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Ever since I saw this car in Gran Turismo 4 I have wanted to replicate it in Lego. With the LUGNUTS challenge "A Day at the Races," I have a good reason to finally build it. To me this car has an simple, attractive look to it but at the same time looks very menacing. Almost all of the decals were drawn out by hand and then cut out of contact paper with a hobby knife. Hope you like!
This is from my first month of "serious" railfanning, as if I can ever be serious. Something that used to be common as could be and now can't be replicated, since the GE borg has usurped many of the number series that rightfully belonged to EMD's. I seem to remember that this was a steamy hot afternoon and I was pretty excited to get a train pointed toward the afternoon sun. It took so little to satisfy me back then.
I love this car- the ex-Chris Evans Fiat 126 Abarth 'replica'. Except it's not a replica as a real version was never made. A true one off in a befitting condition.
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» LongExposures website and blog
This was for my Spanish class , and it is a replication of this painting by Joan Miro who was a spanish surrelist artist , this is the original by him:
www.tracykobus.com/global/images/email/june/miro.jpg
When i was painting it , I ended up painting it upside down and i noticed that when i looked up the painting again . So after i took the shot of it , i had to rotate it . I messed up in a lot of places , but my painting is due pretty soon so i didn't have time to fix it
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Please add COMMENTS and FAVES. I hope to replicate as soon as possible!!! :)
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A small unit armed to the teeth yet so cute you might just let it kill you instead of resisting.
My first moc of the year is a small tablescrap tribute to Felix el Gato, someone to whom i owe a lot. I tried replicating his style while still keeping my own flair into it all. Enjoy!
Ink and acrylic marker on paper 6.75" x 9.75" 7.2025. www.saatchiart.com/art/Drawing-Self-replicating-Surface-P...
Nearly replicating my shot from the 3rd, KCS Train M-VNKC-18 rolls south from Sheffield on the KCS Pittsburg Sub. headed for IFG at Grandview. There they'll shove their intermodal on the rear into the ramp, and run around the manifest traffic before dragging it back north to KCS Knoche Yard.
Normally I would have selected a different angle since I did almost an identical shot of the Rex Kwon Do unit here recently, but my accomplice this day hadn't shot this engine yet, and it's a pretty solid go-to angle. Plus, you never know when you'll get lucky with an over/under on the Sheffield Flyover in the distance.
Locomotives: KCS 4006, EMDX 7205
2-19-20
Kansas City, MO
The Bass Maltings complex at Sleaford was completed in 1907 to the designs of the company’s chief engineer, Herbert Couchman. The planning of the development dated back to 1880, when Bass, Ratcliffe and Gretton Ltd proposed the development of sixteen new malthouses in the Sleaford area of Lincolnshire. The area was a major producer of English barley, and was well-served by the rail network, which made possible the bulk transportation and distribution of both barley and the finished malt. Construction on the scale proposed dwarfed other centres of malt production, and was driven by the need to reduce production costs by increasing the scale of production, and by locating the malting process close to the source of the barley, rather than at Burton-on-Trent at the site of the Bass brewery. Bass’s requirement for malted barley had increased after it became a public company in 1888 in order to provide the capital for the development of its own public houses. The company identified a suitable source of water in Sleaford by boring an artesian well in 1892, and in 1901, purchased 13.3 acres of land around the well site. Plans for the development were submitted in 1901, work on site began in the same year, and malting began in 1906. Only eight maltings were completed rather than the sixteen originally envisaged, and the complex was finally completed in 1907.
The Sleaford maltings were traditional floor maltings, with soaked or ‘steeped’ barley spread over the several germinating floors before being kilned to produce the finished malt. This linear process replicated on a massive scale the traditional design of floor maltings found in farmsteads and small breweries throughout England, and continued to be constructed until the mid-C20, despite the development of pneumatic malting in the late C19.
From 1907 until the outbreak of the Second World War, the Sleaford maltings operated at full capacity, producing malt more cheaply than could be achieved at the company’s Burton maltings. However, in the post-war era, production was reduced and vacant space in the maltings ranges was let to local businesses. The closure of the maltings in 1959 was precipitated by Bass’s installation of a new automated pneumatic-mechanical malting system in four of its Burton-on-Trent maltings. This system allowed the malting process to be carried on throughout the year with a very small labour force, making the process far more cost efficient than could be achieved at Sleaford.
Following the cessation of malting on the site, various parts of the complex were occupied by other businesses. Partial occupation and a lack of maintenance made the site vulnerable to damage, fires breaking out in 1969, and again in 1976, this time resulting in the far greater loss of original fabric when the central range’s barley store and screens, and parts of three malthouses were severely damaged. The complex was added to the statutory List in November 1974, and various parts of the complex remained in use until 2000, when the site was closed.
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
Concatedral de Santa Maria de la Redonda, Logroño, La Rioja, España.
La concatedral de Santa María de la Redonda es una iglesia situada en el centro del casco histórico de Logroño (La Rioja, España). Junto a las catedrales de Calahorra y de Santo Domingo de La Calzada, conforman un caso singular en el orbe católico, al ser una diócesis con tres sedes catedralicias.
La estructura arquitectónica de la concatedral se construye fundamentalmente desde el siglo XVI al siglo XIX.
Está compuesta por tres naves, un deambulatorio y el trascoro (Capilla de los Ángeles), con su puerta principal flanqueada por dos torres gemelas. A lo largo de los muros laterales se extienden las capillas que cierran la construcción definitiva en el norte y sur del templo.
Entre 1516 y 1538 se construye el cuerpo central en estilo Gótico de los Reyes Católicos. Alzando la vista se contempla algo similar a un palmeral de piedra sugerido por las esbeltas columnas cilíndricas sin nervadura, y el despliegue en lo alto de una filigrana de ramas que confluyen en las bóvedas de crucería.
Las capillas laterales se van completando y enriqueciendo a lo largo de los siglos XVI y XVII, albergando pinturas y esculturas religiosas, retablos y rejerías, así como unas imágenes procedentes de otros templos o monasterios desaparecidos.
Destaca la capilla barroca de Nuestra Señora de los Ángeles (1756), junto al pórtico y el monumental retablo en piedra de la fachada principal, flanqueado por sus dos torres gemelas, construidas por Martín de Beratúa, que constituyen el icono que representa a la ciudad de Logroño. Tomaron como modelo la torre de la iglesia de Santo Tomás de Haro y se repite en otras localidades riojanas como en Santo Domingo de la Calzada, Briones, Oyón, Labraza, etc., destacando siempre en el horizonte su verticalidad y conformando lo que se ha llamado barroco riojano.
Entre las dos torres se encuentra una fachada-retablo en piedra diseñada por Juan Bautista Arbaiza. Está situada sobre la puerta principal cerrando el paso una verja.
La última ampliación arquitectónica se produjo en el siglo XIX, con la construcción del actual deambulatorio por el lado de la cabecera, prolongación de continuidad constructiva y estética de la Real Capilla del Santo Cristo del Obispo Pedro González de Castillo.
El templo, orientado rigurosamente de este a oeste, está situado en la parte central del casco antiguo de Logroño, y se abre a la antigua plaza del Mercado, junto a la calle Portales, que conserva todo su sabor histórico y en la que sigue fluyendo la vida social, religiosa y cultural de la ciudad.
The Co-Cathedral of Santa María de la Redonda is a church located in the historic center of Logroño (La Rioja, Spain). Along with the cathedrals of Calahorra and Santo Domingo de La Calzada, they are unique in the Catholic world, as a diocese with three cathedral sees.
The architectural structure of the co-cathedral was built primarily from the 16th to the 19th century.
It consists of three naves, an ambulatory, and the transept (Chapel of the Angels), with its main door flanked by twin towers. Chapels extend along the side walls, concluding the final structure to the north and south of the church.
Between 1516 and 1538, the central body was built in the Gothic style of the Catholic Monarchs. Looking up, one sees something resembling a stone palm grove, suggested by the slender, ribless cylindrical columns and the filigree display of branches at the top that converge in the ribbed vaults.
The side chapels were completed and enriched throughout the 16th and 17th centuries, housing religious paintings and sculptures, altarpieces and grilles, as well as images from other temples or monasteries that no longer exist.
The Baroque chapel of Our Lady of the Angels (1756) stands out, along with the portico and the monumental stone altarpiece on the main façade, flanked by its twin towers, built by Martín de Beratúa, which constitute the icon representing the city of Logroño. They took the tower of the Church of Santo Tomás de Haro as a model, and it is replicated in other Riojan towns such as Santo Domingo de la Calzada, Briones, Oyón, Labraza, etc., always standing out on the horizon with its verticality, forming what has been called Riojan Baroque.
Between the two towers is a stone altarpiece-façade designed by Juan Bautista Arbaiza. It is located above the main door, blocked by a gate.
The last architectural extension took place in the 19th century, with the construction of the current ambulatory on the side of the sanctuary, an extension of the constructive and aesthetic continuity of the Royal Chapel of the Holy Christ of Bishop Pedro González de Castillo.
The church, strictly oriented east to west, is located in the central part of Logroño's old town and opens onto the old Market Square, next to Portales Street, which retains all its historical flavor and is still a hub of the city's social, religious, and cultural life.
Another shot from the Richmond Badlands. This one was an access way into a large horse stud. It looked quite nice on the ground but as usual, the fog kind of evaporates when you process the shot so I may have embellished with a bit of graduated fog. Just a subtle bit but it helps.
Heavily processed this one. Its been an interesting challenge trying to replicate the yellows and greens of the dry grass that we saw on the ground.
I think the final product conveys the mood and sense of the place that I tried to capture.
If it is foggy, its worthwhile getting out to the Richmond Lowlands for a shoot.
A great day out with Mike, Stephane, Shane, Colind, Peter and Olga.
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
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“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.”
So difficult to replicate the true colour of this gorgeous, soft, pale pink hyacinth. Hope this is as close as it is. I just couldn't manage to quite get the softness and the fragrance !
Edited in Topaz and lightly texture in PicMonkey. Hope you like it.
I can't keep up with you all ... but please know that you're all so appreciated and wherever you are, I wish you a wonderful week ahead.
Thank you for your support, everyone. I would prefer not to receive multiple invites, as I feel impolite if I don't take them up !
Replicating the sort of small station scenes of Scottish branch lines, No. 55238 crosses over into the loop with a local pickup goods while freshly overhauled No. 80105 awaits the road to clear towards Polmont.
A view of the replicated Woodward's W seen from the George Viaduct.
Charles A. Woodward opened his first store in Vancouver on Main Street in 1891.
Woodward’s moved to new larger store on West Hastings Street in 1903. Woodward's department store became the place to shop and was at the centre of then Vancouver’s premier shopping district.
The store was renowned for its Christmas window displays, the huge basement food court and the popular $1.49 Tuesday sales with it's kitschy jingle.
The iconic Woodward's "W" was installed on top of a pint-size replica of the Eiffel Tower in 1944.
Woodward's went bankrupt in 1993 and building sat empty until a redevelopment plan surfaced in the early 2000’s.
The "W" neon sign was removed before most of the building was demolished in 2006. The “W" was replicated and re-installed January, 2010 on the remaining heritage protected old building.
The original W is displayed in the open area between the SFU campus and new Woodward's residential tower.
“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
**COMPUTER GENERATED IMAGE**
An edit of Stagecoach London Enviro200MMC 36659 (SN17MLZ) into the Stagecoach London colours that were seen on Darts and Tridents between 2000 and 2005 before Macquarie Bank took over operations until 2011.
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This image is copyrighted to Tim Wood; 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 at woodrot147@aol.com for express permission to use any of my photographs.
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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
“The Eye Moment photos by Nolan H. Rhodes”
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“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.”
A life threatening, system crumbling cybernetic plague, VIROT is a virus designed on the bacteriophage of eons past. This computer devourer is able to infect a hero’s core and either reprogram them for evil or shut them down for good.
Type A, the infection type, is small, nearly undetectable, with an emphasis on its rapid replication. Type B phages are a larger mutation that carry microscopic incision equipment used to inject nanites. These nano machines either act as miniature explosives, irreversibly damaging the hero’s Quaza Core, or act to change the materials within core, turning it into ANTI-QUAZA and sending the hero into a downward spiral of evil.
Hero Factory. We build H̷e̷r̷o̷e̷s̷ ……. Villains
Built for Hero February 2023
I think I was trying to replicate the picture below that I took a few years ago, but it just wasn't happening for me, and then these two came along.
But that is the great thing about these "Outdoorshow" events. You don't need to be a steam buff or a train spotter to enjoy them. If you are interested in photography there are rich pickings amongst the diverse type of people and families attending: Cute kids, people of all generations. And there are machines galore: huge smoking and steaming traction engines, vintage trucks, cars and motorbikes and even a vintage steam powered funfair. On the periphery are trade and junk stalls and all manner of other entertainments. Amongst the crowds there are the good looking, ugly, old and young, strange, dirty men and dirty women (from coal and oil.....but possibly a few without those too). And even the unusual and quirky are there too.
On a sunny day these events area great day out for all the family. For more pictures see www.flickr.com/photos/pentlandpirate/albums/7215765672975...
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
“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.” www.flickr.com/photos/the_eye_of_the_moment
My BFF & I endlessly quoted this mascara commercial in the 1980s. Here's our version of it, featuring '80s Barbies & Ken.
This week in 2013, the High-Energy Replicated Optics for Exploring the Sun mission launched aboard the Columbia Scientific Balloon from Fort Sumner, New Mexico. The mission was a collaborative effort between NASA’s Marshall Space Flight Center and NASA’s Goddard Space Flight Center. HEROES was designed to investigate the scale of high-energy processes in a pulsar wind nebula by mapping the angular vortex of hard X-ray emission; the acceleration and transport of energetic electrons in solar flares using hard X-ray imaging spectroscopy; the hard X-ray properties of astrophysical targets such as X-ray binaries and active galactic nuclei; and electron acceleration in the non-flaring solar corona by searching for the hard X-ray signature of energetic electrons. Here, the HEROES payload awaits launch as the helium balloon inflates in the background. The NASA History Program is responsible for generating, disseminating, and preserving NASA’s remarkable history and providing a comprehensive understanding of the institutional, cultural, social, political, economic, technological, and scientific aspects of NASA’s activities in aeronautics and space. For more pictures like this one and to connect to NASA’s history, visit the Marshall History Program’s webpage.
Image credit: NASA
#tbt #nasa #marshallspaceflightcenter #msfc #marshall #space #history #marshallhistory #nasamarshall #nasahistory #nasamarshallspaceflightcenter #HEROES #Goddard #GoddardSpaceFlightCenter #GSFC #ColumbiaScientificBaloon
The Triclinium Leoninum consists of a brick aedicule with an apse and a colourful apse mosaic. The mosaic dates from the 18th century. The whole edifice is a replica of the apse of the large dining hall built by Pope Leo III (795-816), hence the name Triclinium Leoninum, Leo’s dining hall. In 1731, when plans were in the making for a new façade for the cathedral of San Giovanni, Pope Clemens XII (1730-1740) decided that the remains of the [previous] Triclinium Leoninum were in the way and ordered it to be demolished. The mosaic was damaged beyond repair. In 1743, the architect Ferdinando Fuga (1699-1782) was hired by Pope Benedictus XIV (1740-1758) to build a new edifice, a project that led to the current Triclinium Leoninum being set up. The painter Pier Leone Ghezzi (1674-1755) received a commission to replicate the mosaic. Whether this is a faithful reproduction of the previous mosaic is hard to tell. Ghezzi may have used his imagination while laying some parts.
At Brickvention in 2010 I built a 250,000 brick cutaway model of the Love Boat – from the 1980’s TV show of the same name.
One of my favourite models of all time, it really hit home how cool a cutaway model can be, as the pioneer of this display technique I have since replicated it in many other models.
What was funny was that people who had no idea about the love boat automatically assumed as it was a big ship that it was the Titanic, which apart from being a ship had nothing else in common with it, colour, size, shape etc so hopefully this time, people can’t mistake this model for being the love boat!
This model breaks a lot of normal brick building conventions, its sheer size and of course the angle it is on, together with the slice made for a significant amount of challenges, which with a lot of planning were overcome.
It is approximately 120,000 Bricks and took over 250 hours to complete.
Production started on December 19th 2015 and was finished on January the 12th 2016. Just in time for Brickvention 2016
Built by Myself, Mitchell Kruik and Clay Mellington.
The model also has an awesome sinking lighting system design by Rob Hendrix at Lifelights
#ReplicateAMaster
This month's entry on my 12 weeks project is about replicating a Master and one of the photographers that I have been admiring for the last couple of years is Dani Diamond. I really love his natural light portraits and the way he retouches his pictures. That's why I've decided to replicate a bit his style for this month's challenge.
The picture consist of a natural light portrait with my 85mm and there is a bit of retouching via Frequency separation and Dodge and burn. It took me a while to get everything correct but I hope you like the results.
Thank you all for your appreciation.
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Replicated the four windows purposely utilizing the used white bricks and plates to give the interior wall a weathered look. Included as well are the columns that go between them.
Just have to build seven more for the whole Pisamban Maragul layout...
I replicated Thrawns battle gear based on his outfit in Star Wars Rebels: S3 Ep22.
I used the torso of the Lego AT-DP driver and added details like his rank plaque, code cylinders and epaulettes using cut Lego stickers.
The goggles are from Minifig.cat, and I gave him a Brickarms blaster.
Due to recent unauthorised publication of my images in a magazine without payment I have to now make this statement:
This image is the copyright of © Peter Brabham; 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 at pete.brabham@ntlworld.com for permission to use any of my photographs. I will give permission free of charge to Heritage Railways and steam loco restoration projects but profit making magazines and book authors must pay a reproduction fee.
It took approximately 40 minutes of sheer patience before I could take this shot due to the number of visitors who were at the forefront of the scene. I almost gave up but thankfully my patience paid off.
Filmmaker Sam Reid used a Fotodiox Macro Extension Tube to replicate one of his favorite shots from the movie Blade Runner. Click here to learn more about our Macro extension Tubes: bit.ly/37G6AnF
And click here to see more of Sam's work: www.instagram.com/samreid.film/