de Keyser, 1832–1898, lawyer and Roman Catholic Lord Mayor of London
Sir George Livesey, 1834–1908, engineer, industrialist and philanthropist
Cicely Nott, 1832–1900, singer and actress
John Proctor, 1836–1914, artist, illustrator and cartoonist
Charles Rolls, 1799–1885, engraver
Thomas Tilling, 1825–1893, bus tycoon
Alfred Vance, 1839–1888, English music hall performer
At 52 acres, Nunhead is the second largest of the Magnificent Seven cemeteries. Views across London include St Paul's Cathedral.[7]
The Victorian part of the cemetery is currently in a poor state of repair, being best described as an elegant wilderness; locals like to call it a nature reserve. Many areas of the cemetery are fairly overgrown with vines, as visible in newer tourist photos. Numerous tombstones lean to the side. Although the Friends of Nunhead Cemetery are doing their best to restore some parts of the cemetery it is badly in need of care and funding. It is about 52 acres (210,000 m2) and is a popular place to walk.
The lodges and monumental entrance were designed by James Bunstone Bunning. There is an obelisk, the "Scottish Political Martyrs Memorial", the second monument (the other is in Edinburgh) dedicated to the leaders of the Friends of the People Society, popularly called the Scottish Martyrs, including Thomas Muir, Maurice Margarot, and Thomas Fyshe Palmer, who were transported to Australia in 1794. It was erected by Radical MP Joseph Hume in 1837. It is immediately on the right on Dissenters Road, when entering through the North Gate.
A memorial commemorates nine Sea Scouts who died in the Leysdown Tragedy off the Isle of Sheppey in 1912, including Percy Baden Powell Huxford aged 12 (named after, but not related to, Lord Baden Powell). The original memorial, designed by Sir Giles Gilbert Scott, was erected in 1914.[8] Most of this was removed after vandalism, and only the base remains.[9] The present replacement memorial was erected in 1992, on the initiative of the Friends of Nunhead Cemetery.
First World War CWGC Australian plot
There are a large number of First and Second World War war graves in the cemetery, the greater proportion (592 graves) being Commonwealth service burials from the former war. Most of those are concentrated between three war graves plots: the United Kingdom plot (Square 89), holding 266 graves, the Australian plot which holds 23 graves, and the Canadian plot (Square 52) which holds 36 graves, including burials of South African and New Zealand servicemen. Those buried in the UK plot and in individual graves outside the three plots are, because of not being marked by headstones, listed by name on a Screen Wall memorial inside the cemetery's main entrance. A second Screen Wall lists 110 Commonwealth service personnel of the Second World War who are buried in another war graves plot (Square 5), and elsewhere whose graves could not be marked by headstones. There is also a Belgian war grave of the First World War
"Put a tiger in your tank" is one of the very best known petrol advertising slogans of all time. Along with "go well, go Shell" it is enduring and would be one that many members of the public would recall.
Put my Duchess on a spare Apple body so she could wear the MH tights. I love her restyled like that!
Negotiating a roundabout,at Leicester,was this Arriva Fox County East Lancs European bodied Scania L113.
put the Lensbaby Sweet 35 Optic on a bokeh test .. i loved what i saw .. took me time to gather all these bokeh in one signal frame
Shot with Nikon D3X @ Lensbaby Sweet 35 Optic @ Annie Besant Road traffic signal..
Camera Nikon D3X
Exposure 0.125 sec (1/8)
ISO Speed 50
I had put these five photos aside when I last deleted a few more photos from my computer. Gradually, I will add the description that I had written under a different posted photo taken on the same day.
"I thought this was a very strange-looking tropical bird, found in the African building (where the Gorillas are) at the Calgary Zoo. I was lucky that it was perched on this branch close to the wooden walkway. Love the bright red, but not so sure about that eye or the beard, LOL! A bit creepy."
Recently, I haven't been posting quite as many photos as I usually do. With snow in the forecast, I needed to get out and stock up with food, especially, and see to other important errands. Clearing the snow off my car is going to be painful and almost impossible with my damaged shoulder rotator cuff, plus I now have two painful arms, ha, as I was finally able to go and get the most recent COVID-19 booster shot (Pfizer) two days ago. Yesterday, 2 November 2022, it snowed all morning, but today has been nice and sunny.
Put two exposures together in photoshop, and I can't wait to redo these this summer when I have time. I think these are good enough to show though. I am aware that the horizon needs work! : )
There is a bit of background required to put this portrait in context. By mere chance, I discovered online that a fully-restored Boeing B-17G World War II heavy bomber was going to spend a week at the small airport in Kingston Ontario. Kingston is a beautiful, historic city three hours east of Toronto. It is also home to my son and his fiancée. While I wasn’t in a position to take a flight on Sentimental Journey, I was determined to see the plane, tour it on the ground, photograph it, and watch it take off and land.
When I saw it sitting on the tarmac of the Kingston Flying Club at the south edge of the airport, it was truly a thing of gleaming beauty. The plane is owned by the Commemorative Air Force, a nonprofit which is dedicated to preserving historic aircraft. It has chapters throughout the U.S. Sentimental Journey’s home base is in Phoenix Arizona but it tours and is available to the public every summer.
The man you are looking at was one of the volunteers who was available to explain about the airplane and answer questions and he was a treasure trove of historical and aviation information. Sensing my eager interest, he kindly made himself available to talk about airplanes and World War II and when I expressed interest in him, he also shared a bit about himself. Meet Bruce.
Bruce is a member of the Commemorative Air Force chapter in Indiana and he told me every year he likes to donate a couple of his vacation weeks to the organization. This summer he flew up to Toronto from Indiana on a commercial flight and met Sentimental Journey in nearby Peterborough Ontario. He spent that week hosting visitors and accompanying them on demonstration rides on the plane. He then accompanied the plane from Peterborough to Kingston where he is doing his last week of volunteering before returning to his “real life” in Indiana.
What is Bruce’s “real life?” Interestingly, it has nothing to do with aviation. He is a PhD research chemist at Purdue University in Lafayette Indiana. His work has to do with analyzing the quantities of medications in bloodstream samples and much of his work has to do with the pharmaceutical industry. He directs the university’s Metabolomics Facility (yes, that was a new one for me too.)
Understandably, most of our conversation was about Sentimental Journey and historic aircraft and it was clear that Bruce is a very informed student of history and lover of airplanes. He had a very warm, pleasant manner, which combined with is knowledge of the plane, made him the perfect tour guide. He had a very pleasant accent which I think was a mix of North Carolina where he did his PhD and Indiana where he lives currently.
When I explained my Human Family photo project to him, Bruce was interested and was happy to participate. We had a few minutes while other visitors were inside the plane and I suggested posing him inside the bomb bay, the doors of which were open and provided sheltered light on this bright day. We both had to duck to get into the bay and I took a couple of portraits with sample bombs hanging on the racks above his head. When I invited him to share a message with the project he thought for a moment and said “We should not glorify war, but we should not forget the past either. This plane serves as a memorial to the young men, often just 20 and 21 years of age who risked and lost their lives in these machines while serving their country.” He went on to reflect about the fact that many of the pilots, navigators, radio operators, and bombardiers were just kids and many of them had never been more than 25 miles from their Midwestern farm lives when they entered the military, were taught to fly and fight, and found themselves over the heart of Germany in the dead of night at 30,000 feet, dropping bombs and fighting for their lives. It is a sobering thought indeed. Bruce concluded with the comment “I wonder how many 20 year-olds would be able to manage that today?”
Thank you Bruce, for a fascinating conversation, a wealth of information about B-17s, and for participating in The Human Family. This is my 522nd submission to The Human Family Group on Flickr.
I hope you had a great two weeks of volunteering and return to your university job with fond memories of Canada.
You can view more street portraits and stories by visiting The Human Family.
I put 60-second and 240-second frames on starless frame.
There were hydrogen-alpha emissions widely in the area.
Equipment: Sigma 105mmF1.4 Art, IDAS NB12 dual narrowband Filter, and EOS R6-SP5, modified by Seo San on Vixen AXD Equatorial Mount, autoguided with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, ZWO ASI 174MM-mini, and PHD2 Guiding
Exposure: 14 times x 900 seconds, 6 x 240sec, and 8 x 60 seconds at ISO 6,400 and f/3.0
site: 1,466m above sea level at lat. 35 48 26 North and long. 138 39 24 East near Kotokawa dam in Yamanashi. 山梨県牧丘柳平琴川ダム
Ambient temperature was low down to 1 degree Celsius or 34 degrees Fahrenheit. Wind was mild. SQML reached 21.29 at the night. Seeing was awful as usual in this season at the night, and guide error RMS was 2.25.
NSR ICMm 4238-4236 rijdt door Harselaar als IC 1542 van Deventer naar Amsterdam Centraal. Bovenin de portalen hebben de ooievaars alweer hun plek ingenomen.
It all began when I won a scholarship to the Universal Academy of Podiatry back in the late 50s. I kicked the idea around for awhile while wandering around Venice Beach and decided to join the U. S. Navy instead. And that has made all the difference. I wouldn't want all of my clients to be able to kick me around. Now, leading a life of art and rock and roll music while selling women's shoes part time at an upscale store on Rodeo Drive. That's when it is overcast and I opt not to go outside my condo and enjoy the sunshine. (This is all imaginary text to add humor.)
I put two typographical portraits together one of each of my grandsons. This one is of my oldest grandson.
I picked up the technique from Digital Photo Magazine.
The original was a colour photo of the two boys sitting together, sent to me by my daughter.
Sabry, Sabry, how many times do I have to tell you to be careful when you're sitting in a tight, short skirt and wearing stockings and garters; when you move, everything shows.
Now please put your stilettos back on and make sure you don't take them off all day.
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.