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Salida Smokestack. The tall brick smokestack just west of Salida is the most visible reminder of the smelting industry that once employed thousands of workers most of whom lived nearby in Smeltertown. The Ohio-Colorado Smelting and Refining Company operated the smelter from 1902 until 1920.
One of those photos that wasn't ever really supposed to be anything. I was shooting through a test roll at work. It was a roll of Kodak VPL that had expired in the early 1980s and I had it in a consignment Mamiya C220. The goal was the exposed film, not to test the camera. Our darkroom at work has separate, special chemical lines geared toward developing old color film, both C-41 and C-22. Color film from the early 80s though has proven some of the tougher C-41 film to get consistent results from, so we are always doing test rolls to tweak the chemistry and see if we can refine it. Truth be told, it has gotten pretty good. It won't rewind time and undo letting the film cook for 30 years in a hot attic, but it definitely can help.
Anyway, I didn't have too much invested in this roll, I was just making exposures. Whenever I do test rolls I try to keep it somewhat interesting, to find that balance between making the same exposure across that whole roll and making an art project out of it that doesn't get done nearly quick enough.
So I got to the last two exposure and I was tempted just to wind through and unload the roll, how important were those last two exposures after all? But the photographer in me loathed wasting the film, even if it was 40 year old expired color film. So I spotted my co-worker Young David (not his given, legal name) and had him lean down to bring his face closer to my view through the waist level finder. And then I fired off the last two frames, this being one of them.
VPL is a tungsten balanced film, so it naturally has a blue cast. I was not really thinking about that when I made this image, but the film's color palette lent itself well to David's shirt and eyes.
Anyway, not a photo that was really meant to be anything but one that turned into something I quite liked.
Mamiya C220
Kodak VPL
12.6.2021.
Statfold Barn Railway.
Hudswell Clarke (Leeds) 0-6-0 No 972 'Fiji' climbs to Statfold Junction with an afternoon passenger train.
Built in 1911 specifically to work in the sugar cane fields on the 2'- 0" gauge rail system of the Colonial Sugar Refining (CSR) Company Ltd in Fiji.
People will forget what you said,
people will forget what you did,
but people will never forget
how you made them feel.
- Maya Angelou
This painting was made on an iPad Pro, with an Apple Pencil, using iColorama and Procreate. I moved back and forth, between these two apps, layering, compositing, masking, painting and refining color relationships. I saved versions as PNGs, to maintain image quality, and I tried to utilize the strengths of each app. Eventually, I arrived at at a moment of peace, when I feel harmony in what I have done. In this, it took several days, and several temporary conclusions, before I reached the end.
What I love about working in digital media, is that I can test ideas, change my mind, move in different directions, with so many choices. It is so nimble! It is, also, compelling, and exhausting. I miss the mandatory reflection time in having to weigh and imagine visual choices, and in literally having to wait for paint to dry, with natural media.
I had been working on a portrait for Claude Panneton, which took much longer than usual, and was relieved, satisfied, and happy to think it was finished. He is a mobile art friend, whose work I respect completely. I used several of his images, some of my own elements, and found images – an old Japanese print of fishes, textures, a butterfly etc. The first version, had a full portrait of Claude on the right side, and as often happens, I later realized that I liked the depth and magic of the background, on the left side, better than the fully realized foreground focus of the "subject".
I was selecting images for a competition, which a friend talked me into entering. Having asked Claude's permission, I was preparing to submit the piece. Out of the blue, I remembered a 2nd century A.D. doll, found in a sarcophagus of an 8 year old girl, in Rome. The doll was ivory. I had saved the image to a "someday" folder, a while ago, because she drew me – the sweetness and the sadness. Then, it is as if she had to be seen, urgently. After more hours of painting, masking and layering, she arrived, large, in color, renewed, clothed, and striding as if from her own vision, somber, thoughtful, and about to free herself from the puppeteer's strings. The articulated 2nd century doll came to life, becoming real, to me, as our dolls do, when we are children.
This one rare doll, survived, loved by a child who died more than 2000 years ago, and whose family had the grace to put her to rest, with love, with her toy. I felt respect for the maker of the doll, also, for the care and craftsmanship in her. The doll emerges, in this image, from fragments of dreams – doll becoming puppet-spirit – dwarfing the puppeteer. I felt a bridge of love.
I submitted the piece, in that state, to the competition, then, went on to work with it, for another full day. I was completely unaware of time, tweaking texture and tone until it arrived here. I had no good reason for doing this, other than being curious about where it would take me. I am as surprised as anyone.
What do these elements have in common –
Claude Panneton's eyes, puppeteers, Japanese prints of fish, a 2nd century A.D. ivory doll, a piece of a musical score, a butterfly, abstract space, textures, and colors?
For me, it is about connecting to love and beauty, pausing to reflect and appreciate the very non-linear ways our imaginations can bring the humanity of past into the present moment. It is humbling, challenging, and elevating, I stand in awe of the possibilities.
Willemstad is the capital city of Curaçao, an island in the southern Caribbean Sea that forms a constituent country of the Kingdom of the Netherlands. Formerly the capital of the Netherlands Antilles prior to its dissolution in 2010, it has an estimated population of 150,000. The historic centre of the city consists of four quarters: the Punda and Otrobanda, which are separated by the Sint Anna Bay, an inlet that leads into the large natural harbour called the Schottegat, as well as the Scharloo and Pietermaai Smal quarters, which are across from each other on the smaller Waaigat harbour. Willemstad is home to the Curaçao synagogue, the oldest surviving synagogue in the Americas. The city centre, with its unique architecture and harbour entry, has been designated a UNESCO World Heritage Site.
Insel Air, the national airline of Curaçao, had its corporate head office in Maduro Plaza.
Tourism is a major industry and the city has several casinos. The city centre of Willemstad has an array of colonial architecture that is influenced by Dutch styles. Archaeological research has also been developed there.
Owing to its location near the Venezuelan oilfields, its political stability and its natural deep water harbour, Willemstad became the site of an important seaport and refinery. Willemstad's harbour is one of the largest oil handling ports in the Caribbean. The refinery, at one point the largest in the world, was originally built and owned by Royal Dutch Shell in 1915.
The four companies comprising the Royal Dutch Shell refining operation; the actual refinery, oil bunkering, the tugboat company (KTK) and the local distribution of refined products (CurOli/Gas) were each sold to the government of Curaçao in 1985 for the symbolic sum of one guilder per company, or a total of 4 guilders and is now leased to PDVSA, the state owned Venezuelan oil company. Schlumberger, the world's largest oil field services company is incorporated in Willemstad.
Numerous financial institutions are incorporated in Willemstad due to Curaçao's favourable tax policies.
The Avalon University School of Medicine is located in Willemstad. The Caribbean Medical University is also located in Willemstad, close to the city centre.
Major League Baseball players Jair Jurrjens, Wladimir Balentien, Jurickson Profar, Andruw Jones, Ozzie Albies, Kenley Jansen and Jonathan Schoop are from Willemstad.
Pabao Little League has appeared in five Little League World Series, winning in 2004. They were crowned the International Champions in 2019 after a victory over Japan. They were defeated 8-0 in the World Championship by River Ridge, Louisiana. In 2008, another Pabao Little League team won the Junior League World Series, after winning the Latin America Region, then defeating the Asia-Pacific Region and Mexico Region champions to become the International champion, and finally defeating the U.S. champion (West Region), Hilo American/National LL (Hilo, Hawaii), 5-2.
Willemstad is served by Curaçao International Airport, located 12 kilometres (7.5 mi) north of the city, which is annually used by about two million passengers.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Willemstad
© All Rights Reserved - you may not use this image in any form without my prior permission.
My 5th and final entry for round 2 of the Iron Forge, inspired by Eero Okkonen’s incredible brick-built figures. I had the idea to use the wrenches for a tattered cloak early on in the week, but wasn’t entirely sure how to pull it off. After building several other entries, I decided to give it a go and see how it went – so Thursday morning I started work on it, thinking the deadline was Saturday afternoon. However, after realizing that the deadline was in fact Friday afternoon, I was a bit panicked that I wouldn’t be able to get it done in time. Fortunately, it came all came together well today. There are still a few things I would refine if I had more time, but overall I’m happy with the result.
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Refining hundreds of years ago was far from present processes and therefore there is a lot of copper left in the slag. The enormous heaps are part of the UNESCO heritage listing, but before that , people wanted to process them
to get the copper. Copper ore made possible a more than 3oo years mining venture beginning about 1645. Today Røros mining town is on Unesco's heritage list.
On this particular morning a few weeks ago, it was cold, very cold if you value your fingers, (-12C/10F), and the air was dead still. At this time shore ice had not yet formed and only slight ice build-up had formed on the piles of the remains of the groynes used to stabilize the beach and minimize erosion. But the sky was filled with some great clouds. I got down low and hand-held the camera just above the wet sand (bubble level attached to help me keep the camera level), shot very wide and this is the result. Along the horizon you can see dark dots. It is a bit hard to see at the posting size but these are very large numbers of Canada Geese that seem to call this area home. A cloudscape at Fifty Point/Kelson Beach at the West boundary of Grimsby, Ontario looking North over Lake Ontario. - JW
Date Taken: 2017-12-28
Tech Details:
Taken using a hand-held Nikon D7100 fitted with an AF Nikkor 12-24mm lense set to 12mm, ISO100, Auto WB, Shutter Priority mode, f/4.0, 1/800 sec with an EV+1.33 exposure bias. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set image final dimensions to 9000x6000, adjust exposure to -0.33 stops below (darker than) as-shot, very slightly increase contrast and Chromaticity in L-A-B mode, very lightly increase vibrance, sharpen, save. PP in free Open Source GIMP: very slightly refine overall tonality using the tone curve tool (it was nearly dead-on as-shot so all this was just extremely minor refinement), sharpen, save, scale image to 6000x4000, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 1800 wide for posting, sharpen slightly, save.
This picture of an idyllic scene, a tiny village from across a body of water with hills in the background, gives a romantic view of Ireland at the turn of the 20th century. It puts a gloss over the hardship and poverty of rural Ireland at that time. With that cheerful note, we can look forward to the end of September and the start of October at the weekend!
With subject and location already established here, some of today's investigations focused on dates. The general consensus is that (based on the family businesses pictured) the image may have been taken close to the 1901 or 1911 censuses. Perhaps even c.1906/1907 when we know the French/Lawrence were in the area seemingly overlapping with a visiting tourist bus. Whether or not we can refine it to the turn of the century, it seems likely to have been taken in the later decades of the 50-year catalogue range...
Photographer: Robert French
Collection: Lawrence Photograph Collection
Date: c.1865-1914 (though possibly c.1900 per notes)
NLI Ref: L_CAB_00346
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Chimneys, smokestacks, and flues huddled together at the Montana Refining Company refinery in Great Falls, Montana.
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PHILIPPINE SEA (June 4, 2022) An MH-60S Sea Hawk, assigned to the "Golden Falcons" of Helicopter Sea Combat Squadron (HSC) 12, an MH-60R assigned to the "Saberhawks" of Helicopter Maritime Strike Squadron (HSM) 77, and a Republic of Korea (ROK) Navy Lynx helicopter fly in formation over Navy’s only forward-deployed aircraft carrier USS Ronald Reagan (CVN 76), along with Carrier Strike Group 5 and Republic of Korea Navy ships, during Carrier Strike Group Exercise 2022. Carrier Strike Group Exercise is a bilateral exercise between the U.S. Navy and Republic of Korea Navy. This exercise allows our navies to refine operations and engagement to strengthen future cooperation while supporting the alliance that remains vital to the security interests of both nations and to stability in Northeast Asia. (U.S. Navy photo by Mass Communication Specialist Seaman Natasha ChevalierLosada)
The Illinois Street warehouse/shop of the United States Smelting, Refining and Mining Company. Fairbanks Alaska. ca. 1985.
The USSRM provided equipment to its subsidiary the Fairbanks Exploration Company (F.E. Co) in support of gold mining operations outside of Fairbanks in the middle part of the last century.
www.asme.org/about-asme/engineering-history/landmarks/113...
Friday Flashback.
Tri-X 400, Minolta SRT.
I will tweak this style a little but have been wanting to use this fabric for something like this for a while :)
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are just a short distance from Cavendish Mews, at Mr. Willison’s grocers’ shop. Willison’s Grocers in Mayfair is where Lettice has an account, and it is from here that Edith, Lettice's maid, orders her groceries for the Cavendish Mews flat, except on special occasions like the soirée that Lettice threw for Dickie and Margot Channon’s engagement, when professional London caterers are used. Mr. Willison prides himself in having a genteel, upper-class clientele including the households of many titled aristocrats who have houses and flats in the neighbourhood, and he makes sure that his shop is always tidy, his shelves well stocked with anything the cook of a duke or duchess may want, and staff who are polite and mannerly to all his important customers. The latter is not too difficult, for aside from himself, Mrs. Willison does his books, his daughter Henrietta helps on Saturdays and sometimes after she has finished school, which means Mr. Willison technically only employs one member of staff: Frank Leadbetter his delivery boy who carries orders about Mayfair on the bicycle provided for him by Mr. Willison. He also collects payments for accounts which are not settled in his Binney Street shop whilst on his rounds.
Lettice’s maid, Edith, is stepping out with Frank, and to date since he rather awkwardly suggested the idea to her in the kitchen of the Cavendish Mews flat, the pair has spent every Sunday afternoon together, going to see the latest moving pictures at the Premier in East Ham*, dancing at the Hammersmith Palais or walking in one of London’s many parks. They even spent Easter Monday at the fair held on Hampstead Heath***. Whilst Lettice is away in Cornwall selecting furniture from Dickie and Margot’s Penzance country house, ‘Chi an Treth’, to be re-purposed, Edith is taking advantage of a little more free time and has come to Willison’s Grocers under the pre-text of running an errand in the hope of seeing Frank. The bell rings cheerily as she opens the plate glass door with Mr. Willison’s name painted in neat gilt lettering upon it. Stepping across the threshold she immediately smells the mixture of comforting smells of fresh fruits, vegetables and flour, permeated by the delicious scent of the brightly coloured boiled sweets coming from the large cork stoppered jars on the shop counter. The sounds of the busy street outside die away, muffled by shelves lined with any number of tinned goods and signs advertising everything from Lyon’s Tea**** to Bovril*****.
“Miss Watsford!” exclaims Mr. Willison’s wife as she peers up from her spot behind the end of the return counter near the door where she sits doing her husband’s accounts. “We don’t often have the pleasure.”
Edith looks up, unnerved, at the proprietor’s wife and bookkeeper, her upswept hairstyle as old fashioned as her high necked starched shirtwaister****** blouse down the front of which runs a long string of faceted bluish black beads. “Yes,” Edith smiles awkwardly. “I… I have, err… that is to say I forgot to give Fr… err, Mr. Leadbeater my grocery list when he visited the other day.”
“Oh?” Mrs. Willison queries. “I could have sworn that we had it.” She starts fussing through a pile of papers distractedly. “That isn’t like you Miss Watsford. You’re usually so well organised.”
“Well,” Edith thinks quickly. “It… it isn’t really the list. It’s just that I left a few things off. Miss Chetwynd… well, you see she fancies…”
“Oh, well give me the additions, Miss Watsford,” Mrs. Willison thrusts out her hand efficiently, the frothy white lace of her sleeve dancing around her wrist. “And I’ll see to it that they are added to your next delivery. We don’t want the Honourable Miss Chetwynd to go without, now do we?”
With a shaky hand Edith reluctantly hands over her list of a few extra provisions that aren’t really required, especially with her mistress being away for a few days. As she does, she glances around the cluttered and dim shop hopefully.
“Will there be anything else, Miss Watsford?” Mrs. Willison asks curtly.
“Err… yes.” Edith stammers, but falls silent as she continues to look in desperation around the shop.
Mrs. Willison suspiciously eyes the slender and pretty domestic through her pince-nez*******. She scrutinises Edith’s fashionable plum coloured frock with the pretty lace collar. The hem of the skirt is following the current style and sits higher than any of Mrs. Willison’s own dresses and it reveals Edith’s shapely stockinged calves. She wears her black straw cloche decorated with purple silk roses and black feathers over her neatly pinned chignon. “Is that a few frock, Miss Watsford?” the grocer’s wife continues.
“Ahh, yes it is, Mrs. Willison. I made it myself from scratch with a dress pattern from Fashion for All********,” Edith replies proudly, giving a little twirl that sends her calf length skirt flaring out prettily, and Mrs. Willison’s eyebrows arching with disapproval as the young girl reveals even more of her legs as she does. “Do you like it?”
“You seem a little dressed up to run an errand here, Miss Watsford.” Mrs. Willison says with bristling disapprobation.
“Well, I… I err… I do have some letters to post too, Mrs. Willison,” Edith withdraws two letters from her wicker basket and holds them up in her lilac glove clad hand.
“Well, we mustn’t keep you from your errand, now must we, Miss Watsford? Now what else did you require before you leave?” the older woman emphasises the last word in her sentence to make clear her opinion about young girls cluttering up her husband’s shop.
“An apple.” Edith says, suddenly struck with inspiration. “I’d like an apple for the journey, Mrs. Willison.”
“Very good, Miss Watsford.” the older woman starts to move off her stool. “I’ll fetch…”
“No need, Mrs. Willison!” Frank’s cheerful voice pipes up as he appears from behind a display of tinned goods. “I’ll take care of Miss Watsford. That’s what I’m here for. You just stay right there Mrs. Willison. Right this way, Miss Watsford.” He ushers her with a sweeping gesture towards the boxes of fresh fruit displayed near the cash register.
“Oh Fran…” Edith catches herself uttering Frank’s given name, quickly correcting herself. “Err… thank you, Mr. Leadbetter.”
Mrs. Willison lowers herself back into her seat, all the while eyeing the pair of young people critically as they move across the shop floor together, their heads boughed conspiratorially close, a sense of overfamiliarity about their body language. She frowns, the folds and furrows of her brow eventuated. Then she sighs and returns to the numbers in her ledger.
“What are you doing here, Edith?” Frank whispers to his sweetheart quietly, yet with evident delight in his voice.
“Miss Lettice is away down in Cornwall on business, so I thought I’d stop in on my way through in the hope of seeing you, Frank.” She glances momentarily over her shoulder. “Then Mrs. Willison greeted me. I thought I was going to get stuck with the disapproving old trout and not see you.”
“The weather looks good for Sunday, Edith. It’s supposed to be sunny. Shall we go to Regent’s Park and feed the ducks if it is?”
“Oh, yes!” Edith clasps her hands in delight, her gloves muffling the sound. “Maybe there will be a band playing in the rotunda.”
“If there is, I’ll hire us a couple of deck chairs and we can listen to them play all afternoon in the sunshine.”
“That sounds wonderful, Frank.”
“Well,” pronounces Frank loudly as the stand over the wooden tray of red and golden yellow apples. “This looks like a nice juicy one, Miss Watsford.”
“Yes,” Edith replies in equally clear tones. “I think I’ll have that one, Mr. Leadbeater.”
“Very good, Miss Watsford. I’ll pop it into a paper bag for you.”
“Oh, don’t bother Fr… Mr. Leadbeater. I’ll put it in my basket.”
Frank takes the apple and walks back around the counter to the gleaming brass cash register surrounded by jars of boiled sweets. “That will be tuppence please, Miss Watsford.” He enters the tally into the noisy register, causing the cash draw to spring open with a clunk and the rattle of coins rubbing against one another with the movement.
Edith hooks her umbrella over the edge of the counter, pulls off her gloves and fishes around in her green handbag before withdrawing her small leather coin purse from which she takes out tuppence which she hands over to Frank.
“Here,” Frank says after he deposits her money and pushes the drawer of the register closed. He slides a small purple and gold box discreetly across the counter.
Edith gasps as she looks at the beautifully decorated box featuring a lady with cascading auburn hair highlighted with gold ribbons, a creamy face and décollétage sporting a frothy white gown and gold necklace. She traces the embossed gold lettering on the box’s lid. “Gainsborough Dubarry Milk Chocolates!”
“Can’t have my girl come all this way to see me and not come away with a gift.” Frank whispers with a beaming smile dancing across his face.
“Seeing you is gift enough, Frank.” Edith blushes.
“Ahem!” Mrs. Willison clears her throat from the other end of the shop. “Will they be going on the Honourable Miss Chetwynd’s account, Frank?” she asks with a severe look directly at her husband’s employee.
“Um… no Mrs. Willison. Don’t worry. I’ll be paying for them.” Frank announces loudly. Bending his head closer to Edith, he whispers, “I can see why Mr. Willison has her in here when he isn’t. You can’t get away with anything without her knowing: ghastly old trout.”
Edith giggles as she puts the small box of chocolates and the apple into her basket. “I’ll save them for Sunday.” she says with a smile. “We can share them whilst we listen to the band from our deckchairs.”
Frank smile broadens even more. “Righty-ho, Edith.”
“Righty-ho, Frank.”
“Well, as I was saying, Miss Watsford,” Mrs. Willison pronounces from her stool. “We mustn’t keep you from your errands. I’m sure you have a lot to do, and it is almost midday already.”
“Yes indeed, Mrs. Willison.” Edith agrees, unable to keep the reluctance out of her voice. “I really should be getting along. Well, goodbye Mr. Leadbeater. Thank you for your assistance.” She then lowers her voice as she says, “See you Sunday.”
Both Frank and Mrs. Willison watch as the young lady leaves the shop the way she came, by the front door, a spring in her step and a satisfied smile on her face, her basket, umbrella and handbag slung over her arm.
“Frank!”
Frank cringes as Mrs. Willison calls his name. Turning around he sees her striding with purpose behind the counter towards him, wending her way through the obstacle course of stacks of tins and jars of produce, hessian sacks of fresh vegetables and fruits and boxes of bottles.
“Yes, Mrs Willison?”
“Frank,” she says disappointingly. “I can’t stop you from stepping out with a girl in your own time,” She comes to a halt before him, domineering over him with her topknot, her arms akimbo. “And I’d say the Honourable Miss Chetwynd is foolishly modern enough to let you take her maid out on Sundays.” She looks at him with disapproving eyes. “However, I’d be much obliged if you kept your dalliances to your own time, and kindly keep them out of my husband’s establishment during business hours!”
“Yes Mrs. Willison!” Frank replies, sighing gratefully, now knowing that he isn’t going to be given notice for chatting with Edith during work hours.
“And I’ll make an adjustment to your wages this week for the chocolates.” she adds crisply.
“Yes Mrs. Willison.” Frank nods before hurrying away back to the stock room.
*The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
**The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
***Hampstead Heath (locally known simply as the Heath) is a large, ancient London heath, covering 320 hectares (790 acres). This grassy public space sits astride a sandy ridge, one of the highest points in London, running from Hampstead to Highgate, which rests on a band of London Clay. The heath is rambling and hilly, embracing ponds, recent and ancient woodlands, a lido, playgrounds, and a training track, and it adjoins the former stately home of Kenwood House and its estate. The south-east part of the heath is Parliament Hill, from which the view over London is protected by law.
****Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J. Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in Britain, Ireland and around the world. In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J. Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England.
*****Bovril is owned and distributed by Unilever UK. Its appearance is similar to Marmite and Vegemite. Bovril can be made into a drink ("beef tea") by diluting with hot water or, less commonly, with milk. It can be used as a flavouring for soups, broth, stews or porridge, or as a spread, especially on toast in a similar fashion to Marmite and Vegemite.
******A shirtwaister is a woman's dress with a seam at the waist, its bodice incorporating a collar and button fastening in the style of a shirt which gained popularity with women entering the workforce to do clerical work in the late Nineteenth and early Twentieth Centuries.
*******Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".
********”Fashion for All” was one of the many women’s magazines that were published in the exuberant inter-war years which were aimed at young girls who were looking to better their chances of finding a husband through beauty and fashion. As most working-class girls could only imagine buying fashionable frocks from high street shops, there was a great appetite for dressmaking patterns so they could dress fashionably at a fraction of the cost, by making their own dresses using skills they learned at home.
This cluttered, yet cheerful Edwardian shop is not all it seems to be at first glance, for it is made up of part of my 1:12 size dollhouse miniatures collection. Some pieces come from my own childhood. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Fun things to look for in this tableau include:
Central to the conclusion of our story is the dainty box of Gainsborough Dubarry Milk Chocolates. This beautifully printed confectionary box comes from Shepherd’s Miniatures in the United Kingdom. Starting in the Edwardian era, confectioners began to design attractive looking boxes for their chocolate selections so that they could sell confectionary at a premium, as the boxes were often beautifully designed and well made so that they might be kept as a keepsake. A war erupted in Britain between the major confectioners to try and dominate what was already a competitive market. You might recognise the shade of purple of the box as being Cadbury purple, and if you did, you would be correct, although this range was not marketed as Cadbury’s, but rather Gainsborough’s, paying tribute to the market town of Gainsborough in Lincolnshire, where Rose Bothers manufactured and supplied machines that wrapped chocolates. The Rose Brothers are the people for whom Cadbury’s Roses chocolates are named.
Also on the shop counter is an apple which is very realistic looking. Made of polymer clay it is made by a 1:12 miniature specialist in Germany. The brightly shining cash register, probably polished by Frank, was supplied by Beautifully Handmade Miniatures in Kettering in the United Kingdom. The cylindrical jars, made of real spun glass with proper removable cork stoppers which contain “sweets” I acquired as a teenager from an auction as part of a larger lot of miniature items. Edith’s lilac coloured gloves are made of real kid leather and along with the envelopes are artisan pieces that I acquired from Doreen Jeffries’ Small Wonders Miniatures in the United Kingdom. Edith’s green leather handbag I acquired as part of a larger collection of 1:12 artistan miniature hats, bags and accessories I bought from an American miniature collector Marilyn Bickel. The umbrella comes from Melody Jane’s Doll House Suppliers in the United Kingdom. Edith’s basket I acquired as part of a larger lot of 1:12 miniatures from an E-Bay seller in America.
The packed shelves you can see in the background is in fact a Welsh dresser that I have had since I was a child, which I have repurposed for this shot. You can see the dresser more clearly in other images used in this series when Edith visits her parent’s home in Harlesden. The shelves themselves are full of 1:12 artisan miniatures with amazing attention to detail as regards the labels of different foods. Some are still household names today. So many of these packets and tins of various foods would have been household staples in the 1920s when canning and preservation revolutinised domestic cookery. They come from various different suppliers including Shepherds Miniatures in the United Kingdom, Kathleen Knight’s Doll House in the United Kingdom, Beautifully Handmade Miniatures in Kettering and Little Things Dollhouse Miniatures in Lancashire. Items on the shelves include: Tate and Lyall Golden Syrup, Lyall’s Golden Treacle, Peter Leech and Sons Golden Syrup, P.C. Flett and Company jams, Golden Shred and Silver Shred Marmalades, Chiver’s Jelly Crystals, Rowtree’s Table Jelly, Bird’s Custard Powder, Bird’s Blancmange Powder, Coleman’s Mustard, Queen’s Gravy Salts, Bisto Gravy Powder, Huntly and Palmers biscuits, Lyon’s Tea and Typhoo Tea.
In 1859 Henry Tate went into partnership with John Wright, a sugar refiner based at Manesty Lane, Liverpool. Their partnership ended in 1869 and John’s two sons, Alfred and Edwin joined the business forming Henry Tate and Sons. A new refinery in Love Lane, Liverpool was opened in 1872. In 1921 Henry Tate and Sons and Abram Lyle and Sons merged, between them refining around fifty percent of the UK’s sugar. A tactical merger, this new company would then become a coherent force on the sugar market in anticipation of competition from foreign sugar returning to its pre-war strength. Tate and Lyle are perhaps best known for producing Lyle’s Golden Syrup and Lyle’s Golden Treacle.
Peter Leech and Sons was a grocers that operated out of Lowther Street in Whitehaven from the 1880s. They had a large range of tinned goods that they sold including coffee, tea, tinned salmon and golden syrup. They were admired for their particularly attractive labelling. I do not know exactly when they ceased production, but I believe it may have happened just before the Second World War.
P.C. Flett and Company was established in Kirkwall in the Orkney Islands by Peter Copeland Flett. He had inherited a small family owned ironmongers in Albert Street Kirkwall, which he inherited from his maternal family. He had a shed in the back of the shop where he made ginger ale, lemonade, jams and preserves from local produce. By the 1920s they had an office in Liverpool, and travelling representatives selling jams and preserves around Great Britain. I am not sure when the business ceased trading.
Golden Shred orange marmalade and Silver Shred lime marmalade still exist today and are common household brands both in Britain and Australia. They are produced by Robertson’s. Robertson’s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson’s Silver Shred is a clear, tangy, lemon flavoured shredded marmalade. Robertson’s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.
Chivers is an Irish brand of jams and preserves. For a large part of the Twentieth Century Chivers and Sons was Britain's leading preserves manufacturer. Originally market gardeners in Cambridgeshire in 1873 after an exceptional harvest, Stephen Chivers entrepreneurial sons convinced their father to let them make their first batch of jam in a barn off Milton Road, Impington. By 1875 the Victoria Works had been opened next to Histon railway station to improve the manufacture of jam and they produced stone jars containing two, four or six pounds of jam, with glass jars first used in 1885. In around 1885 they had 150 employees. Over the next decade they added marmalade to their offering which allowed them to employ year-round staff, rather than seasonal workers at harvest time. This was followed by their clear dessert jelly (1889), and then lemonade, mincemeat, custard powder, and Christmas puddings. By 1896 the family owned 500 acres of orchards. They began selling their products in cans in 1895, and the rapid growth in demand was overseen by Charles Lack, their chief engineer, who developed the most efficient canning machinery in Europe and by the end of the century Chivers had become one of the largest manufacturers of preserves in the world. He later added a variety of machines for sorting, can making, vacuum-caps and sterilisation that helped retain Chivers' advantage over its rivals well into the Twentieth Century. By the turn of the century the factory was entirely self-sufficient, growing all its own fruit, and supplying its own water and electricity. The factory made its own cans, but also contained a sawmill, blacksmiths, coopers, carpenters, paint shop, builders and basket makers. On the 14th of March 1901 the company was registered as S. Chivers and Sons. By 1939 there were over 3,000 full-time employees, with offices in East Anglia as well as additional factories in Montrose, Newry and Huntingdon, and the company owned almost 8,000 acres of farms. The company's farms were each run independently, and grew cereal and raised pedigree livestock as well as the fruit for which they were known.
Founded by Henry Isaac Rowntree in Castlegate in York in 1862, Rowntree's developed strong associations with Quaker philanthropy. Throughout much of the Nineteenth and Twentieth centuries, it was one of the big three confectionery manufacturers in the United Kingdom, alongside Cadbury and Fry, both also founded by Quakers. In 1981, Rowntree's received the Queen's Award for Enterprise for outstanding contribution to international trade. In 1988, when the company was acquired by Nestlé, it was the fourth-largest confectionery manufacturer in the world. The Rowntree brand continues to be used to market Nestlé's jelly sweet brands, such as Fruit Pastilles and Fruit Gums, and is still based in York.
Bird’s were best known for making custard and Bird’s Custard is still a common household name, although they produced other desserts beyond custard, including the blancmange. They also made Bird’s Golden Raising Powder – their brand of baking powder. Bird’s Custard was first formulated and first cooked by Alfred Bird in 1837 at his chemist shop in Birmingham. He developed the recipe because his wife was allergic to eggs, the key ingredient used to thicken traditional custard. The Birds continued to serve real custard to dinner guests, until one evening when the egg-free custard was served instead, either by accident or design. The dessert was so well received by the other diners that Alfred Bird put the recipe into wider production. John Monkhouse (1862–1938) was a prosperous Methodist businessman who co-founded Monk and Glass, which made custard powder and jelly. Monk and Glass custard was made in Clerkenwell and sold in the home market, and exported to the Empire and to America. They acquired by its rival Bird’s Custard in the early Twentieth Century.
Queen’s Gravy Salt is a British brand and this box is an Edwardian design. Gravy Salt is a simple product it is solid gravy browning and is used to add colour and flavour to soups stews and gravy - and has been used by generations of cooks and caterers.
The first Bisto product, in 1908, was a meat-flavoured gravy powder, which rapidly became a bestseller in Britain. It was added to gravies to give a richer taste and aroma. Invented by Messrs Roberts and Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". Bisto Gravy is still a household name in Britain and Ireland today, and the brand is currently owned by Premier Foods.
Huntley and Palmers is a British firm of biscuit makers originally based in Reading, Berkshire. The company created one of the world’s first global brands and ran what was once the world’s largest biscuit factory. Over the years, the company was also known as J. Huntley and Son and Huntley and Palmer. Huntley and Palmer were renown for their ‘superior reading biscuits’ which they promoted in different varieties for different occasions, including at breakfast time.
In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.
Hello darkness my old friend…
What you are (not) seeing, highlighted in blue, is dark matter. Webb was used to precisely map out the dark matter that is part of the makeup of two colliding galaxy clusters, with help from @NASAChandraXray. Webb captured more extremely faint galaxies in the Bullet Cluster than ever seen before (as well as foreground stars), allowing scientists to accurately determine the mass of the cluster.
Chandra data shows the hot, X-ray-emitting gas present between the two galaxy clusters (highlighted in pink). As these two galaxy clusters collided, this gas was dragged out and left behind. Webb observations show that the dark matter (in blue) still lines up with the galaxies and was not dragged away.
Normally galaxies consist of gas, dust, stars, and dark matter, all combined, even when the galaxies are part of a cluster. Observing this separation between the gas and dark matter is unusual.
While we cannot see dark matter because it does not emit light, it has mass and gravitational influence on light we can see. It can act like a lens, magnifying and warping objects behind it. Imagine dark matter as water so clear you can’t see it unless the wind ripples it. The ripples will distort the shapes of any pebbles below its surface. Likewise, dark matter distorts the shapes of distant background galaxies. We can’t see it, but we see its effects.
Image credit: NASA, ESA, CSA, STScI, CXC
Science credit: James Jee (Yonsei University, UC Davis), Sangjun Cha (Yonsei University), Kyle Finner (Caltech/IPAC)
#NASAMarshall #NASA #NASAWebb #JWST #NASAGoddard #astrophysics #NASAChandra #Space #Chandra #Telescope #Universe
Still refining my design aesthetic -- water color, hand lettering with images that evoke wanderlust for art and travel. This time the color palette is mint + pink/coral with pops of blue and yellow.
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Transformation
Website:
TransFormation was created in 2007 with the goal of offering an annual intensive workshop for professional dancers. Throughout the last 11 years, TransFormation has become a landmark in the Montreal dance scene as a highly anticipated and indispensable event. Cherished by artists for its intensive format, TransFormation contributes to focusing on precise objectives over the span of a couple of weeks. It is also a rare occasion to meet, exchange and network with other artists from Montreal, Quebec, Canada and throughout the world, who all share the same passion.
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TransFormation is a contemporary dance intensive for professional dancers, choreographers, professional teachers and emerging artists. A variety of technique classes, workshops and creation laboratories are offered on an à la carte basis encouraging the artists themselves to choose a programming which would best fit their pursuit of their unique artistic development.
Dancers develop their own distinct way of working, bringing a singularity and their own particular colour to the creations they take part in. Consequently, the contemporary dancer must not only explore new techniques but also new “states of body”. Transformation is a place that offers the opportunity to acquire and incorporate new tools, to improve critical sense and refine one’s personal aesthetic choices.
TransFormation brings together dancers from different horizons and with different views and interests. Together these factors make for a very unique and enriching experience. Every year dancers leave with an appreciation for the fluidity of interpersonal relations between the dancers, choreographers and faculty as well as the intense concentration of the workshop and the atmosphere of artistic freedom that is felt in the different studios during TransFormation.
The program reflects the dancer’s commentaries, views and interests in the new paths of contemporary creation along with the human and artistic experience of its director Lisa Davies and its founders Catherine Viau and David Pressault. The choice of faculty is based on a desire to offer a space of real transformation.
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A Mobile Refining Vessel, built by Civilian Engineering Corporation. It carries a myriad of refining equipment, the main of which is a collider-reactor (the green structure protruding at the rear of the ship) designed to collide isogen and puzzleium, resulting in awesomium condensates.
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This was a rush build of a few hours, but lots of fun, especially considering I hadn't built anything significant in a while. It includes quite a few tablescraps, most noticeable being the collider-reactor itself.
Mede aproximadamente 11.5 cm, contanto dom o mosquetão. Para alegrar uma mala ou como porta-chaves.
Measures about 11.5cm. You can use it as a bag charm or as a key fob.
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Gold teeth and a curse for this town were all in my mouth.
Only, i don't know how they got out, dear.
Turn me back into the pet that i was when we met.
I was happier then with no mind-set.
And if you'd 'a took to me like
A gull takes to the wind.
Well, I'd 'a jumped from my tree
And I'd a danced like the king of the eyesores
And the rest of our lives would 'a fared well.
New slang when you notice the stripes, the dirt in your fries.
Hope it's right when you die, old and bony.
Dawn breaks like a bull through the hall,
Never should have called
But my head's to the wall and I'm lonely.
And if you'd 'a took to me like
A gull takes to the wind.
Well, I'd 'a jumped from my tree
And I'd a danced like the kind of the eyesores
And the rest of our lives would 'a fared well.
God speed all the bakers at dawn may they all cut their thumbs,
And bleed into their buns 'till they melt away.
I'm looking in on the good life i might be doomed never to find.
Without a trust or flaming fields am i too dumb to refine?
And if you'd 'a took to me like
Well I'd a danced like the queen of the eyesores
And the rest of our lives would 'a fared well.
The Shins - New Slang
The site was formerly an oil re-refinery operated by Canadian Oil that was a fully owned subsidiary of Shell Oil Company. Re-refining services ceased operations several years ago and the site was taken over and revamped in the spring of 1999 by Quantex. It is currently operates as a waste treatment facility.
When Quantex assumed operations at the site there were approximately ten million litres of liquid waste that had been abandoned by the previous operators.
After long long time of refining and modifying , the ' God Slayer ' has been completed.
Each of them is enhanced with antique touch to give a realistic look. Each of them is uniquely made, a machine-made item cannot be compared with it.
I hope you'd like it too.
Some photoshop playing around this morning. Fairly easy to do but my technique needs some refining (and patience).
Northern Kruger
Limpopo
South Africa
Trying to refine the wings a bit for Angel. The rubber band on the inside makes these more discrete. Getting the hands into the arm sockets was a pain though.
**Ohio-Colorado Smelting and Refining Company Smokestack** - National Register of Historic Places Ref # 76000548, date listed 1976-01-11
NE of Salida at jct. of SR 150 and 152
Salida, CO (Chaffee County)
The Smeltertown Smokestack was built for the Ohio-Colorado Smelting and Refining Company. Commenced in 1916 and finished in 1917, this majestic brick and tile structure stands 365 feet into the air, 35 feet taller than the famous Daniels and Fisher Tower in Denver, twice as high as the 179 foot Leaning Tower of Pisa. The concrete foundation, 40 feet wide, extends downward 30 feet into the ground to solid granite.
The octagonal base rises approximately 70 feet above ground and is of pressed, glazed brick; the walls here are six feet thick. Above this base rises the circular upper part of the stack; it is constructed of a special tile. Here the walls taper in thickness from six feet, to three and one-half feet at the top. The top, with its flat steel collar, measures seventeen feet in diameter. Two hundred sixty four standard gauge carloads of brick and tile went into the structure. Construction cost was $43,000. It is estimated that at today's construction costs, a similar stack would cost over a million dollars. (1)
References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/76000548.pdf
Colonial Sugar Refining Co (CSR) 0-4-0ST No.19 is working the passenger service at Statfold Barn arriving at Oak Tree Halt, 5th April 2025.
Locomotive History
No.19 is a two foot gauge 0-4-0ST locomotive built in 1914 by Hudswell Clarke, Leeds (Works No. 1056} and supplied to the Colonial Sugar Refining Co (CSR) of Fiji. It was withdrawn in 1960 and put on static display at the mill apart from a brief return to steam in 1978 for the mill's 75th anniversary celebrations. It arrived at Statfold in May 2012 and was back in steam in the spring of 2013.
Spitzenleistungen kommen nicht von ungefähr
Du möchtest dein Handicap verbessern?
Repitio est mater studiorum - Übung macht den Meister
Die Wiederholung ist die Mutter aller Bemühungen
„Wiederholung ist die Mutter der Studien.“
Wiederholung ist die Mutter des Studierens.
studere - (lat.)
studieren - im Sinne von sich intensiv beschäftigen mit, danach streben
- bekannt ist vom STUDENTEN:
studere litteris - sich wissenschaftlich betätigen
aber: Neutralitäts-Prinzip
sine ira et studio - ohne Hass und Parteilichkeit
ohne Ansehen der Person, gegen Vetterleswirtschaft, gegen Bestechung, keine Vorteil gewähren.
Sine ira et studio wird vielfach als Aufforderung an eine wertfreie Geschichtsschreibung – oder an die Wissenschaft allgemein – zitiert.
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define: Handicapping - Handicap sportif
Handicapping, the various methods of leveling the outcome in a competitive sport or game
ein Handicap bestimmen - verschiedene Methoden anwenden, um das zu erwartende Ergebnis im Sport oder Spiel von vornherein ausgleichen zu gestalten.
Pädagogisches Prinzip: Gewinnen ist nicht alles
So dürfen auch mal alle guten Sportler gegen die Schlechteren antreten, wenn ihnen vom neutralen Spielgestalter eine Erschwernis auferlegt wird.
Handicap - eine Hand hinter dem Rücken ( Hand + capere) verstecken, aus
Fairniss Gründen zum Beispiel beim Rennen oder Fangen.
oder beim Spiel die schwächere Hand nehmen.
Das Handicap ist in Sport und Spiel ein in der Regel berechneter Faktor, der unterschiedliche Leistungsstärken nivellieren soll, um auch in einem heterogenen Feld einen spannenden Wettbewerb zu ermöglichen.
Beispiele:
- Die Pferderennen - nur bei Trab-, nicht bei Galopprennen - gibt es Wettbewerbe, in denen stärkere Teilnehmer längere Distanzen zurücklegen müssen.
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- Im Golfsport wird aus den Eigenschaften des bespielten Golfplatzes (Course Rating und Slope) und aus der Stammvorgabe (Handicap) jedes Amateurspielers die Spielvorgabe berechnet, die er als sogenannte Vorgabeschläge erhält. Ein besserer Spieler auf einem einfacheren Platz muss die Runde also mit entsprechend weniger Schlägen absolvieren, um ein vergleichbares Ergebnis zu erzielen.
Refine your vision !
Jasa photo produk + editing !
Photography Service 📷
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Photo by @refinephoto.id
Product : Ultra Boost 3.0
Wongi’s work, the largest of the three, depicts a monotone female figure, with her hand thrust forward, two fingers raised in a peace sign, the hand bursting to life in colour and sharp detail. A segmented disc of translucent yellow, orange, pink and purple separates the figure and the hand, framing the image and popping against the dark grey background. Wongi noted that he had chosen the image to play with a “beachy vibe” in honour of the location, but without the usual cliché, instead of seagulls or surfers, his character has a summery, music festival feel.
The image is another example of Wongi’s ever impressive photo realistic technique, highlighting his aerosol mastery, an expertise that was made apparent to the crowds that stopped and watched the Christchurch legend in action, gaining insight into the sketching and refining process with which he builds form and brings his images to life.
Date Created: Carnaby Laneway Party - November 2017
These little guys are so predictable, that it seems you have unlimited opportunities to improve and refine. Here I just moved the feeder in relation to the same background pine branches.
I'm not spending a lot of time a this...I'm just popping in between farm/ranch chores.
There are moments in life when we are reminded that we are unfinished, that the story we have been telling ourselves about who we are and where our life leads is yet unwritten. Such moments come most readily at the beginning of something new.
To begin anything — a new practice, a new project, a new love — is to cast upon yourself a spell against stagnation. Beginnings are notation for the symphony of the possible in us. They ask us to break the pattern of our lives and reconfigure it afresh — something that can only be done with great courage and great tenderness, for no territory of life exposes both our power and our vulnerability more brightly than a beginning. Maria Popova
Perhaps the art of harvesting the secret riches of our lives is best achieved when we place profound trust in the act of beginning. Risk might be our greatest ally. To live a truly creative life, we always need to cast a critical look at where we presently are, attempting always to discern where we have become stagnant and where new beginning might be ripening. There can be no growth if we do not remain open and vulnerable to what is new and different. I have never seen anyone take a risk for growth that was not rewarded a thousand times over.
Sometimes the greatest challenge is to actually begin; there is something deep in us that conspires with what wants to remain within safe boundaries and stay the same… Sometimes a period of preparation is necessary, where the idea of the beginning can gestate and refine itself; yet quite often we unnecessarily postpone and equivocate when we should simply take the risk and leap into a new beginning.
John O’Donohue
Maria Popova, The Marginalian
I went to Prospect Park on Saturday and stopped by that place. My friend and I took photos there in 2019. Fast forward five years, and it was the first time I had reached the same spot. And I had the strangest feeling… While in my mind, my life changed five thousand times between 2019 and 2024, it also feels stagnant. I still have the same habits, maybe vices. I'm the same person. Most of the time, after a certain age, our lives stagnate. We go to work, we come home, we eat dinner, we listen to music, scroll social media. Are we happy with our daily choices that don't change between Monday & Sunday? Back in High School, I loved Wednesdays & Fridays. I always had this idea in my head that something different would happen. And it always did!
I remember the time when, after writing for a Youth paper on Saturdays, my editor gave me about 80 responses to my piece. I wrote under anonymous, so it is not Google searchable!
And then so many exciting things were happening.
The point is… It’s emotionally challenging to begin, but even more emotionally complex to be over 40 in a stagnating zone! I rather try and fail a million times, look funny, stupid, silly, retarded, etc, than be half alive while being alive!
As I continue to learn and refine my photographic skills I find myself turning back to my archives and there within lives a treasure trove.
Shots I once didn't know how to use I have ideas for, problems I couldn't solve are now solvable. Scenes I couldn't do justice to I can now present in their full glory. Case in point this scene of the Arc De Triomphe which for all my trying two years ago when I took this photo I could never get to look anything but flat and lifeless but now feels vibrant and energetic.
An important reminder, I think, never to discard photos hastily I think. Even so you must keep moving forward and so this week I head to Melbourne to explore my own back yard further.
Cheers, Chris
Colonial Sugar Refining Co (CSR) 0-4-0ST No.19 reverses back into Statfold Junction station whilst running round its train ready for another departure, 5th April 2025.
Locomotive History
No.19 is a two foot gauge 0-4-0ST locomotive built in 1914 by Hudswell Clarke, Leeds (Works No. 1056} and supplied to the Colonial Sugar Refining Co (CSR) of Fiji. It was withdrawn in 1960 and put on static display at the mill apart from a brief return to steam in 1978 for the mill's 75th anniversary celebrations. It arrived at Statfold in May 2012 and was back in steam in the spring of 2013.