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Albi es una localidad francesa situada en el departamento del Tarn, del que es capital, en la región de Occitania, con 51 199 habitantes. Se sitúa a orillas del río Tarn. Fueron las arcillas de este río la materia prima para elaborar los ladrillos rojos que caracterizan su arquitectura local, ya sea en su catedral, en sus casas, puentes, palacios, etc.
Este monocolor de toda la ciudad hace la vida muy difícil y complicada para el fotógrafo pues todo es del mismo color y de lejos parece una mancha rojiza sin ningún atractivo.
Aproveché el Rio Tarn para darle algo de alegría y con cuidado y mucha paciencia he logrado potenciar algo los distintos tonos.
En realidad por dentro tampoco es nada del otro mundo, pero es una ciudad muy alegre donde siempre hay conciertos, fiestas populares y mucha gante dispuesta a pasarlo bien.
A destacar la zona de la catedral y sus alrededores i también el rio Tarn a su paso por la ciudad.
No sé si se nota que tengo familia en esta ciudad.
Si la amplias clicando encima, podrás verla con todo su detalle
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Albi is a French town located in the department of Tarn, of which it is capital, in the Occitania region, with 51 199 inhabitants. It is located on the banks of the Tarn River. The clays of this river were the raw material to elaborate the red bricks that characterize its local architecture, whether in its cathedral, in its houses, bridges, palaces, etc.
This color of the whole city makes life very difficult and complicated for the photographer because everything is the same color and from a distance it looks like a reddish spot without any appeal.
I took advantage of the Tarn River to give it some joy and with care and much patience I have managed to enhance the different tones somewhat.
Really inside it is not anything from the other world, but it is a very happy city where there are always concerts, popular parties and a lot of people willing to have fun.
To highlight the area of the cathedral and its surroundings and also the Tarn River as it passes through the city.
I don't know if it shows that I have family in this city.
If you expand it, clicking on it, you can see it with all its detail.<b
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After a hectic Christmas season, its time to relax by the fire and reflect on the year. Get over to Access for KraftWorks Classic Fireplace. Comes with stunning Christmas décor but is also perfect all year round. With a variety of options for texture colours, and accessories.
KraftWork - Assorted Books
KraftWork - Runner Rugs - Stripes Black
KraftWork - Faux Sliding Door Industrial
BAZAR - Amy lounge set
Did you manage to get involved in the Uber Hunt? If you did I hope you managed to grab a copy of BAZAR Amy Lounge set. As usual a huge collection of texture colours to choose from for the sofa, throw and pillows.
Full Credits and Links -
Plastic granulate is the typical form of delivery of thermoplastic materials from the raw material manufacturers for the plastics processing industry. Because of its free-flowing properties, it is a bulk material such as sand or gravel and therefore just as easy to transport as it is. (Wikipedia)
Thank you for your nice comments and the numerous Favs, which I am very happy about.
Kunststoffgranulat ist die typische Lieferform von thermoplastischen Kunststoffen der Rohstoffhersteller für die kunststoffverarbeitende Industrie. Es ist wegen seiner Rieselfähigkeit ein Schüttgut wie Sand oder Kies und damit ebenso einfach wie diese zu transportieren. (Wikipedia)
Vielen Dank für eure netten Kommentare und die zahlreichen Sternchen, über die ich mich sehr freue.
A unique raw material on the island:
Unlike most island volcanic cones, Rano Raraku is composed of a unique type of rock on the island known as the Lapilli tuff. The tuff is a porous rock formed by the accumulation of volcanic ash ejected during an eruption, which when cooled, in contact with the atmosphere, is compacted and hardened.
The main characteristic of this volcanic tuff is its low hardness under the surface, compared to basalt, which encouraged the ancient sculptors to use it as raw material to carve the huge statues.
It is striking that most of the tuff is concentrated in the southeast half of the cone, coinciding with the vertical wall, and just emerges a little in the northern half. According to some geologists, this large rocky cliff would be the only remnant of an ancient submarine volcano. Which, largely disappeared due to erosion, was later covered by red ash emitted by the new adjacent crater. This would explain the great difference of materials found on both sides of the Rano Raraku.
Diefflen, Germany – 2015, April 22
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“Desperation is the raw material of drastic change. Only those who can leave behind everything they have ever believed in, can hope to escape. ”
RIP Shane - you have no more demons to battle <3
miafoxdale.wordpress.com/2016/08/08/can-we-really-ever-es...
Hanging on the wall of a cozy Pub in Mount Parnassus Home of the Muses.
Is the line between Art & Craft vanishing ?
A lovely piece of Alternative Art showing that Creativity has no limits.Some Unglamorous Discarded Natural Materials put together Aesthetically & Creating Asymmetrical Balance in Art ...
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The Third ‘R’ – Recycling
The last stage of the waste hierarchy is to recycle.
To recycle something means that it will be transformed again into a raw material that can be shaped into a new item.
In the evening, when the labour of the day was done, they rested on the road they had built through the mountains. Thick chunks of local bread and prasad from a temple were being passed around. Someone thoughtfully offered me his bottle of traditionally brewed wine. It was a far cry from the legendary Angoori of Kinnaur, which I had tasted many, many moons ago. Prices of raw materials have sky rocketed and an authentic Angoori would be hard to find. Nevertheless it was full bodied and smooth. After a while the fatigue of a long days journey drained out of my body. I felt happy as I chatted and took pictures. Life seemed beautiful.
Im Industriemuseum Henrichshütte Hattingen, Durchgang an den Materialbunkern / In the industrial museum Henrichshütte Hattingen, walk way at the raw materials silos
The Gulf of Georgia Cannery is a National Historic Site of Canada located in Steveston village in Richmond, British Columbia.
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Gulf of Georgia Cannery
Built in 1894, the cannery echoes the days when it was the leading producer of canned salmon in British Columbia. Today it is a museum with interactive exhibits, film, and tours that demonstrate the Cannery's important role in the history of Canada's West Coast fishing industry.
History
Early years
The cannery opened in 1894, in the boomtown of Steveston on the lower Fraser River. It was the largest cannery in British Columbia until 1902. It was known as the "Monster Cannery" - packing more than 2.5 million cans of salmon in 1897. Each canning season attracted a workforce of hundreds of workers, usually of First Nations, Chinese, Japanese, and European descent. At the time, fish canning was one of British Columbia's largest employers, and produced one of its principal export commodities.
Advancing technology
Over the years, the hordes of people manually canning salmon gave way to rows of high-speed machinery. For the Gulf of Georgia Cannery, the price to pay for these advancements would be a diminished role in the canning of salmon, as the last can of sockeye rolled off the production line in 1930. Then, the British Columbia Fishing and Packing Company and Gosse Packing Company Limited merged, forming British Columbia Packers Limited, an amalgamation of the other canneries in the community.
World War 2
The Gulf of Georgia Cannery remained quiet during the 1930s, but with the outbreak of the Second World War in Europe, the Cannery was revitalized by an onslaught of new capital and expansion in anticipation of a new enterprise, namely herring. New machinery and an army of workers produced case after case of canned herring in tomato sauce, the major source of protein for Allied soldiers and civilians struggling overseas during the war. Herring canning became an industry-wide endeavour and alongside it grew the business of herring reduction, that is, the transformation of herring into protein-rich oil and meal for animal feeding purposes.
Post war
The end of the war meant the end of a market and the end of herring canning in British Columbia. For the Gulf of Georgia Cannery, herring reduction would become the predominant activity by the late 1940s. The rise of this industry is reflected by the growth of the Cannery complex which saw three successive waves of expansion before the herring reduction industry was crippled by overfishing and government closure in the late 1960s. By the 1970s, a new market emerged in Japan for British Columbia herring roe and this ensured that the reduction operation at the Cannery would run once more. However, the new roe industry generated only a small amount of raw material for reduction, as catches formerly in the hundreds of thousands of tonnes were limited by regulation to the low tens of thousands.
Closure
By 1979, the cost of operating the Cannery's aging reduction equipment became too much and the reduction plant was closed. The buildings would serve as a net loft and storage for the Canadian Fishing Company's boat fleet and the era of transforming the Cannery into a museum would begin in earnest.
National Historic Site
During the 1970s and early 1980s the local community lobbied various levels of government to save the Cannery. In 1979 the Federal government purchased the property and in 1984 it was transferred to Parks Canada. The building was first open to the public in 1994 in celebration of the centennial of the building. The Gulf of Georgia Cannery Society, a local not-for-profit organization, was formed in 1986 to work together with Parks Canada to develop and operate the site. Today, the Cannery is one of the very few federally owned National Historic Sites operated by a third party.
Chronology
The Cannery, seen from the Fisherman's Park (2007)
Fisherman's Park sculpture in 2018
1894 - Construction of the original L-shaped building; one manual canning line.
1897 - East Wing built to provide additional packing and seasonal living area. Two additional canning lines added.
1906 - Arrival of the mechanical butchering machine; West wing (butchering shed) converted to net loft/storage. East wing shortened by 50 feet (15 m) in 1906 due to new dyke and railway tracks along the waterfront.
1932 - Remains of the West wing demolished by a windstorm.
1940 - Roofline raised to accommodate additional boiler (boiler house).
1943 - Ice house built (in order to store fish for a longer amount of time).
1940-48 - Various structural modifications and additions related to the herring reduction process: Vitamin oil shed and dryer shed.
1956 - East wing of original building raised to accommodate evaporator. Separator room constructed next to evaporator room.
1964 - Addition of grinding and bagging room off drying shed.
1979 - Gulf of Georgia reduction plant closed, building is used as a net loft.
1994 - Gulf of Georgia Cannery National Historic Site of Canada opens to the public.
Wikipedia
Steveston is an ever so romantic fishing village that is situated in Richmond BC, on the Mighty Fraser River
Canada
Definitely one of British Columbia's best kept secrets.
I truly appreciate your kind words and would like to thank-you all, for your overwhelming support.
The Industrial Photography of Christopher Payne at the Cooper Hewitt.
Payne describes his photos as "“My photographs are a celebration of the making of things, of the transformation of raw materials into useful objects and the human skill and mechanical precision brought to bear on these materials that give them form and purpose,” Payne said. “They are also a celebration of teamwork and community, revealing how people of varying ages and skills come together to work toward a common goal.”
There's also a 15 minute film on the Cooper Hewitt's youtube channel if you're interested in hearing Payne discuss his work and process. Many of the photos in the video are in the exhibit
Fundación La Choza
La Choza es una fundación situada en lo que anteriormente fuera la estancia del Dr. Bernardo de Irigoyen. Erigidas en el centro de estos terrenos se destacan la casa señorial y una capilla campestre, testigos históricos de la vida de Don Bernardo, quien llamaba a la Choza su "santuario de silencio donde meditar los grandes problemas del país".
Actualmente, el ochenta por ciento de la tierra está destinada al pastoreo del ganado bovino, fuente de la producción láctea y materia prima para el trabajo diario en el tambo.
La producción hortícola ocupa cuatro hectáreas, a la cual se suma alrededor de ciento cincuenta árboles frutales y cultivos de plantas aromáticas y medicinales.
Asimismo contamos con un vivero de plantas nativas de la Provincia de Buenos Aires, el cual presenta como principal objetivo la recuperación del control biológico del lugar mediante la forestación.
Con un fuerte componente educativo y un amplio compromiso con la producción biológico-dinámica de alimentos saludables, en la Fundación La Choza concebimos el trabajo agropecuario al servicio de la vida social.
Traslator:
La Choza Foundation
La Choza is a foundation located in what was previously the residence of Dr. Bernardo de Irigoyen. Erected in the middle of these grounds stands the manor house and a country chapel, historical witnesses of the life of Don Bernardo, who called the Shack his "sanctuary of silence where to meditate the great problems of the country."
At present, eighty percent of the land is destined to cattle grazing, source of dairy production and raw material for daily work in the dairy.
The horticultural production occupies four hectares, to which is added about one hundred and fifty fruit trees and crops of aromatic and medicinal plants.
We also have a nursery of native plants of the Province of Buenos Aires, which has as main objective the recovery of the biological control of the place by means of afforestation.
With a strong educational component and a broad commitment to the biological-dynamic production of healthy foods, at the La Choza Foundation we conceive agricultural work at the service of social life.
I wonder where the engineers of this dam sourced it's stone from? There is an abundance along the banks as well as under the lake itself.
Antwerp, Estación Central.
(...) Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power—at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself.
Delacenserie's eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century—mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation.
And Time, said Austerlitz, represented by the hands and dial of the clock, reigns supreme among these emblems. The clock is placed above the only baroque element in the entire ensemble, the cruciform stairway which leads from the foyer to the platforms, just where the image of the emperor stood in the Pantheon in a line directly prolonged from the portal; as governor of a new omnipotence it was set even above the royal coat of arms and the motto Endracht maakt macht. The movements of all travelers could be surveyed from the central position occupied by the clock in Antwerp Station, and conversely all travelers had to look up at the clock and were obliged to adjust their (...)
W. G. Sebald, Austerlitz, 2001.
The River Nene is the slowest flowing river in England, rising in hills in the west of Northamptonshire. It meanders its way across the county, such as here - near Great Doddington - and then crosses the Fens, eventually finding its way to the North Sea coast at The Wash. Between Northampton and Peterborough there are numerous flooded gravel pits, several of which have become country parks and wildlife sanctuaries, while one has become a popular centre for sailing. Gravel extraction is still taking place in some parts of the river valley, providing raw materials for the building and construction industry.
To make a collage, I hope. To be fair, if I ever tried to create one it would most likely look like a dog's dinner and end up in the bin, even though my mind had imagined a work of art. :)
For this week's Macro Mondays theme, Mediums. The paper flower is under ¾" across at its widest point.
The raw materials used in the viaducts construction litter the area, some of the best ''limestone-pavement'' features in the country can be found nearby.
The Youngstown Belt crew is returning to their home terminal at Brier Hill after a trip to serve customers at Warren. Here they pass the old Pennsylvania RR coaling tower at Girard. There were once two tracks under each arch of the coaling tower and one passing outside of each arch. It was built in 1922. A position-light signal was once mounted on the steelwork over the left arch of the coaling tower. The leaning steelwork to the left has fallen, but once stood straight up and was part of the conveyor system transporting coal to the top of the structure.
The Pennsy, B&O and EL all had parallel lines through here and up the Mahoning River Valley. They served a burgeoning steel making industry that today is but a very small fraction of what it once was. With no access to cheaper water transport of raw materials, the steel makers here were victim of higher transportation costs.
Another shot from the old Phenix Quarry. The little town of Phenix was a ghost town by the 1970s, and this home was left behind. Only a few other buildings are left on the property now. "Production ground to a halt during the Great Depression and the railroad track that carried the material to market was abandoned. During World War II, much of the iron equipment was requisitioned and scrapped to provide raw material for the war effort. After the war, the American market was flooded by marble returning from Europe on ships that were supplying the rebuilding efforts; European industry and agriculture had been decimated, and raw materials like stone were the only products available for trade.
The Phenix Marble Quarry did reopen under the management of the Vermont Marble Company and briefly resumed quarrying and shipping stone, but it never regained its previous status. Between the end of WWII and the 1970s, Phenix material was marketed as “Carthage Stone”, because it was processed at a facility in Carthage, Missouri. By the 1970s, Phenix was largely a ghost town."
The raw material for the production of ethyl alcohol (almost 92% by volume) for moonshine, which is in the bottle in the photo, is sugar. In this case, the term "moonshine" refers only to the place and production technology - it is a strong alcoholic drink made at home in a distillation unit, which, in this case, is equipped with modern measuring technical means.
Drink 40% (volume units). made from a solution of ethyl alcohol and highly purified water.
Bottle, label and metal threaded bottle cap - purchased separately.
Сировиною для виготовлення етилового спирту (майже 92% об'ємних одиниць) для самогонки, що в пляшці на світлині, є цукор. В даному випадку термін «самогонка» відноситься лише до місця та технології виготовлення - це міцний алкогольний напій, виготовлений в домашніх умовах на дистиляційній установці, яка обладнана сучасними вимірювальними та технічними засобами контролю.
Напій 40% (об'ємних одиниць) є розчином етилового спирту та води високого ступеню фільтрації.
Пляшка, етикетка та металева різьбова кришка для пляшки - куплені окремо.
Промоутери напоїв за держцінами поширюють думку що без застосування спеціальних технологій у домашніх умовах шкідливі речовини, які все ще залишаються після дистиляції, неможливо видалити із напоїв. Тому нібито рекомендується вживати лише ті міцні напої, які виготовлені промисловим способом.
The original mill 'De Kat' was built in 1646 as an oil mill. In 1782 it was destroyed by fire but was rapidly rebuilt again. The mill was in use until 1904 and then was partially demolished.
In 1960 the eight-sided paint mill 'De Duinjager' was removed from its former position owing to urban development and placed on top of the old storehouse of 'De Kat'. The mill is again grinding raw materials such as chalk to make pigments for paints in the traditional way. The mill is owned by the Vereniging De Zaansche Molen.
There's an immense gulf between my persona as a photographer and that of a photo processor. I liken it to the Victorian tale of Dr. Jekyll and Mr. Hyde. The Jekyll in me is the image processor. A meticulous man, he concerns himself with histograms and pixels, clarity and contrast. The Hyde in me (the photographer) cares little about such things. He wanders about with his camera, acting something like a cross between a psychic medium and someone witching for underground water wells with a divining rod. My Jekyll is a meticulous man who spends untold hours in front of his computer, trying to manipulate and extract meaning from the tons of raw material that Hyde dumps on him. Meanwhile time means nothing to Mr. Hyde; he can complete his work in three hours or three minutes. While Dr. Jekyll sees only the pixels on his monitor, Mr. Hyde seems to see everything but the pixels; in many cases he's responding to things he can neither hear nor see, let alone capture with his camera. Yet as divergent as these two are, they are co-dependent. One cannot complete his work without the other. I've thought about bringing Dr. Jekyll with me on location by means of connecting the camera to a tablet and being able to study compositions as they are being captured. While that might work in some situations, it sounds to me like a good way to kill off the spontaneity on which Hyde thrives. One way I've discovered to appease Jekyll without placing undue restraint on Hyde is to shoot multiple angles and bracket heavily. Nothing pisses off Jekyll more than having limited choices when selecting images to process. Even minute changes of camera angle and exposure can make or break an image. This small figurine is a case in point. Jekyll recognized the potential for a good image, but could not comprehend in the moment how to compose it, or critically in this case, determine the most effective camera height and angle. So he tried multiple angles and brackets, and is so often the case, didn't even bother to review them. He just walked off leaving the final decisions to Dr. Jekyll. Quite a pair these two.
Raw material for a CD-cover (not used). The instrument is an Euphonium (haven't been aware of its existence :-) ). The Chamäleon has something to do with the style of the music, otherwise the picture would be complete nonsense :-)
Jungen, an artist of mixed European and Indigenous heritage who lives and works in British Columbia, is known for his use of unusual raw materials in the construction of his art — most famously, Nike Air Jordan shoes, which he cut up into small pieces to make various sculptures evocative of First Nations war bonnets.
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This is a combination of a few ideas I had last year. I'd sorta given up on the half-drum + jet canopy idea because I wasn't sure how I was going to resolve the rear end. The other day when building with my son I noticed that big orange bucket laying there and everything sort of fell into place.
Various raw materials such as iron ore, salt, etc are delivered, stored and distributed from here. It used to be called the C&P Ore Docks (Cleveland and Pittsburgh were connected via a rail line for this).
the amazing strength of the sailors and workers who load and unload goods manually without the help of any equipment in the Sunda Kelapa Harbour.
The above image and the one below were captured in the Mercat Boqueria, Barcelona.
The story of Jamón Ibérico ham [know as the Finest Ham in the World] is steeped in mystery and romance. The ancient oak pastures of Spain [the Dehesa], the noble black Ibérico pig [that double their weight feasting on acorns or 'bellotas' packed with natural antioxidants], the mountain air [...] all play [an essential] part in this uniquely Spanish phenomenon. [...]
[...] The two main types of Iberico ham are Jamon Iberico and jamon Iberico de Bellota. [...] Iberico hogs rooting around in the Dehesa foraging for acorns as well as herbs and grasses, makes for exquisitely marbled raw material, packed with natural antioxidants – a key ingredient for extended curing of the ham. [...].
The 'matanza', or sacrifice, has traditionally been a family affair. [...]. The fatty legs would be packed in sea salt and hung to dry in the cool winter air. [...]. Iberico hams usually cure for about two years, Iberico Bellota hams for longer periods. [...]. With the Bellota hams, the most miraculous transformation is of the fats. Through this period of heating and cooling, salting and drying, the fats are broken down. Because of the antioxidants in the acorns and the unique curing process, the saturated fats are changed into healthy mono-unsaturated fats high in oleic acid. The only fat higher in oleic acid is olive oil.
The ultimate result is a long, thin leg of ham with a deep golden hue to its fat. The meat is dark red and well marbled. [...].
Thanks for the visits, comments, notes and faves!! Gracias por las visitas, comentarios, notas y favoritas!!
Seen here the remains of a summer farm in Valdres, Norway, which up to resently sheltered cows and sheeps in the summer from June to September. Traditionally the animals was walked up from the farms in the valley and to the summer farm. The last years they was transported in trucks.
The practice of summer pasture farming is ancient, almost as old as farming is here in this country. Archaeological finds uncovered in mountain valleys witness that summer farming took place already in the Iron Age, in the 7th century.
Summer pasture farming has been – and is – an integrated element of Norwegian agriculture, that is, first and foremost with regard to production of milk from cows and goats. Summer farming was first regulated in the laws that were laid down in the 12th century. According to the Gulatingslova (old Norwegian law) if a farmer did not herd his cows and goats to the summer pasture, he could be reported for illegal grazing – "grass robbery". In olden times cows produced 2⁄3 of their annual production in the summer farming period, and in a wintry country (like Norway) it was vital to process this raw material into food that could be stored and used throughout the long winter.
For more of the summer farms visit the complete article at "Olavsrosa" right here: