The Bureau of Inquiries was an exhibition I curated in August of 1990.

August?

There are many more reasons to avoid staging an exhibition in August and only one to support it. The advisability of producing an exhibition during a Philadelphia August is questionable. It is the month when the temperature and the humidity replicate a jungle ambience, albeit light on the flora but heavy on the fauna. The weather in Philadelphia during August is stereotypical of that of the Democratic Republic of Congo. It does little to inspire one to leave their air-conditioned homes.

The weather during August inspires the citizenry to go on vacation in droves to escape it. Very few exhibitions open in August. The summer months are used for galleries and museums to trot out group shows, air out work condemned to storage areas and for the exhibition of loss leaders.Typically the exhibition season begins in September and increases dramatically in October.

There is only one reason to stage an exhibition in August and that reason is free rent. Although I have no clear memory to support this, I think that the owners of the building, Mark and Elena Salz, gave us access to the space rent free. If it wasn't for negative publicity and scandal the exhibition might not have an audience at all.

The basic premise of the exhibition was the presentation of the work of Philadelphia artists that were influenced by the Surrealist movement. Surrealism influenced a large contingent of the artist community here and I thought it an appropriate subject to investigate and to present in a group exhibition.

The empty storefront below the Salz' apartment was transformed into gallery. Instead of the Minimalist look of most contemporary galleries, the Bureau of Inquiries was fitted with an antique desk, a very old and heavy rotary phone and other objects from the period that Surrealism flourished. There was a bookcase that contained literature written by Surrealist writers and monographs on artists connected to and influenced by the movement. A professionally manufactured blue metal sign with Bureau of Inquiries in white lettering was hung in the window. It had the name of the exhibition on it but nothing pertaining to the fact that it was an exhibition. There were a number of paintings on the wall but the inclusion of the desk, phone and bookcase gave the place a domestic atmosphere that an uniformed observer might find confusing regarding the purpose of the business in the space. All of the works were small and there were a few sculptures on pedestals arranged throughout the gallery.

A mutiny began before the opening of the exhibition. There were 80 paintings available for hanging in the store area in the back room of the space and a limited space to hang them. To solve this problem I had the works wired so that any four paintings could be hung in a designated spot at a 60" center. There were 20 such spots. My plan was for Kevin and another art handler to don white lab coats and switch paintings throughout the entire opening, him moving clockwise and the other moving counterclockwise. It took 45 minutes for two people at a leisurely pace to change every painting in the gallery, thus creating an entirely different exhibition on view every 45 minutes. This seemed to me as a great solution to the problem of exhibiting a maximum amount of work in a minimum amount of space. This strategy was later used by the Philadelphia Museum of Art for an exhibition about the influence of John Cage but no one from that organization ever acknowledged that the Bureau of Inquiries had invented the scheme. This was typical of their position regarding Philadelphia artists at the time. They ignored them.

I expected a certain amount of opposition to this idea from the exhibiting artists so I waited until a couple of days before the opening to alert everyone. Kevin was vehemently opposed to the idea. Switching paintings in theory was fine with him as long as he wasn't the person switching the paintings. He did not want to be that visible to the audience and he had no interest in being involved in what he saw as performance art. He refused to wear a lab coat. That was not negotiable as far as he was concerned. He saw no reason for us to wear lab coats since we could switch the paintings without them. I wanted the people that switched the paintings to wear lab coats to separate them visually from the audience and give them a professional look that might inspire people to get out of their damn way as they moved artwork through a crowded opening. Frankly if it helped it didn't help much, people either were oblivious to the people moving the paintings or they considered them a nuisance. I had hoped not to be involved in handling the art work, in part because I did that all day five days a week at Philadelphia Museum of Art. We also needed someone to open and close the door to the storage area for us since our hands would be occupied with paintings. I assigned Martha Masiello this duty because she had been an active participant in all of the MEAT, ART AT THE BROILING POINT exhibitions, she had high energy levels and she was always cooperative with putting in more effort than other artists toward the staging of the independent exhibitions. This time was the exception. She thought that the whole idea of switching paintings was unnecessary theater. She absolutely refused to be the person opening and closing the door to the storage area on the grounds that she would be viewed as Vanna White, the bimbo that turned the letters on the television show Jeopardy. I thought that the opposition would be over sooner than it was. My negotiating skills were negated by my temper. I was fed up with the negativity and the bitching. As the doors to the exhibition were opened public, the three of us were still arguing in stage whispers. I had not found a second art handler to work with Kevin. As a concession to Kevin, I agreed to be the second art handler, he agreed to wear the lab coat and Martha reluctantly agreed to help with the door although she was plenty pissed off about it. Although the logistical issues were solved in theory the hour before the opening, all three of us were still fuming when people started coming in the door to see the exhibition.

The room began to fill with visitors and we started switching the paintings. At first no one took notice that works were being changed. The audience seemed to think that we were making last minute changes regarding which works would be hung. Midway through the first rotation people began to see the pattern of the strategy. Some people were amused by the diversion. Other people were thoroughly annoyed that paintings hanging in one location a moment before were now missing when they went back for a second look. Certain artists exhibiting work became angry when they realized that their work would not remain up for the entire exhibition. They also felt that moving the pantings through a roomful of people that were drinking was endangering the art and certainly did have the potential for disaster. A large percentage of both exhibitors and the audience was visibly upset.

Kevin, by nature a misanthrope, thought their anger was funny. There was a level of absurdity in trying to view a continually changing exhibition. It was successful on a level that probably owed a debt to the Theater of Cruelty championed by Antonin Artaud. The more sophisticated viewers were capable of enjoying an exhibition in constant flux.

The exhibition was later reviewed in The Welcomat, a free weekly newspaper now known as The Philadelphia Weekly by a writer Jim Knipfel, who later would have a successful career as columnist that wrote Slackjaw for the New York Press. He combined his review of The Bureau of Inquiries with an exhibition elsewhere of clown paintings by the serial killer, miscreant and pederast John Wayne Gacy. I had recently quit drinking and was running five miles a day. I had gone from 230 pounds down to 165. He described my appearance as resembling that of the Nazi war criminal Adolf Eichmann and panned the exhibition as being too "New Age." He did not understand the Surrealist reference. Shortly after he reviewed this exhibition he went fucking blind.

Daniel Gehringer, a columnist for the Philadelphia Daily News and an enthusiastic supporter of MEAT, ART AT THE BROILING POINT, wanted to interview me and some of the other artists in the exhibition. Hank MacNeil owned MacNeil Gallery where I exhibited my work after leaving the MEAT group. He wasn't really an artist but he had taken these beautiful Polaroids that appeared to be small Impressionistic landscapes of tree lines along the edges of open fields. They were quite beautiful. In reality they were blurry close ups of his much younger girlfriend's vagina and pubic hair. Hank was very excited about the Daily News reviewing the exhibition. He was insistent on speaking to Dan Gehringer, who he had met during the MEAT show at McNeil or my solo exhibition there. Dan was a good guy, always supportive of my work, my pit bull terriers and my curatorial efforts. I suspect that Hank thought that the article would be ultimately good publicity for his gallery and the sale of my work which would also benefit him. Hank McNeil was very supportive of my art career during this time period. He made it clear that he didn't want anyone to know what the real subject of his Polaroids were. I owed quite a lot to Hank and I swore myself to secrecy. Unfortunately Hank didn't follow his own advice. During their lengthy conversation with the reporter, Hank revealed the modus operandi behind the photographs and the identity of his muse. In a conversation that lasted several hours, Hank revealed a great deal of information about the struggle he had with his family, his position as the black sheep, his exclusion from his father's will and the difficulties he had with his mother. His mother was opposed to altering his inheritance since it would go against her husband's wishes. Hank asked Dan not to reveal any of these secrets. I can't imagine what material Dan had to work with after talking to Hank for the better part of an afternoon. The subject of every topic was a secret. The story must have been too much of a temptation to Gehringer to mainstay his oath of secrecy. The McNeil family were very well known in Philadelphia society. In 1961 Hank's father traded the entire McNeil Pharmaceutical company (they had created Tylenol) for 51% of Johnson & Johnson stock. His father also owned the land that the Blue Route was constructed on (a major extension of an existing highway that was years in the planning) and made an enormous profit selling it. The McNeil family was rich beyond the comprehension of the average working-class reader of the Daily News. What they did understand was scandal and the Daily News provided it. Gehringer wrote a full page article about the McNeil saga with a title along the lines of "WHAT HANK MCNEIL IS AFRAID THAT HIS MOTHER WILL FIND OUT" or something similar to that and proceeded to reveal what exactly that was. There was an accompanying blurb on the front page of the paper announcing this sordid tale of sex, wealth and betrayal. Apparently a worker on the McNeil estate showed the article to Mrs. McNeil. The Daily News is a blue-collar tabloid. Perhaps if this person had not come forth with the article it is possible that Hank's mother might have never seen it. The Ruling Class has little time for such a publication, they read the more upscale Philadelphia Inquirer. But they did show her and she did read it. Hank received a phone call from his estranged mother's lawyers which resulted in Hank calling me. He was furious. He wanted Gehringer to retract the story and he wanted me to make sure that he did. There was no way that Dan would retract a true story, particularly one that may have been the biggest story of his career and sold newspapers. I called Dan to see if anything could be done, knowing that it wouldn't. Dan confirmed my fears. I informed Hank that he was fucked and he found some way to blame me for his misfortune, if nothing else for introducing him to the traitorous columnist. The story had large implications for his lawsuit with his family but there was fuck-all nothing I could do about it. Prior to the interview I explicitly warned Hank to be careful speaking to the press, having been burnt in print on several occasions myself. He didn't take my advice and suddenly the exhibition was involved in a very public (or pubic given the subject of Hank's work) scandal. The scandal probably contributed to enlarging the exhibition's audience but they tended to come and gawk rather than buy artwork.

My daughter Maura was six years old at the time. She was raised around the independent art scene and she was proud that her father's curatorial efforts always attracted so much attention. I left a pile of the exhibition posters (an 8 1/2" X 11" Xerox that I designed and ran off at work) in the living room. Without my knowledge, Maura snagged a bunch of them on her way to summer school and handed them out to her classmates. That evening I received at least a dozen calls from concerned parents wondering why my petite and innocent-looking daughter was handing out ransom notes (which the poster resembles somewhat) at school. Apparently these parents were successful enough to send their children to one of the more expensive and prestigious grade schools in the city but not bright enough to actually read the poster to understand that it was the announcement for an art exhibition. I was ranting and raving after the third call. From the forth through twelfth calls I am sure that they wished they never had dialed the number on the poster. I had lost my patience with these bourgeois fuck-heads entirely. Although I had an unlisted number, I always put it on posters for the press to call. Outside of the media no one ever called the number to ask about an exhibition. I thought it was funny to have an unlisted number posted in public, so certain was I that no one would ever call it. After Bureau of Inquiries I could no longer trust this theory.

Never have I seen such a positive effort explode with such negative results. This exhibition had a great deal to do with my withdrawal from participation in the art system. Looking back on it know it seems pretty funny but it was nothing but a complete pain in my ass at the time. It was unfathomable to think in advance that an attempt to help other artists and myself could backfire on me in such a spectacular way. It was unprecedented. I only curated one exhibition after this, a great sculpture show at the old Vox Populi space called COLD SCULPTURE, my favorite and most adventurous curatorial effort. This show resulted in being the only time a piece of my work was stolen from an exhibition. The theft was the last straw for me. I refused to exhibit my work. I made a few exceptions just a few times for inclusion in unremarkable group shows. In 2008 I exhibited my Trading Card series at the Rosewald/Wolf Gallery at the University of the Arts in Philadelphia in an exhibition entitled HISTORY WILL ABSOLVE MIKE.

To my knowledge, at least two of the artists that exhibited work in this exhibition are dead but unfortunately not the two artists that I would have picked for execution, given the choice.

Materials: Wilting flowers from valentine's day, vase, my bed, and wall background.

 

Idea: I used flowers and techniques to try to replicate a still life painting by Rachel Ruysch.

 

Process: I used lights held above the flowers to isolate them from the grey background, making it look black like in the painting

Mirror play on a public plaza at the new Bay Meadows mixed use office and residential neighborhood that grew where the horse race track once stood in San Mateo, CA.

 

Shot with Kodak Retina IIIc folding rangefinder and Schneider-Kreuznach Xenon 50mm f/2 lens at f/16, 1/250sec on Kodak TMax ISO-400 B&W film expired 10/2014, developed in 2018.

 

www.flickr.com/photos/photophyl/26744679407

Replicating the shot from Matt Black's Poverty in America series. Same corner and same pose, with my wife graciously agreeing to model for me. El Paso, TX, USA.

Answer to the challenge attempt to replicate something that has been

on ODC Explore.

 

With stroopwafels and a "smurf". How dutch can it be ;)

 

Because i think it is an amazing photo by

www.flickr.com/photos/lildebweb/

 

This infographic illustrates the HIV replication cycle, which begins when HIV fuses with the surface of the host cell. A capsid containing the virus’s genome and proteins then enters the cell. The shell of the capsid disintegrates and the HIV protein called reverse transcriptase transcribes the viral RNA into DNA. The viral DNA is transported across the nucleus, where the HIV protein integrase integrates the HIV DNA into the host’s DNA. The host’s normal transcription machinery transcribes HIV DNA into multiple copies of new HIV RNA. Some of this RNA becomes the genome of a new virus, while the cell uses other copies of the RNA to make new HIV proteins. The new viral RNA and HIV proteins move to the surface of the cell, where a new, immature HIV forms. Finally, the virus is released from the cell, and the HIV protein called protease cleaves newly synthesized polyproteins to create a mature infectious virus. Credit: NIAID

 

Note: this illustration can be viewed on the NIAID website at: www.niaid.nih.gov/diseases-conditions/hiv-replication-cycle

Whitechapel was a British television drama series produced by Carnival Films,[1] in which detectives in London's Whitechapel district dealt with murders which replicated historical crimes. The first series was first broadcast in the UK on 2 February 2009 and depicted the search for a modern copycat killer replicating the murders of Jack the Ripper.

 

A second series was commissioned by ITV in September 2009 with the focus on the Kray twins. The first episode of this second series was broadcast on 11 October 2010.[2]

 

A third series was commissioned by ITV in March 2011, which was extended to six episodes as three two-part stories.[3]

 

The first and second series were broadcast in the United States on six consecutive Wednesday evenings beginning 26 October 2011 on the BBC America cable network. The third was broadcast in the US starting on Wednesday 28 March 2012, also on BBC America.[4]

 

On 24 September 2012, ITV renewed Whitechapel for a fourth series consisting of six episodes. The first episode was broadcast on 4 September 2013.[5]

 

On 16 November 2013, Rupert Penry Jones confirmed that ITV had decided not to recommission the show and cancelled it.[6]

 

Contents

 

1 Production

2 Reception

3 Main cast

4 Episode list

4.1 Series 1 (2009)

4.2 Series 2 (2010)

4.3 Series 3 (2012)

4.4 Series 4 (2013)

5 References

6 External links

 

Production

 

The first season was written by Ben Court and Caroline Ip. ITV Director of Drama Laura Mackie said "Whitechapel is a very modern take on the detective genre which combines the Victorian intrigue of the original case with the atmospheric backdrop of a contemporary East End of London. This is not simply about bloodthirstily recreating the Ripper murders, but rather focusing on the three main characters at the heart of the story and the black humour that binds the team together."[7]

Reception

 

Whitechapel debuted on 2 February 2009 at 9pm with 8.13 million viewers on the overnight ratings.[8] Series one received positive reviews, and holds a Metacritic score of 75 out of 100, indicating "generally favourable" reviews.[9]

 

A review in the Leicester Mercury said that it was "Life on Mars, without the time-travel" adding "what Whitechapel lacked in originality, it more than made up for with atmosphere and enthusiasm."[10] After Episode 2 was broadcast on 9 February, Andrew Billen in The Times said that he had warmed to it more and more, adding, "slowly, the show is making Ripperologists of us all, as Jack's 'canonical' murders are separated from the ones he actually committed. It is all in the worst possible taste and bloody good fun."[11] However, The Daily Telegraph was less impressed, writing "The premise was feeble, the script imbecilic, the acting on autopilot, the direction lacking in any glimmer of tension."[12]

 

Series two received favourable reviews, and holds a Metacritic score of 69 out of 100, indicating "generally favourable" reviews.[13]

Main cast

l to r DS Miles (Phil Davis)

DI Chandler (Rupert Penry-Jones)

Edward Buchan (Steve Pemberton)

Character name Actor Profile First appearance Last appearance

DI Joseph Chandler Rupert Penry-Jones A fast-track, media-conscious Detective Inspector. His first big murder case deals with a copycat killer imitating Jack the Ripper. Suffers with OCD which on occasions has hindered and helped him in solving cases. 1.1 4.6

DS Ray Miles Phil Davis Veteran police officer who has a low tolerance for time-wasters. 1.1 4.6

Edward Buchan Steve Pemberton Ripperologist who offers his aid to Chandler. As a young man, he made a documentary about the Kray twins. 1.1 4.6

Fitzgerald Christopher Fulford Miles' right-hand man. Formerly a DC, he leaked case details of the Ripper to the press; in Series 2, we learn that he has been demoted to PC. 1.1 2.2

DC Sanders Johnny Harris Member of Chandler's team. 1.1 1.3

DC Emerson Kent Sam Stockman Youngest member of the team. 1.1 4.6

DC John McCormack George Rossi Member of Chandler's team. He commits suicide during the Kray case after being forced to betray his team. 1.1 2.3

Commander Anderson Alex Jennings Chandler's boss and mentor. 1.1 2.3

Dr Caroline Llewellyn Claire Rushbrook Police pathologist. 1.1 4.6

DC Finlay Mansell Ben Bishop Joins Chandler's team in Series 2. 2.1 4.6

DC Megan Riley Hannah Walters Experienced member of the team. 3.1 4.6

  

Episode list

Series 1 (2009)

 

Paul Hickey as Dr David Cohen, a doctor at the local hospital.

Sally Leonard as Frances Coles, one of the intended murder victims.

Simon Tcherniak as Dr George Phillips, Frances' boyfriend.

Branko Tomović as Antoni Pricha, one of the main suspects in the new Jack the Ripper case.

Sophie Stanton as Mary Bousefield, a police officer and victim of the new Ripper.

Jane Riley as Sarah Smith, a key witness in the enquiry.

Ben Loyd-Holmes as Private John Leary, the first suspect in the Ripper case.

 

Episode Title Directed by Written by Original airdate Viewers (millions)[14]

1 "Part 1" S. J. Clarkson Ben Court & Caroline Ip 2 February 2009 9.26

As the final step before promotion, fast-tracker DI Joseph Chandler is posted to Whitechapel by Commander Anderson to lead the investigation into the murder of a woman. However, the case does not turn out as straightforward as Chandler had hoped. The victim, Cathy Lane, is found by CSO Mary Bousfield, bleeding to death with her throat cut in the yard of a Board School, with the killer watching only a short distance away. The Whitechapel squad—front-line, hard-bitten DS Ray Miles and DCs Kent, McCormack, Sanders and Fitzgerald—arrive at the scene after Cathy is pronounced dead and are less than pleased to hear of the imminent arrival of yet another new DI, a 'plastic', a 'paper policeman' who has no idea what he is doing. Chandler arrives, armed with the knowledge of his courses and text books, ready to solve his first murder.

2 "Part 2" S. J. Clarkson Ben Court & Caroline Ip 9 February 2009 8.20

As it is clear this case is no longer a straightforward murder that Chandler can wrap up quickly, he is summoned to see Commander Anderson and his superiors who are very concerned that London may have a Jack the Ripper copycat – especially the impact of this leaking to the press. They tell Chandler he is on his own and that he must solve this case quickly. Having earned a small degree of grudging respect, Chandler leads his squad as they begin researching Jack the Ripper, reading books and looking at DVDs, in an attempt to discover who the new Ripper may be. It is a race against time before he strikes again and they have nothing to go on, except what history tells them, and matters are not helped when one of the team, trying to oust Chandler, leaks details of the case to the press.

3 "Part 3" S. J. Clarkson Ben Court & Caroline Ip 16 February 2009 8.72

Chandler has a close encounter with the murderous impostor but fails to catch or follow him; only the timely appearance of a passer-by allows him to escape with his life. His attacker's home, however contains enough clues for the final hunt to begin after the team find the Ripper's apartment. There, finding out that he assumed numerous disguises throughout their case to undermine them incognito, they deduce his most startling alias: David Cohen. With time running out fast, Chandler and Miles manage to find and stop the Ripper before he completes his recreation of the murder of Mary Jane Kelly. However, Chandler remains to look after a seriously wounded Miles while the Ripper escapes and later commits suicide.

Series 2 (2010)

 

Peter Serafinowicz as DCI Cazenove, the corrupt Head of the Organised Crime Division.

Craig Parkinson as Jimmy and Johnny Kray, the heirs to the legacy of the original Kray twins

Chrissie Cotterill as Angie Brooks, mother of the Kray twins.

Andrew Tiernan as Steven Dukes, a local gangster who help the Krays rise to power.

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB; figures include ITV1 HD

1 "Part 1" David Evans Ben Court & Caroline Ip 11 October 2010 7.00

Since the events of the Ripper case, Chandler is now permanently stationed at Whitechapel with Miles, McCormack and Kent. Fitzgerald has been demoted to PC with his position taken over by DC Finley Mansell. Deemed failures as a result of their inability to catch the Ripper, they are low down in the pecking order in comparison to the Organised Crime Division (OCD) run by DCI Cazenove, lauded for reducing street crime to negligible. The team bemoan the fact that there are no murders. Chandler's interest is piqued, however, when Anderson informs him another big case will find him soon. A dead body is soon discovered floating in the Thames, and a series of horrific attacks follow which appear to echo the Kray twins' infamous crimes of the 1960s. Despite Buchan's timely advice, Chandler suspects the local gangster Steven Dukes to be the mastermind, only to realise that he is facing a criminal duo seeking bloody revenge for the Krays' incarceration.

2 "Part 2" David Evans Ben Court & Caroline Ip 18 October 2010 6.52

A man is murdered in an old haunt of the Kray Twins, a pub called 'The Blind Beggar' in Whitechapel, the scene of a similar murder by Ronnie Kray in 1966. The barmaid says that the killer was Jimmy Kray and that he lives down the road with his mother, Angie Brooks. Chandler and Miles interview Angie, who reveals she visited Ronnie Kray in Broadmoor and he provided her with a sperm sample with which she became pregnant with identical twins, Jimmy and Johnny Kray. Dr Llewellyn explains forensics will not show which twin is the killer, so they need to investigate the Krays the old-fashioned way. Chandler's investigations rattle the twins and he's bundled into a car for a meeting, learning that Jimmy is clearly insane and Johnny is finding it hard to control him when he turned down their offer of backing off. The team's perseverance leads them into personal danger; Miles' son is threatened and Kent is terrorized by uniformed officers on the twins' payroll. Mansell receives a wreath delivered at his home, McCormack has a gun pointed at his head and Chandler is beaten before being dumped in Epping Forest. At rock bottom, Chandler asks for Buchan's help and takes his advice to use Jimmy's insanity to separate the twins. However, learning that Fitzgerald is on the twins' payroll, the meeting with Johnny goes awry while he and his brother rake the pub with automatic fire. Inside, Chandler spots a gun and fires back. When their ammunition is spent, the twins leave. Fitzgerald is arrested soon after while warning Chandler that he is the only one trying to stop the twins and is on borrowed time.

3 "Part 3" David Evans Ben Court & Caroline Ip 25 October 2010 6.03

After the shooting, Chandler instructs Miles to drive to Anderson's house. While Anderson and Chandler talk, Miles becomes worried when the only person he can't reach is McCormack. Racing to his house, they find him hanging in his garden shed. Llewellyn rules that the death is a suicide. McCormack's death appears to mark the end of the inquiry, but it's all for show. The investigation moves to a secret location, Buchan's house, which will be the new incident room. Anderson can only hold the Krays off for three days and they are only too aware that they have no witnesses, no evidence and no leads. They link Ronnie Kray's liking for young boys with Jimmy Kray's "Blonde Boy". When the "Blonde Boy" reveals himself as a girl, the team wonder what else is fake about these twins. Managing to obtain DNA of Ronnie and Jimmy, Chandler's group manages to confirm that their Kray twins are not related to the originals. Using this information to coax Dukes' support in exposing their organization, the Krays are arrested while it is revealed that only their mother Angie knew the truth and lied to them about Ronnie being their father. However, the Krays are assassinated while in custody with Anderson taking advantage of the resulting power vacuum within the police department. Soon after, Anderson accepts Chandler's request to set up a special team.

Series 3 (2012)

 

Whitechapel was commissioned for a third series in March 2011. Unlike the previous two series, which were each based on a single event, the new series was split into three separate 2-part stories. The new six-episode season was shown in 2012 in its usual ITV time slot. Rupert Penry-Jones, Phil Davis and Steve Pemberton resumed their roles in the programme.

 

Christina Chong as Lizzie Pepper (forensics)

David Schneider as Marcus Salter

Camilla Power as DI Mina Norroy

Paul Chequer as Nathan Merceron

Lydia Leonard as Morgan Lamb

Alistair Petrie as Dr. Simon Mortlake

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB; includes ITV1 HD and ITV1 +1

1 "Case One (Part 1)" John Strickland Ben Court & Caroline Ip 30 January 2012 7.35

DI Chandler and DS Miles investigate the slaughter of four people at a tailor's fortified workshop. Ed Buchan, retained by Chandler as the team's historical adviser, believes that the huge archive at Whitechapel station will provide the necessary insight into this baffling crime that appears to echo the Ratcliff Highway murders 200 years earlier.

2 "Case One (Part 2)" John Strickland Ben Court & Caroline Ip 6 February 2012 6.88

Following on from the incident at the tailor's workshop, a second mass murder occurs, and again there was no obvious break-in and no forensic evidence.

3 "Case Two (Part 1)" Richard Clark Ben Court & Caroline Ip 13 February 2012 7.12

As Chandler and Miles attend the christening of Miles's daughter, a fox runs through the streets of Whitechapel with a human arm in its mouth. Soon, more body parts from the same victim are washed up by the river, all containing evidence of a fatal poisoning. Buchan believes the crimes echo the Thames torso murders of the 1880s - can the team, with the help of a female DI attractively like Chandler in her habits, crack the gruesome case?

4 "Case Two (Part 2)" Richard Clark Ben Court & Caroline Ip 20 February 2012 6.95

When traces of the aphrodisiac Spanish fly are found in murder victims, Chandler and Miles question what kind of killer they could be up against. The team are taken to the heart of a dark obsession where romance and love take a sinister turn.

5 "Case Three (Part 1)" Jon East Ben Court & Caroline Ip 27 February 2012 6.78

When a babysitter is murdered, the only witness thinks she saw the bogeyman do it. Chandler, Miles, and the team suspect a dangerous patient and former Whitechapel resident, obsessed with Lon Chaney and London After Midnight, who's recently escaped from a psychiatric unit. Meanwhile, Buchan, guilt-ridden over his failure in the previous case, is unsure if he should remain a murder-archivist.

6 "Case Three (Part 2)" Jon East Ben Court & Caroline Ip 5 March 2012 7.11

With the body count rising, Miles and Chandler clash over the direction of the investigation. Having already survived the killer's wrath once, Morgan Lamb is of particular interest to the team - especially Chandler. As the chase escalates, will the detectives be able to put their differences aside in the face of their toughest adversary yet?

Series 4 (2013)

 

Daisy Beaumont as Stella Knight

David Gant as Alexander Zukanov

Brian Protheroe as Crispin Wingfield

 

Episode Title Directed by Written by Original airdate Viewing Figures (millions)

Sourced by BARB and Broadcast magazine; includes ITV HD and ITV +1

1 "Case One (Part 1)" Jon East Ben Court & Caroline Ip 4 September 2013 5.55

Chandler, Miles and the team cross paths with MI6 as they investigate the gruesome murder of an apparent tramp. The murder, they discover, is a 16th-century torture, the peine forte et dure. And after a second body is found, an elderly woman burnt at the stake, they realise that someone has started a Witch Hunt and now killing witches in Whitechapel.

2 "Case One (Part 2)" Jon East Ben Court & Caroline Ip 11 September 2013 4.71

As the witch-hunt continues, with two corpses (the second burnt at the stake) in the morgue and a third person missing, the team must save the next victim and catch the killer, who they realize has ergot poisoning.

3 "Case Two (Part 1)" Daniel Nettheim Steve Pemberton 18 September 2013 4.62

The discovery of a flayed face in a Whitechapel gallery leads Chandler and Miles into the art world - but is there also a link to organised crime?

4 "Case Two (Part 2)" Daniel Nettheim Steve Pemberton 25 September 2013 4.26 (excluding ITV HD)

As more flayed bodies turn up, Chandler and Miles question the motives behind these bloody deeds. Buchan's research puts him in danger.

5 "Case Three (Part 1)" Jon East Ben Court & Caroline Ip 2 October 2013 3.27 (overnight)

6 "Case Three (Part 2)" Jon East Ben Court & Caroline Ip 9 October 2013 4.13

References

 

Jump up ^ Whitechapel Press Pack. ITV. pp. 18–19.[dead link]

Jump up ^ "Whitechapel to return to ITV". 10 September 2009. Retrieved 13 November 2013.

Jump up ^ "Whitechapel recommissioned for third series". 3 March 2011. Retrieved 13 November 2013.

Jump up ^ "Whitechapel Series 3 Comes to BBC America on March 28!". 20 March 2012. Retrieved 13 November 2013.

Jump up ^ Munn, Patrick (24 September 2012). "ITV1 Renews 'Whitechapel' For Fourth Season". TVWise. Retrieved 13 November 2013.

Jump up ^ Penry Jones, Rupert (November 16, 2013). "Sorry to be the bearer of bad news everyone but ITV don't want any more Whitechapel. That's all folks x". Personal Twitter Account. Retrieved November 16, 2013.

Jump up ^ McGarry, Lisa (25 March 2008). "Whitechapel Coming To ITV". Unrealitytv.co.uk. Retrieved 13 November 2013.

Jump up ^ Wilkes, Neil (3 February 2009). "ITV Ripper drama grabs 8.1m". Retrieved 13 November 2013.

Jump up ^ "Whitechapel : Season 1". Retrieved 13 November 2013.

Jump up ^ Clay, Jeremy (3 February 2009). "TV review: Whitechapel". Leicester Mercury. Retrieved 13 November 2013.

Jump up ^ Billen, Andrew (10 February 2009). "The Princess and the Gangster; Who Do You Think You Are?; Whitechapel". The Times (UK). Retrieved 10 February 2009.

Jump up ^ "Single Father, BBC One; Lip Service, BBC Three, review". 15 October 2010. Retrieved 13 November 2013.

Jump up ^ "Whitechapel : Season 2". Retrieved 13 November 2013.

Jump up ^ www.barb.co.uk

 

External links

 

Whitechapel at the Internet Movie Database

Whitechapel on BBC America

 

[hide]

 

v

t

e

 

Jack the Ripper media

Seminal works

 

The Lodger

Jack the Ripper: The Final Solution

 

Letters

 

Dear Boss letter

From Hell letter

Saucy Jacky postcard

 

Film

 

Waxworks (1924)

The Lodger: A Story of the London Fog (1926)

Pandora's Box (1929)

The Lodger (1932)

The Lodger (1944)

Man in the Attic (1953)

Jack the Ripper (1959)

Lulu (1962)

A Study in Terror (1965)

Hands of the Ripper (1971)

Dr. Jekyll and Sister Hyde (1971)

The Ruling Class (1972)

What the Swedish Butler Saw (1975)

Jack the Ripper (1976)

Murder by Decree (1979)

Time After Time (1979)

Jack's Back (1988)

Edge of Sanity (1989)

Deadly Advice (1994)

Ripper (2001)

From Hell (2001)

Bad Karma (2002)

Case Closed: The Phantom of Baker Street (2002)

The Lodger (2009)

Holmes & Watson. Madrid Days (2012)

 

Parody

 

Bizarre, Bizarre (1937)

Amazon Women on the Moon (1987)

 

Music

 

"Jack the Ripper" (1963)

"Killer on the Loose" (1980)

The Somatic Defilement (2007)

 

Stage

 

Earth Spirit (1895 play)

Pandora's Box (1904 play)

Lulu (1937 opera)

The Lodger (1960 opera)

 

Comics

 

From Hell

Blood of the Innocent

Gotham by Gaslight

Wonder Woman: Amazonia

Predator: Nemesis

Martin Mystère

 

Literature

Sherlock Holmes

  

Dust and Shadow

The Last Sherlock Holmes Story

Sherlock Holmes: The Unauthorized Biography

 

Short stories

  

"A Toy for Juliette"

"The Prowler in the City at the Edge of the World"

 

Other

  

A Feast Unknown

Anno Dracula

Blood and Fog

Matrix

A Night in the Lonesome October

Jack the Ripper, Light-Hearted Friend

Portrait of a Killer: Jack the Ripper—Case Closed

Time After Time

The League of Extraordinary Gentlemen, Volume III: Century

Phantom Blood

Night of the Ripper

Darkside

Lifeblood

Lost

The Witches of Chiswick

Broken

Dracula the Un-dead

 

TV

series

  

Jack the Ripper (1973)

The Phantom Raspberry Blower of Old London Town (1976)

Jack the Ripper (1988)

Sanctuary (2007–2011)

Whitechapel (2009–present)

Ripper Street (2012–present)

 

episodes

  

"Wolf in the Fold" (1967)

"Comes the Inquisitor" (1995)

"Ripper" (1999)

"Sanctuary for All" (2008)

 

Video games

 

Ripper

The Ripper

Jack the Ripper (1987)

Duke Nukem: Zero Hour (1999)

Jack the Ripper (2003)

Sherlock Holmes Versus Jack the Ripper

Mystery in London

Shadow Man

MediEvil 2

 

Other

 

Casebook: Jack the Ripper

Blood!: The Life and Future Times of Jack the Ripper

 

Related

 

In fiction

 

Commons page Jack the Ripper

 

Categories:

 

2000s British television series

2010s British television series

2009 British television programme debuts

British crime television series

British drama television series

Detective television series

English-language television programming

ITV television programmes

Police procedural television series

Television shows set in London

2013 British television programme endings

 

Replicating the method discussed in a recent CVPR paper from UNC, we reconstruct a 3D model of the Taj Mahal based on all the tagged and/or geotagged photos taken by thousands of photographers (the colored triangles). VisualSFM was used to build the reconstruction.

 

See the related Flickr Blog post.

Gate Cinema on Notting Hill Gate vows to replicate Arnie

Replicating the cover photo of this year's Autoshite calendar, here is RKG displaying the name of the website and its slogan 'Your motoring is our concern'.

La Galerie Ligne 13 10/05/2012

The faces of Gregos are very original pieces of street art. To be found all over Paris.

This one is located at the storefront of La Galerie Ligne 13 (13 rue La Condamine, 75017 Paris)

 

Gregos

Born in 1972, Gregos, grew up in the northern suburbs of Paris (Gonesse, Villiers le Bel). Self-taught, his first steps in street art were in Graffiti painting during the late 80s, early

90s. In 1997, after 2 years in Athens, Greece, he starts experimenting with sculpting and molding techniques.

In 2003, he leaves for Boston, Massachusetts, USA where he initiates himself to acrylic and oil paintings. Back in Paris in 2006, he goes back to his first love: street art. In the Montmartre district where he now lives, he decides to participate and mingle in the ever present street art in this

area of Paris.He invents his own 3D concept using all the techniques he has develop and taught himself over the years, and creates a replicate of his face, tongue out or smiling, that he paints and glues on the walls of Paris.

Each face is a sort of self-portrait of the day to express his humors, his past, present, and future, everything that make Gregos…

 

As of today, more than 350 faces have been installed in Paris mostly, but also in other towns of France and of the world (France: Paris, Lille, Lyon, Marseille, Metza, Nice, Besancon and Brest and other cities: Los Angeles (USA), Wroclaw (Poland), Portland (USA), Seattle (USA), Zone 51 Nevada (USA), Tokyo (Japan), Kyoto (Japan), Valetta (Malta), Bugibba (Malta), Mdina (Malta) and Sao Paulo (Brazil) )

 

Website: Gregos Art

 

More of GREGOS (group).

 

To read the rest of this post click here to go to our blog We Eat Together Dot Com I should mention right off the bat that I am going to talk about replicating DIFFUSED natural light and I’ve been struggling with this for a long time now. I love the look of natural light in food photography and to replicate natural light using studio lights is difficult to say in the least. I’m sure most photographers who must use studio lighting have the same problems I do. There are qualities to natural light that are difficult to explain, though when we see the two side by side, for some reason we can just tell the two apart. So, it has been my goal to get my studio lighting up to a standard where people, especially other photographers, are unable to distinguish between the photos I made with natural light and the ones I make with studio lighting.

To read the rest of this post click here to go to our blog We Eat Together Dot Com

One of a group of photos I took ,that are suspose to shout SOLITUDE

  

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”

  

So please don't **Please don't use this image on websites, blogs or other media without my explicit permission. ©...

 

Replication of the work produced by Irving Penn

Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM video: Toshio Suzuki

 

A quiet oak savanna in southwest Oregon has a World War II story to tell.

It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.

Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.

The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.

At Camp White, in the heart of the Rogue River Valley, it got loud very quick.

Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.

And then the troops arrived.

The newly reinstated 91st Division went on 91-mile-long hikes.

They fired bazookas, mortars and tanks.

And they attacked concrete pillboxes built to replicate Nazi bunkers.

Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.

The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.

After decades of private cattle farming, Camp White’s pillboxes now rest on public land.

 

Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...

 

Take a virtual tour of the pillboxes via this 360-degree video: www.youtube.com/watch?v=XgHu5y-TtAw

A tablecloth purchased from a trash and treasure market for $2 used to replicate a designer Ikat print dress retailing for $590

 

Using Collette Sorbetto for top half of dress

  

blogged here

 

Week 9 The Art of The Con (1391-1395) 3/24 – 3/29/2024 ID 1392

 

Jackson Pollock American 1912 -1956

 

One: Number 31, 1950, 1950

 

Oil and enamel on canvas

 

One:Number 31, 1950 exemplifies at a grand scale the radical “drip” technique that defined Pollock’s Abstract Expressionist style. Moving around an expanse of canvas laid on the floor, Pollock flung and poured ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel—some matte, some glossy—weave and run, and intricate web of tans, blues, and greays lashed through with black and white. The way the paint lies on the canvas suggests speed and force, and the image as a whole is dense and lush—yet its details have a delicacy and lyricism.

 

The Surrealists’ embrace of accident as a way to bypass the conscious mind sparked Pollock’s experiments with the chance effects of gravity and momentum on falling paint. However, although works like One have neither a single point of focus nor an obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock’s method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature.

 

Sidney and Harriet Janis Collection Fund (by exchange) 7.1968

 

From MoMA web site: Publication excerpt from MoMA highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)

 

This painting is found in The Museum of Modern Art, New York, NY

 

www.moma.org/

 

en.wikipedia.org/wiki/Jackson_Pollock

 

www.jackson-pollock.org/

  

The works of Jackson Pollock—or those attributed to him—have consistently been the subject of attempts to scam buyers out of millions of dollars. Art such as that produced by Pollock is more difficult to quickly dismiss as fake or forgery. For one, the materials he used are far more readily available on the market, usually manufactured rather than created in his workshop, as was the case with the Old Masters. Additionally, aged only over decades as opposed to centuries, there is less chance that his works would show a craquelure, as is the case with many classical works such as those by Rembrandt. And of course, it is much easier to replicate a seemingly random series of splatters than the hand skills of a master painter whose brush-stroke technique has mesmerized art historians and connoisseurs for hundreds of years. Said one successful recent forger, a self-taught amateur artist: “I love Monet. The Impressionists are quite easy to do.” One would be hard pressed to find a forger who would say the same about Rembrandt.

 

Take for instance the controversy surrounding the so-called Matter paintings. In 2005, filmmaker Alex Matter, whose parents knew Jackson Pollock, unveiled 32 works he claimed were painted by the famous Abstract Expressionist. Though Matter could show that his paintings were authenticated by a Pollock art historian, contrarian views on the authenticity were raised just as suddenly as the works appeared. And in another case, a truck driver by the name of Teri Horton bought a painting for five dollars at a flea market that she believes to be a lost Pollock work. To this day, the debate still rages unresolved regarding whether any of these paintings are Pollocks or cheap knockoffs. (The Art of The Con pgs. 151-152).

  

I have one of these awesome canvas newspaper bags from Lands End. It holds EVERYTHING. I also have some of this great decorator-weight fabric from IKEA, so I made another newspaper bag out of it, all crazy prints and whatnot.

 

This was a SUPER fast project - start to finish maybe 2 hours?

“The Eye Moment photos by Nolan H. Rhodes”

Theeyeofthemoment21@gmail.com

www.flickr.com/photos/the_eye_of_the_moment

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”

  

This image is the copyright of © Neil Holman. Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me for permission to use any of my photographs

My replicated cover art photo was, In the Mountain in the Clouds, by Portugal. The man. I was inspired by the original eccentric album cover. This photo consists of three photos using double exposure. I took a photo of trees and snow, a pink sky, and the moon. I double exposed these using Linear Burn format to create a mountain/sky background within the moon.

 

Replicating a tattered focussing hood for a R.B. Graflex B 4x5 camera.

 

As can be seen, the original hood was cracked beyond repair. The above image shows the surviving leather stiffening boards put back into the location where they belong. The pattern of the folds and stiffeners is plain to see. Note that for visual effect the brown inside of the boards is shown (the back has a thin canvas covering that held them in place); this means that the boards on the sides (the complex pattern of six parallelogram and triangle shapes) has been swapped over.

 

© Dirk HR Spennemann 2010, All Rights Reserved

Poem.

 

Emerald-green shore-line meadows.

Brilliant white, snowy peak of Ben Tee

peers down into the luxuriant colours

of the Great Glen.

Patches of beige larch and

bottle-green Spruce Pine.

A cloudy sky, breaking to blue.

All reflected in the sombre,

silent, sheen of a glassy loch.

This is the stirring, absorbing magic

that works its spell on me.

 

Assembled in Adobe Ideas, which has no provision for straight lines (a surprising shortcoming for a vector based app), so my improvised "straight" lines wobble. All the other irregularities are intentional, or maybe it is all simply more evidence of a seemingly orderly mind going astray.

 

By the way, this demonstrates again my aversion to symmetry which, however, I've noticed is much liked by many other amateur digital artists. The kind of symmetry I like best is what turns out on closer inspection not to be symmetrical, such as people's eyes, ears, face, arms, legs, etc. Nature seems to be full of near symmetries. I like better the much different and more interesting asymmetries of, say, friends and couples. Decades ago when I collected stamps there was a set with designs of folded paper cutouts (based I think on a folk tradition in Poland) which always changed something in each section when it was unfolded, to avoid any exact symmetries. That was what I liked best about those cutouts.

 

One of the spookiest near encounters for me was about 30 years ago when a young man my age and build walked past me on the sidewalk and I swear he looked exactly like I do in the mirror and pictures. I might have walked faster then to avoid any chance of him wanting to talk to me, though it seemed that he didn't notice me or maybe saw no similarity. Some people say they would like to have had a twin and one of my best friends in high school was a twin (I was one of the few outside his family who could easily tell him apart from his brother). One of me is just fine and yet quite enough -- two of me would be one too many.

hopefully not repeating history

Starting in 2000 I began to model the Milwaukee Road’s former Chicago & Evanston Line that operated on Chicago’s North Side in N-scale. After several years I finished the section that replicated the prototype with street trackage on Lakewood Avenue between Belmont and Wellington. I was inspired by Bill Denton’s famous “Kingsbury” N-scale layout that also modeled the same Milwaukee Road C&E Line but farther south, in downtown Chicago. Bill was an encouragement to me and we displayed our layouts together at two shows.

 

As I put this diorama into storage as I move onto other projects I wanted to document it. There were no guides or manuals on creating street trackage in N-scale-everything was HO oriented-so I had to sort of had to use trial and error. I hope what I detail below helps future N-scale modelers of urban scenes.

 

The scene depicted here combines the best of the 1960s and into the early 1980s when the Milwaukee Road abandoned the tracks north of Diversey in 1984. It shows double tracks down the street though by the early 1970s it was consolidated down to one track. Some compression was used. Best Brewing was a customer of the Milwaukee Road before it shut down in the early 1960s while Reed Candy was served by the Milwaukee Road through 1982. Today this scene is unrecognizable except for the Best Brewing complex which is now apartments. Reed Candy was knocked down in the 1990s and replaced by the “Sweeterville” townhomes.

 

The coal cars shown depict the interchange traffic the Milwaukee Road had with the Chicago Transit Authority at the Buena Yard in the Uptown neighborhood. The Milwaukee Road would hand off coal hoppers, tank cars, boxcars destined for coal yards, fuel oil dealers, and the lumberyard at Howard Avenue. The CTA used electric locomotives to handle the freight cars until it ended in April of 1973. No more would freight trains pass in front of Wrigley Field.

 

All buildings on this diorama were scratchbuilt from historic photos using a combination of Design Preservation Modules, various components from Walthers kits, Plastruct sheets of molded styrene, Grant Line windows, doors, and frames, and more. And India ink wash over the brick surfaces gave them an aged look. Floquil enamel paints were used.

 

The track is Atlas Code 80 chosen for its high rail profile which made it easier to model street trackage around it. The roadbed was built up with cork and the pavement made from sheets of card stock and carefully cut styrene in between the rails and at the switch points. Stained, balsa wood strips were used to simulate timber grade crossing protection. The operating signals are from NJ International. To simulate the period specific use of asphalt siding in its various colors on the houses I took pictures of actual siding, scanned the prints, the printed them using an inkjet printer onto paper. The paper was then cut into the right sizes and glued onto the sides of the houses, cutting out the spaces for windows and doors with a knife.

 

To see my other diorama showing this same line passing Wrigley Field circa 1973 go to www.flickr.com/photos/39092860@N06/albums/72157676195056596

 

Photo of this scene shown below.

Moldovan army soldier Gegar Zakuiashuili, replicating Afghan National Army, pulls security after his convoy halted during a training exercise at the Joint Multinational Readiness Center in Hohenfels, Germany, Feb. 17, 2012. The JMRC, working with U.S. Marine Forces Europe as part of the Georgia Deployment Program-International Security Assistance Force, conducts mission rehearsal exercises for Georgian infantry battalions to assist them in preparing to deploy for operations in Afghanistan.

VIPER COMBAT CAMERA USAREUR

Photo by Spc. Tristan Boldent

Date Taken:02.17.2012

Location:HOHENFELS, BW, DE

Read more: www.dvidshub.net/image/528646/training-exercise-joint-mul...

 

"The '63 Studebaker Champ is a casting replicating a racing version of the classic early '60s light truck manufactured by Studebaker for the North American market. The Hot Wheels casting takes the basic truck and has it lowered and fitted with a tonneau cover. This tonneau cover is made from the same material as the interior piece on on versions with a plastic interior, a person can use their fingernail to lift it and reveal that this piece has the brackets molded to hold the rear wheels in place.

The casting was retooled in 2022; the wing is no longer part of the tonneau cover, instead being part of the body".

Seen here in its brand new 2024 Case J recolour which for me personally is one of its best yet. Front tampo detailing and those gorgeous chrome disc wheels really hit the spot and its fairly subdued body colours are appealing too.

Found recently at The Entertainer.

Mint and boxed.

Replicating one of the coolest scenes from Star Wars: The Last Jedi. Let me know what you think!

replicating the Instagram XPro II filter in PS

Replicating one of the coolest scenes from Star Wars: The Last Jedi. Let me know what you think!

Zulu Head Carrying Lesson at Shakaland Village Shaka Zulu Kraal Cultural Replication of a Zulu “Umuzi” or Homestead Normanhurst Farm Nkwalini Kwazulu-Natal South Africa May 1998

hopefully not repeating history

Tomica replicates this stunning 2+2 coupé with its low muscular stance and race-bred lines pretty well. For the real deal the sales speak states that the RC F is engineered to provoke a potent physical response in drivers who insist on uncompromising high-performance and unreserved refinement. I guess the starting price of £63,000 plus assists in this statement. Meanwhile I am more that happy with Tomica’s model and saving a good few quid.

 

Takara Tomy

Tomica Lexus RC F Performance package

Number 84

Colour White with black bonnet and roof sections

New issue in 2020

Features - suspension

Made in Vietnam

Scale 1:64th as quoted by manufacturer

 

The chap washing the car and the bike are part of the Tomica Diocolle 2b Car Wash Set. The Lexus isn't part of this set.

 

The very last of British Leyland's attempt to replicate the success of the Mini. Though the Metro did sell strong on the domestic market, it's ability to woo the international market like its predecessor was sadly not meant to be. Here is the very last Rover 100 Metro, signed by members of the production team as it left the Longbridge factory for the last time.

 

Originally conceived by British Leyland, the Metro was built to similar principals as those of the Mini it was intended to replace, with a small, practical platform with as much use available to the passenger as was possible. The car came under various initial guises, including the Austin Metro, the Austin miniMetro, the Morris Metro van and the MG Metro, a version of the car with a 1.3L A-Series Turbo Engine.

 

Although the car was launched in 1980, development of a Mini replacement had dated back to the beginning of the 70's. Dubbed ADO88 (Amalgamated Drawing Office project number 88), the Metro was eventually given the go ahead in 1977, but wanted to have the appeal of some of the larger 'Supermini' (what a contradiction in terms) cars on the market, including cars such as the Ford Fiesta and the Renault 5. Designed by Harris Mann (the same guy who gave us the Princess and the Allegro), the car was given a much more angular body for the time, but despite its futuristic looks did share many features of the earlier Mini, including the 675cc BMC-A Series engine that dated back to 1959, and the gearbox. Initial cars also included the Hydragas Suspension system originally used on the Allegro and the Princess, though with no front/rear connection. The car was also built as a hatchback, which would eventually be a key part of its success as the Mini instead utilised only a small boot.

 

The Metro was originally meant for an earlier 1978 launch, but a lack of funds and near bankruptcy of British Leyland resulted in the car's launch being pushed back. This delay however did allow the folks at Longbridge to construct a £200m robotic assembly plant for the new Metro line, with the hope of building 100,000 cars per year. Finally the car entered sales 3 years late and got off to quite promising initial sales, often being credited for being the saviour of British Leyland. The Metro was in fact the company's first truly new model in nearly 5 years, with the 9 year old Allegro still in production, the 1980 Morris Ital being nothing more than a 7 year old Marina with a new face, and the 5 year old Princess not going anywhere!

 

As mentioned, an entire myriad of versions came with the Metro, including the luxury Vanden Plas version and the sporty MG with its top speed of 105mph and 0-60mph of 10.1 seconds. Eventually the original incarnation of the car, the Austin Metro, went on to sell 1 million units in it's initial 10 year run, making it the second highest selling car of the decade behind the Ford Escort. However, like most other British Leyland products, earlier cars got a bad reputation for poor build quality and unreliability, combined with the lack of rustproofing that was notorious on many BL cars of the time.

 

The show was not over however, as in 1990 the car was given a facelift and dubbed the Rover Metro. The 1950's A-Series engine was replaced by a 1.1L K-Series, and the angular bodyshell was rounded to similar principals as those by acclaimed styling house Ital to create a more pleasing look for the 90's. This facelift, combined with an improvement in reliability and build quality, meant that the car went on to win the 'What Car?' of the Year Award in 1991.

 

In 1994 the car was given yet another facelift, with once again a more rounded design and removal of the Metro name, the car being sold as the Rover 100. Engines were once again changed, this time to a 1.5L Peugeot engine and more audacious colour schemes were available for the even more rounded design of the new car. However, the car was very much starting to look and feel its age. Aside from the fact that the design dated back to 1977, the new car was not well equipped, lacking electric windows, anti-lock brakes, power steering, or even a rev counter! In terms of safety, it was very basic, with most features such as airbags, an alarm, an immobiliser and central locking being optional extras.

 

Eventually the curtain had to fall on the Metro, and in 1997, twenty years after the initial design left the drawing board, it was announced that the car would be discontinued. Spurred on by dwindling sales due to lack of safety and equipment, as well as losing out to comparative cars such as the ever popular Ford Fiesta, VW Polo and Vauxhall Corsa, with only fuel economy keeping the car afloat, Rover axed the Metro in 1998 with no direct replacement, although many cite the downsized Rover 200 a possible contender. Stumbling blindly on, the next car to fill the gap in Rover's market was the 2003 CityRover, based on the TATA Indica, which flopped abysmally and pretty much totalled the company (but that's another story).

 

In the end only 2,078,000 Metro's were built in comparison to the 5.3 million examples of the Mini that it was meant to replace. The main failings of the Metro were down to the fact that the car was too big compared to the Mini, and the rounded old-world charm of the Coopers and Clubmans was replaced by the angular corners. Because of this the car simply didn't have the novelty that the Mini continued to claim even 20 years after the first ones left the factory, and the Mini would even go on to outlive the Metro by another 2 years, ending production in 2000, then going on to have a revival in the form of BMW's New Mini Cooper that's still being built today. Unlike the Mini, the Metro also failed to conquer the international market in the same way, scoring its 2 million units pretty much in Britain alone, although some cars were sold in France and Spain, but only to the total of a few hundred.

 

The Metro however survived only on fuel economy and its spacious interior, but by the early 1990's, whilst other car manufacturers had moved on leaps and bounds, Rover continued to be stuck in the past with not the money or the enthusiasm to change what was a terribly outdated and extremely basic car. Towards the end the Metro, which had only a few years earlier won awards for its practical nature, was ending up on lists for Worst car on the market.

 

Today however you can still see Metro's, later editions are especially common on the roads of Britain. Earlier models built under British Leyland have mostly rusted away and are apparently only down to about a thousand nowadays, but the Rover 100's and Rover Metros continue to ply their trade, a lonely reminder of how here in Britain, we can never ever seem to move on!

“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”

“The Eye Moment photos by Nolan H. Rhodes”

nrhodesphotos@yahoo.com

www.flickr.com/photos/the_eye_of_the_moment

 

Replicator, MakerBot, PrinterBot... The trifecta!

Original photo rendered in b&w, and that was all.

 

Taken in a garden where all the statues were replaced by flat white replicas, because the originals are being repaired. Not nice to see, and I suppose people around have fiund it odd to see me photographing them, but you can always find an interesting way of looking at less beautiful things.

 

And here's a wider view of this"statue".

Looking towards the Belshotmuir outstation for Hutchison of Overtown (Hutchison Coaches).

 

Pictured are two Volvo Wright Renowns, replicating both Y181BGB & Y182BGB of the real life Hutchison, painted in a different livery for the Queens Jubilee. Both 181 & 182 would see further work with First Glasgow following their takeover of Hutchison’s, and 182 survives now in preservation - kept at the Glasgow Vintage Vehicle Trust (GVVT) at Bridgeton, having been repainted into as new state with the livery shown here.

 

To the right rear side is an Optare Delta, painted into the standard Hutchison livery, including Buggy Bus signage. This model was used as a stand in for the Optare Vecta & Excels used by the real company. Unfortunately I’ve found it impossible so far to get my hands on an Excel kit, however I feel the Delta does the job pretty well.

 

To right left side is a Super Low Floor Dennis Dart, again painted into the standard livery complete with Buggy Bus stickers. This model is also used as a stand in for a different bus type used in reality - that being an ALX300 with VRM - X304 JGE.

 

All models pictured are code 3 conversions of standard EFE releases. All have been dismantled, stripped and repainted (including interior detailing) and completed with a mixture of Sunrise & custom commissioned water slide transfers. All work is my own.

I am bound and determined to replicate everything I miss from the old food groups that I used to eat!!!

 

What a crazy weekend! It began on Saturday May 22, 2010. I got up at 5:30 a.m. It was thick with wet fog after having rained the previous day. The ground was wet, perfect for my weekend planting. I went outside and did all my garden chores. I came in and shot a picture of the coconut cake I had made the night before (before it was entirely eaten!!!). I've been sick for about 3 weeks and I was still feeling under the weather but I thought it would be great to head north into Wisconsin for a short road trip. I thought it might be nice to see some new countryside. I didn't want to get out of the car, go anywhere specifically, or to shoot pictures. I have just been too tired... Dave (spincast1123) has been sick too but he was getting bored/stir crazy! He said "let's head up to The International Crane Foundation in Baraboo Wisconsin?" It was the beginning of a very LONG WEEKEND!!!! We crammed tons of things in and stayed over night. We went to: 1) Merrimac Ferry 2) The International Crane Foundation 3) Baraboo Zoo/Park 4) Trolls in Mt. Horeb 5) The cave at Blue Mound and 6) Little Norway. Way too much fun and beauty!!!!!!

This is an image of Joe at work at Moraine State Park on the South Shore getting what he said the last good day of foliage color before the cold spell predicted for the next week.

 

Putting on paper how he sees it.

Through the eyes of an Artist.

Replicated from this image in the JR James Collection: www.flickr.com/photos/jrjamesarchive/9494159196

Replicating a stores delivery to Dilhorne Colliery, a Beyer Peacock 'Pug' 04-0ST is shunting vans in the sidings accessed directly from the vicious 1 in 19 'Foxfield Bank'.

This display at the Festival of Trees at the Indiana Historical Society in Indianapolis replicates the Parker family living room of the 1983 film A Christmas Story. The film was set in December 1940 in the mythical Holman, Indiana, which doubled for the hometown of Jean Shepherd whose stories form the basis for the film. Shepherd grew up in Hammond, Indiana, and Holman refers to a major street in town.

 

Many of the movie's exterior scene were filmed in Cleveland, including the Parker home located in the Tremont neighborhood. On the right side of the fireplace is a box for the Red Ryder air rifle that Ralphie Parker wanted for Christmas. The film references a Cleveland Street which is the street on which Shepherd lived in Hammond.