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American postcard. Home of Charles Ray, Beverly Hills, Los Angeles, Cal.
Charles Ray (1891-1943) was an American actor, scriptwriter, and director of the silent screen, who knew a parabole from rags to riches and back again. He worked for Paramount, his own company, United Artists and MGM. In the late 1910s and early 1920s, he was a very popular actor and one of Hollywood's best-paid stars.
Walking along the shoreline in Matheson Hammock, a spotted eagle ray swam along the shallows looking for food.
Virginia Aquarium & Marine Science Center recently performed their regular checkup exams on the Eagle Rays. Everyone passed with flying colors!
Photographs by Craig McClure
16135
© 2016
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
This is the third year I've tried to capture a photo of bluebell woods, the last two years I have been unsuccessful! I couldn't believe my luck when James informed me about this little gem of a woods, just outside of The Peak District, full of the beautiful blue flowers. The sky was extremely cloudy but the sun poked through the clouds just enough for me to capture this wonderful ray of light shining across the bluebells. Safe to say I was one happy lady!
Copyright ©2015 Sarah Louise Pickering
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This little one is a ray of light for sure giving me a lovely day although I have to work! ;-)
Thank You IMReal for this awesome little one and her sisters.
Twice a year, the Ray Wallace emerges from behind the camera to see if there will be a bountiful harvest. Captured here in all its glory!
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Two Evolv 200's, One with blue gel lighting the back of the tunnel wall and a bit of Rays right side. Another with a CTO gel I poorly cut myself to light the foreground and more of his face.
British postcard in the 'Cinema Stars' series of Lilywhite Ltd., No. C M 27. Photo: Fox Picture.
Albert Ray (1897–1944) was an American film director, actor, and screenwriter. He appeared in 22 films between 1915 and 1921 and he directed 85 films between 1920 and 1939.
Albert Ray, born in La Rochelle, New York, was already connected to the cinema during his school years, as he worked during the summer holidays as part of the permanent ensemble of the Vitagraph. After completing school, he played summer theater e. g. at the Harlem Opera House in New York City. In 1915 he started film acting at the Eastcoast company Federal Films, where he also directed his first three films. After a gap of two years, he continued his career at Fox in Hollywood by the end of 1917. His first film acting role there was in Shadows of Her Pest (Henry Lehrman, 1918). While in 1918-1919 he acted in various films at Universal, Thomas Ince, and American, in later 1919 he became a regular at Fox, often paired with Elinor Fair. As a film actor, he stopped by mid-1921, henceforth concentrating on directing. While he did one film in 1920, he had a regular directing career from 1924 (so, he had a career gap in 1921-1923).
From 1924, Albert Ray made numerous films till 1939. He first did countless comedies with Cliff Bowes and Virginia Vance at Jack White and at Fred Hibbard Productions in 1924-1925. Then in 1925-26, he became a regular director of short comedies at Fox Film Corporation with the 'Married Life' series, starring Katherine Perry and Hallam Cooley. In 1926 he did his first feature-length comedy at Fox with More Pay - Less Work, starring Albert Gran and Mary Brian, and also did his first mystery feature, Whispering Wires, with Anita Stewart and Edward Burns. Several features followed with e.g. Nancy Nash, William Russell, Marjorie Beebe, Charles Morton, and others. In the years of the passage to sound cinema (1927-1929) Ray was less active and also left Fox by 1928.
In 1929 Albert Ray did his first sound film, Molly and Me for Tiffany-Stahl, starring Belle Bennett and Joe E. Brown, about a clown and his wife. It was immediately followed by another Bennett-Brown comedy, My Lady's Past (1929). By the time sound cinema had settled in, in 1930, Ray was back full fling directing, doing five to eight films per year in the early 1930s. He alternated shorts with features, alternated genre-wise (not only comedy anymore), and also alternated companies (working e.g. for Paramount, Universal, and Columbia, but also minor companies). He directed former silent stars such as Lila Lee and Betty Compson but also upcoming ones such as Ginger Rogers. By 1936 Ray did his last films, a handful of Johnnie Mack Brown westerns including Lawless Land (1936). After another gap, Ray did one last film, Desperate Trails (1939), another Brown western, and then called it a day. In 1919 Ray was married to stage actress Roxana McGowan. They had two children but divorced in 1929. In 1930 Ray remarried Frances Hyland Anthony. Ray died in Los Angeles in 1944, at the age of (only) 46 years.
Sources: Wikipedia (German and English), and IMDb.
As bright rays of morning sun beat down, BNSF #2689 and #3181 shove a centerbeam loaded with Georgia Pacific Fireguard into the Northwest Drywall Spur in the Glacier Rail Park.
Subdivision: Kalispell Subdivision
Train Name: Kalispell Local
Train Symbol: R-MON876
Brouwersdam, Concert at Sea, 24 June 2023.
Former GVB 311 now in use with Ray Line, seen here in use on the festival shuttle. It carries the name Soof.
Looking the other way from my 'Down to the Underground' shot - literally I just turned around and there it was.
Batoidea is a superorder of cartilaginous fishes, commonly known as rays. They and their close relatives, the sharks, comprise the subclass Elasmobranchii. Rays are the largest group of cartilaginous fishes, with well over 600 species in 26 families. Rays are distinguished by their flattened bodies, enlarged pectoral fins that are fused to the head, and gill slits that are placed on their ventral surfaces.
Batoids are flat-bodied, and, like sharks, are cartilaginous fish, meaning they have a boneless skeleton made of a tough, elastic cartilage. Most batoids have five ventral slot-like body openings called gill slits that lead from the gills, but the Hexatrygonidae have six. Batoid gill slits lie under the pectoral fins on the underside, whereas a shark's are on the sides of the head. Most batoids have a flat, disk-like body, with the exception of the guitarfishes and sawfishes, while most sharks have a spindle-shaped body. Many species of batoid have developed their pectoral fins into broad flat wing-like appendages. The anal fin is absent. The eyes and spiracles are located on top of the head. Batoids have a ventrally located mouth and can considerably protrude their upper jaw (palatoquadrate cartilage) away from the cranium to capture prey. The jaws have euhyostylic type suspension, which relies completely on the hyomandibular cartilages for support. Bottom-dwelling batoids breathe by taking water in through the spiracles, rather than through the mouth as most fish do, and passing it outward through the gills.
Batoids reproduce in a number of ways. As is characteristic of elasmobranchs, batoids undergo internal fertilization. Internal fertilization is advantageous to batoids as it conserves sperm, does not expose eggs to consumption by predators, and ensures that all the energy involved in reproduction is retained and not lost to the environment. All skates and some rays are oviparous (egg laying) while other rays are ovoviviparous, meaning that they give birth to young which develop in a womb but without involvement of a placenta.
The eggs of oviparous skates are laid in leathery egg cases that are commonly known as mermaid's purses and which often wash up empty on beaches in areas where skates are common.
Capture-induced premature birth and abortion (collectively called capture-induced parturition) occurs frequently in sharks and rays when fished. Capture-induced parturition is rarely considered in fisheries management despite being shown to occur in at least 12% of live bearing sharks and rays (88 species to date).
Most species live on the sea floor, in a variety of geographical regions – mainly in coastal waters, although some live in deep waters to at least 3,000 metres (9,800 ft). Most batoids have a cosmopolitan distribution, preferring tropical and subtropical marine environments, although there are temperate and cold-water species. Only a few species, like manta rays, live in the open sea, and only a few live in freshwater, while some batoids can live in brackish bays and estuaries.
Most batoids have developed heavy, rounded teeth for crushing the shells of bottom-dwelling species such as snails, clams, oysters, crustaceans, and some fish, depending on the species. Manta rays feed on plankton.
Batoids belong to the ancient lineage of cartilaginous fishes. Fossil denticles (tooth-like scales in the skin) resembling those of today's chondrichthyans date at least as far back as the Ordovician, with the oldest unambiguous fossils of cartilaginous fish dating from the middle Devonian. A clade within this diverse family, the Neoselachii, emerged by the Triassic, with the best-understood neoselachian fossils dating from the Jurassic. The oldest confirmed ray is Antiquaobatis, from the Pliensbachian of Germany. The clade is represented today by sharks, sawfish, rays and skates.
The classification of batoids is currently undergoing revision; however, molecular evidence refutes the hypothesis that skates and rays are derived sharks. Nelson's 2006 Fishes of the World recognizes four orders. The Mesozoic Sclerorhynchoidea are basal or incertae sedis; they show features of the Rajiformes but have snouts resembling those of sawfishes. However, evidence indicates they are probably the sister group to sawfishes. Phylogenetic tree of Batoidea:
Order Torpediniformes
Family Hypnidae (coffin rays)
Family Narcinidae (numbfishes)
Family Narkidae (sleeper rays)
Family Torpedinidae (torpedo rays)
Order Rhinopristiformes
Family Glaucostegidae (giant guitarfishes)
Family Platyrhinidae* (fanrays)
Family Pristidae (sawfishes)
Family Rhinidae (wedgefishes)
Family Rhinobatidae (guitarfishes)
Family Trygonorrhinidae (banjo rays)
Family Zanobatidae* (panrays)
* the placement of these families is uncertain
Order Rajiformes
Family Anacanthobatidae (legskates)
Family Arhynchobatidae (softnose skates)
Family Gurgesiellidae (pygmy skates)
Family Rajidae (skates)
Order Myliobatiformes
Family Aetobatidae (pelagic eagle rays)
Family Dasyatidae (whiptail stingrays)
Family Gymnuridae (butterfly rays)
Family Hexatrygonidae (sixgill stingrays)
Family Myliobatidae (devilrays)
Family Plesiobatidae (giant stingarees)
Family Potamotrygonidae (Neotropical stingrays)
Family Rhinopteridae (cownose rays)
Family Urolophidae (stingarees)
Family Urotrygonidae (round stingrays)
According to a 2021 study in Nature, the number of oceanic sharks and rays has declined globally by 71% over the preceding 50 years, jeopardising "the health of entire ocean ecosystems as well as food security for some of the world's poorest countries". Overfishing has increased the global extinction risk of these species to the point where three-quarters are now threatened with extinction. This is notably the case in the Mediterranean Sea - most impacted by unregulated fishing - where a recent international survey of the Mediterranean Science Commission concluded that only 38 species of rays and skates still subsisted.
All sharks and rays are cartilaginous fish, contrasting with bony fishes. Many rays are adapted for feeding on the bottom. Guitarfishes are somewhat between sharks and rays, displaying characteristics of both (though they are classified as rays).
This photo was taken on the famous Manta ray night dive in Kona, Hawaii. what an incredible dive! We saw over 20 different mantas. Many thanks to Kona Hona divers.
Cinefantastique Mag. Vol.3 # 2
The Golden Voyage of Sinbad 1973
CAST:
John Philip Law (Sinbad), Tom Baker (Koura), Douglas Wilmer (The Grand Vizier), Caroline Munro (Marigiana), Martin Shaw (Rachid), Kurt Christian (Haroun), Takis Emmanuel (Achmed)
PRODUCTION:
Director – Gordon Hessler, Screenplay – Brian Clemens, Story – Brian Clemens & Ray Harryhausen, Producers – Ray Harryhausen & Charles H. Schneer, Photography – Ted Moore, Music – Miklos Rosza, Visual Effects – Ray Harryhausen, Production Design – John Stoll. Production Company – Morningside. USA 1973
SYNOPSIS:
Sinbad fires an arrow at a strange creature that flies over his ship, causing it to drop the amulet it is carrying. Ashore, the sorcerer Koura attempts to forcibly take the amulet from Sinbad. Sinbad is granted refuge by the benevolent ruler of the city, the Grand Vizier, who has been forced to hide his face behind a beaten gold mask after Koura burnt it with a fireball. The Vizier shows Sinbad a companion amulet and the drawing of a third one. All three form a map that leads to a fountain of youth on the island of Lemuria. With the complete amulet, The Grand Vizier will be able to stop Koura’s ravages on the kingdom. And so Sinbad and the Vizier set sail on an expedition to Lemuria. However, Koura desires the amulet too, wanting to regain the youth that each spell he casts steals from him, and sets sail determined to stop them.
COMMENTARY:
The 7th Voyage of Sinbad (1958) was a landmark in fantasy cinema. It was often imitated over the next decade. Most importantly, it brought to prominence the name of special effects man Ray Harryhausen and his fantastical creatures. Ray Harryhausen was a specialist in the process of stop-motion animation where models are meticulously moved and photographed one frame at a time. Harryhausen went onto a substantial career over the next two decades, creating similar flights of fantasy. (See below for Ray Harryhausen’s other films). He would revisit the Sinbad mythos twice, here and later with the disappointing Sinbad and the Eye of the Tiger (1977). The Golden Voyage of Sinbad is one of Ray Harryhausen’s most acclaimed works and one that shows him at the height of his art.
With The Golden Voyage of Sinbad, Ray Harryhausen employed director Gordon Hessler, who emerged out of the English horror cycle in the late 1960s (see below for Gordon Hessler’s other titles) and Brian Clemens on script. Brian Clemens had worked as script editor on tv’s The Avengers (1962-9), wrote a number of films during the English horror cycle and went on to create series such as The New Avengers (1976-8), The Professionals (1977-83) and Bugs (1995-8). (See below also for Brian Clemens’s other titles). Most Ray Harryhausen films tend to be set around Harryhausen’s provision of creature effects, with the intervening action being stolid and his leading men tending to a uniform woodenness. Although the dialogue here has a tendency to fall in clunky pseudo-profound aphorisms at times, Brian Clemens creates probably one of the more nuanced scripts for any Ray Harryhausen film. Particularly original is the character of the sorcerer Koura who ages every time he casts a spell.
Brian Clemens and Ray Harryhausen also plunder world mythology somewhat indiscriminately, ending up with what often seems a peculiar multi-cultural polyglot – there is Kali from Hindu religion, a griffin and combination centaur/cyclops from the Greek myths, the homunculus from mediaeval alchemy, Lemuria (an idea that was posited by biologist Ernst Haeckel in the 1870s, preceding the notion of continental drift, of a sunken land in order to explain how lemurs managed to get between Africa and India and one that was quickly appropriated by the 19th Century Theosophist movement), and of course the backdrop from the Arabian Nights cycle. This is the less important than the spectacular beauty of Ray Harryhausen’s various set-pieces which, by this time, were at the absolute peak of their form. Harryhausen offers us a six-armed statue of Kali brought to life in a sword-duel; a to-the-death battle between a griffin and a cyclopean centaur; a magically animated ship’s figurehead; and, best of all, the homunculus that Tom Baker brings to life, teasing and prodding it, as it lies pinned to a table.
The Golden Voyage of Sinbad is also notable for many of the up-and-coming stars. There is Tom Baker who, the following year, would become the fourth incarnation of tv’s Doctor Who (1963-89); cult queen Caroline Munro; and Martin Shaw, later hunk hero of Clemens’ superior action man tv show The Professionals.
Ray Harryhausen’s other films are:– The Beast from 20,000 Fathoms (1953), the granddaddy of all atomic monster films; the giant atomic octopus film It Came from Beneath the Sea (1955); the alien invader film Earth Vs. The Flying Saucers (1956); the alien monster film 20 Million Miles to Earth (1957); The 7th Voyage of Sinbad (1958); The 3 Worlds of Gulliver (1960); the Jules Verne adaptation Mysterious Island (1961); the Greek myth adventure Jason and the Argonauts (1963); the H.G. Wells adaptation The First Men in the Moon (1964); the caveman vs dinosaurs epic One Million Years B.C. (1966); the dinosaur film The Valley of Gwangi (1969); Sinbad and the Eye of the Tiger (1977); and the Greek myth adventure Clash of the Titans (1981).
Brian Clemens’s other scripts are:– The Tell-Tale Heart (1960), Curse of the Voodoo/Curse of Simba (1965), And Soon the Darkness (1970), See No Evil/Blind Terror (1971), Dr Jekyll and Sister Hyde (1971), the Disney ghost story The Watcher in the Woods (1980) and Highlander II: The Quickening (1991). Clemens also wrote and directed Hammer’s Captain Kronos – Vampire Hunter (1972). He has acted as script editor and producer on the tv series’ The Avengers, The New Avengers, The Professionals and Bugs.
Gordon Hessler’s other films are:– Scream and Scream Again (1969), The Oblong Box (1969), Cry of the Banshee (1970), Murders in the Rue Morgue (1971), Kiss Meets the Phantom/Kiss in the Attack of the Phantom (1978) and The Girl in a Swing (1988)
REVIEW: Richard Scheib
The main attraction would Kranxx's rocket bike. The SP cruiser was an after thought and I'm still not proud of it but I lack the inspiration to redo it.
Lightbulbs in X-ray all in a row.
Images taken as part of our exhibit about the electromagnetic spectrum with Adventure Science Center.
© Ideum & Adventure Science Center
TNT grocery on Grand Park Drive uses these lamps on its exterior and I've always been fascinated by the way the light illuminates.
We met Ray as we were wandering through the small hamlet of Wapanucka, OK. When I was a kid, I used to visit family here and play on the even-then quiet streets, explore the old, abandoned high school with my dad, and enjoy great feasts prepared by all of the relatives. Unfortunately, these relatives are either dead or have moved away, so I haven't been back to Wapanucka in about 12 years. It was sad to see that all of the downtown is abandoned now, the old high school that my dad and I spent hours exploring has been torn down, and the only sign of bustling life seems to be the corner convenience store/restaurant/gas station at the intersection of two rural highways.
This is where we met Ray. He was driving around town in his jadite green 30's Ford truck and stopped at the convenience store at the same time we did. As droplets of rain began to fall, we started talking about his beautifully restored truck (photos of that tomorrow), and I asked him if he knew any of my family who grew up here. He immediately recognized my grandfather's name and said that they played together often as kids. My grandfather was the one who broke up fights and kept the order among their gaggle of unruly boys, he said, and I believe it (my grandfather later became a teacher and served a very long term as chief of the Chickasaw Nation -- really!).
Ray then told us about the girlfriend he had from the first day of elementary school all the way through high school graduation. They didn't marry because she moved away after graduation, but they often meet up at high school reunions (their 60th was a few years ago!) and share memories of life in their beloved, but now quietly dying small town. While she moved away, Ray remained in the Wapanucka area, married, had kids, and has enjoyed a great life, he says with a wide grin on his face.
What more can you ask for in life than that?
And, if you want to read a little about my grandfather, go here:
www.chickasaw.net/hof/inductees/gov-overton-james.htm
This is photo #24 in my 100 Strangers Project. To learn more about it, go here: www.flickr.com/groups/100strangers/
For this magazine cover from November 1993, David Carson used letters from Roman Cieślewicz’s surrealist alphabet, commissioned by Claude Tchou for Guide de la France Mystérieuse in 1964.