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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 as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
All done. So I'm not trying to replicate the furnishing of the original TV set, I'll leave that to the buyer, but wanted to test it out.............Overall I'm super pleased with how it came out, my handrail is a little bumpy here and there, but I wasn't making any significant improvements after redoing it 4 times so this is the end result. I consider it a good sign when I want to keep a commission for myself as I am my harshest critic.
20060802_0001_10D-17 "Scott on Ice" Juxtaposition
A picture that can never be replicated "one shot, in camera", as this one was shot.
Statue (monument) to Robert Falcon Scott (Antarctic explorer) with the word "ICE" in background. ICE comes from "police" on the then Christchurch Police Station. I felt there was good juxtaposition with the word "ice" and Scott depicted to be standing on ice.
This pic was taken a few years before the earthquakes that struck our area. In the destructive quake of February 22 2011 the statute toppled to the ground and the multi-storey Police Station was damaged. It (the Police Station) was later demolished (late May 2015) by implosion.
For a few years the statue was seen in the museum, but I understand that it has been returned or will be returned to it's original plinth.
www.stuff.co.nz/the-press/business/the-rebuild/89342220/c...
www.ccc.govt.nz/culture-and-community/heritage/heritage-i...
The central Police Station is now in a different part of the city, about five minutes walk away from where it was.
Shooting data: Canon 10D with EF17-40mm lens at 17mm.
#1245
Acrylic marker and ink on paper 4.75" x 6.75" February 19, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
Replicating (almost) the shot used by the NRM to publicise the visit of Flying Scotsman to the Strathspey Railway, A3 Pacific No.60103 Flying Scotsman is pictured in the same location as Ivatt Class 2 No.46512. www.flickr.com/photos/60956647@N02/52380641842/in/datepos...
My attempt to replicate the most-produced fully tracked armoured German fighting vehicle during World War II. Commonly known as the StuG III, it started its career as mobile assault gun but quickly revealed itself as an excellent tank destroyer.
This StuG III Ausf. G is an early production model and this can be seen by the gun mantlet shape and the absence of machine gun on top of the roof.
My model is inspired by the various existing models (BrickMania, Custom-Bricks...). Stickers are from BKM and CB, tracks are from CB. Minifig is from BKM.
Designed by Reinhold Platz, the Dr1 was a direct attempt to copy the successful Sopwith Triplane. Armed with two forward firing Spandau machine guns, it was highly manoeuvrable, and was a favourite mount of a number of German aces such as Werner Voss and the legendary Manfred von Richthofen.
The other aircraft is 556/17 which was built by its owner, Peter Bond in 2010. It replicates the Dr1 flown by Leutnant Ludwig "Lutz" Beckmann also of Jasta 6 in March 1918 which was then based at Lechelle. Beckmann survived the Great War and commanded a transport unit of the Luftwaffe in WW2.
I'm trying to replicate the experience of the images I see when my eyes are closed. A sense of the colours and shapes I see through my eyelids.
I started off by trying to paint patterns in red on a canvas. But then I realized that these images seem better when I photograph them out of focus.
I used Winsor and Newton acrylic paints on an A5 size canvas. Mixing paints is something I really enjoy. This is a combination of Naphthol Red Light and Permanent Alizarin Crimson. I can then photographically adjust the colours slightly depending on how I light and edit the shot. The photography, in this sense, adds another dimension to what I can do to create colour.
To be continued....
Carhenge, which replicates Stonehenge, consists of the circle of cars, 3 standing trilithons within the circle, the heel stone, slaughter stone, and 2 station stones and includes a “Car Art Preserve” with sculptures made from cars and parts of cars.
Located just north of Alliance, Nebraska, Carhenge is formed from vintage American automobiles, painted gray to replicate Stonehenge. Built by Jim Reinders as a memorial to his father, it was dedicated at the June 1987 summer solstice.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
I have passed St Mary a number of times since travelling to see the orchids at a nearby reserve. So with some time to kill a couple of weeks ago, I decide to call in.
The church is nearer to the village of Metfield than the one it is parish church for, and parking was problematic, as the church is off the main road, and the small houses and farms that make this part of Withersdale all had rather unwelcoming do not park here signs, and nearer the church, do not park on the grass signs. So where doe the visitor who arrives by car actually park? I ended up on the verge of the B road that passes close by, but the unwelcoming nature of the area had put me in a bad mood.
St mary is a small and simple church, a small bellcote at the west end, a fine ancient font on a new pedestal, some small but old pews and a fine roof.
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(Introduction: Back in 2002, Withersdale was the 500th church on the Suffolk Churches site. You might say that the end of the journey was in view. I had recently had a conversation with some friends about writing parodies, using the style of other authors for those things we would have written anyway. One friend, a teacher, claimed to have written an entire school report in the style of Raymond Chandler. Some writers are easy to replicate - TS Eliot and Hemingway, for example - but it is harder to sustain a parody when the parodied writer is best known for going on at length. I said I'd have a go at Proust, which I did here, and James Joyce for church 501, Bungay St Mary. It's not for me to say how successful the parodies are, although the Joyce one has been complimented kindly by some of the man's fans. Nobody has ever said anything about the Withersdale parody - perhaps more people read Joyce than Proust, I don't know. In 2007, when I began revisiting Suffolk churches to replace the old photographs I had taken with brand spanking new digital ones, I came back to Withersdale. Unfortunately, I got here at the dullest hour on a dull day, and so the exteriors are not what I had hoped for. Still, that's a good excuse to go back again. As for the text, I have not seen any reason to change it, other than to add one hyperlink to a page on the Norfolk Churches site. I realise that this will be an annoyance for anyone wanting to find out more about Withersdale and its church. For this, I apologise.)
2002: For a long time, I used to read French novels in bed. And then, mid-morning, I'd get up and wander through an industrial wasteland.
I was living in Sheffield, in South Yorkshire, in the years when the coal and steel industries were finally coming to an end, and I'd walk through the battlefields of Brightside and Attercliffe, wondering at the abandoned factories and mills, and the wasted infrastructure, the boarded-up pubs and shops, the graffiti, the row upon row of derelict terraces. One day, I even found an old railway station, the door onto the platform hanging open, the wind howling through the gap into the tunnel, the line going nowhere.
Often, I would imagine what these places had once been like, when they were still alive, for I was not born to this, coming as I did from the flat fields of East Anglia. The first time I saw it all, it was already over. I loved the litany of names: Attercliffe and Brightside I have already mentioned, and there was Eccleshall and Carbrook, Intake and Millhouses. I don't know now if I knew them from visiting them, or only knew them from their names, bold on the fronts of buses.
I would wander alone through the broken streets, gazing up at the brick-faced shells, and imagine them full of activity, and try to decide what this winch had been for, or the platform where the lorries came, or the booth by the gate. This was all the evidence, and this was all I had to go on, as I reconstructed a world I had never seen. And what really interested me was not the places at all, but the people who had once inhabited them; those people who had now gone, but these buildings were once the focus of their lives, and they had known them very differently to the way I was knowing them now.
Using material evidence to reconstruct their activities, I could perhaps begin to understand their lives.
I was thinking about this as I cycled along the Waveney valley - but then something else happened. I had come to Withersdale from Weybread, up on the Norfolk border. In fact, I had reached Weybread from the northern side of the Waveney, since the most direct route from Mendham to Weybread had been across the river into Norfolk, and through the lanes that lead into Harleston. About fifteen years before all this happened, when I was living on the south coast of England, I had had a brief but passionate affair with a girl who came from Alburgh, a Norfolk village on the other side of the border to Mendham. I hadn't thought of this for years, but suddenly seeing the name of the village, which I had never visited, on a road sign, startled me. And then something extraordinary happened. As I sat on my bike, savouring this shock of recognition, an agricultural lorry passed me, and I noticed that the name of the town painted on the side of the lorry was the same south coast town where this occured.
I was still wondering at this as I threaded through the back lanes between Weybread and Withersdale, a world away from the post-industrial ruins of South Yorkshire, or the misery of the south coast, for I had not often been happy there, and never wish to be so poor or so far from home again. When I moved to the south, I had not many months since finished an increasingly pointless relationship that should have stopped after six months, and unfortunately went on for another two years. My habit of reading Proust in bed had come towards the end of this; that, and wandering around east Sheffield, were, I think, displacement activities of a kind, not only to avoid spending too much time with her, but also to avoid doing anything about it. It also had much to do with me leaving Sheffield shortly afterwards. It was a year later that I moved to the south coast, and I was already seeing the girl who would become my wife. And then I met this woman from a Norfolk village shortly after I arrived in the unfamiliar coastal town, in the warmest October of the century. The leaves were only just beginning to colour and fall, and I remembered the way the woods rode the Downs, and the way the fog hid all day in the valleys.
And then I thought, well, it must have been more than fifteen years ago, because I could remember leaving her bed in the early hours of one Friday morning, the paleness just beginning to appear in the east, and being stopped on a roadblock on the bypass, where it joined the Lewes road. It was the night that the IRA had bombed the Tory party conference at the Grand Hotel, and everyone leaving town was being stopped and questioned. I had no idea what had happened, and the policeman didn't tell me. As I explained where I had been, I watched the police coaches hurtling back westwards out of Kent, away from the miners' strike.
When I had made my life less complicated, I used to cycle around the Sussex lanes, finding lonely churches and sitting in them. When I'd lived in Sheffield, I liked to wander up on to the moors, perhaps to Bradfield, where the church looks out on an empty sky. Standing in its doorway took me out of the world altogether, and was the first time I experienced that sense of communion with the past. St Mary Magdalene, Withersdale, reminded me a bit of Bradfield, although busy Suffolk is much noisier than the peace around Sheffield. Here was an ancient space, plainly Norman in origin, that had stood here stubbornly while the world changed around it. Wars had come and gone, times of great prosperity had warmed it and depressions had made it cold again. Disease and famine had emptied it, until the irrepressible energy of human activity had restored it to life. And it was still here, so unlike our own transitory existences. But perhaps there is a resilience in stone that reflects the human spirit.
What would I have found most extraordinary back then, on the south coast? That we would now have known ten years of relative peace in Ireland? That the time of the Tories would finally come to an end, and it would be hard to imagine them ever regaining power? That I would be married with children in East Anglia? I think I would have found the Tories being out of power least believable.
I had been looking forward to reaching Withersdale for several years, and it had increasingly become the sole quest of the day, like people who set out on a journey to see with their own eyes some city they have always longed to visit, and imagine that they can taste in reality what has charmed their fancy.
Everybody who writes about it seems to like it, Mortlock calling it a dear little church, Simon Jenkins thought it unusually atmospheric, and Arthur Mee writes as though he actually visited the place for a change, and curiously mentions half a dozen pathetic old benches... which once held an honoured place in God's house and are now a shelter from the sun for a few of God's sheep, which is typical of barmy Arthur.
The church sits right beside the busy Halesworth to Harleston road, which you wouldn't expect from its reputation for being remote and peaceful. Incidentally, this is a road I always find difficult when I'm cycling, since it bends and twists through high Suffolk, and you can never be entirely clear about which way it is heading, and several times I have made the mistake of absent-mindedly turning for Harleston when I wanted Halesworth, and so on. Withersdale was the last piece of the jigsaw in north east Suffolk for me; I had visited every single other medieval church beyond the curve that connects Diss in Norfolk to Halesworth, and then the sea.
It was a crisp, bright afternoon towards the end of February, and my next stop after Withersdale would be the railway station at Halesworth, where I planned to catch the train that left at 4.30pm, en route from Lowestoft to Ipswich. Before Halesworth, the train would pass through Beccles, where I had stepped off of it earlier that morning, and cycled off to visit the churches of Worlingham, Mettingham and Shipmeadow workhouse. It was after this that I had made the somewhat convoluted journey through the Saints to reach Mendham in the early afternoon. Each of the Saints is an event, as if a counterpoint to the time it takes to travel through them, creating a history, a tradition of the distance, each one connected to and yet significantly different from the others, and sometimes events can overtake history and change its course, as I had discovered.
Now, I was nine miles from Halesworth, with less than an hour to go before the train left, which would give me time to visit Withersdale, but would concentrate my mind, since the 4.30pm train was the last that I could reasonably catch, having no lights, and needing to cycle a further two miles from the station when I arrived in Ipswich.
So, if I was to decide that the setting or interior of St Mary Magdalene were in any way timeless, this would have to be set against a pressing urgency - or, if not quite an urgency, a sense that an urgency would be created if I did not remain aware of the passing of time.
I stepped through the gate into the sloping churchyard, passing 18th and 19th century headstones as I walked to the east of the building. Here, I discovered that the church was not entirely rendered rubble, for the east wall had been partly rebuilt in red brick, and the window frame above was made of wood, which would be a memory of times past, and a hint of things to come.
The south side of the building was dappled in winter sunlight, and I remembered how Arthur Mee had found this church surrounded by elm trees, and how their leaves must have sent shadows scurrying along this wall, and how the sunlight had been washing it for generations. I wondered if there could be some kind of photographic effect, perhaps caused by chemicals in the rendering responding to the photons in the sunlight, and I remembered how Proust had watched from his curtained apartment the streets below, imagining scenes into stillness. I thought of my own small world, my transitory journey, and how this would be a blink of an eye, a relative stillness in comparison to the long centuries the wall had stood, and how everything I cared about, my passions, hopes and fears, signified nothing beside it.
I looked up at the pretty weather-boarded turret, and the little porch below. Although the church is visibly Norman in construction, the turret and porch have a later historical resonance, because they were the gift of William Sancroft, later to be Archbishop of Canterbury, who in the long years of the 17th century Commonwealth lived at nearby Fressingfield, during the time that the episcopal government of the Church of England was supressed.
Fressingfield was his native village, but Fressingfield church is a medieval wonder, and it is not too fanciful to imagine that Sancroft made St Mary Magdalene his quiet project, although of course it cannot be the work of one man, or even one generation or epoch, but his touch must have fallen firmly here.
I stepped inside to a cool light suffusing the nave and chancel, and I climbed up to the tiny gallery at the west end to look down on the space below. St Mary Magdalene is a relatively unspoiled prayerbook church, almost entirely of the 17th century, with some sympathetic Victorian additions. The pulpit is against the north wall as at All Saints South Elmham, to take full advantage of the theatrical sunlight from the windows in the south wall. The pulpit is tiny, barely two feet across, and the benches face it, and so do the box pews to south and east.
The woodwork is mellow, breathing a calmness into the silence, while the chancel beyond is gorgeous, a tiny altar surrounded by three-sided rails sitting beneath the elegant window, two brass vases of pussywillow sweet upon its cloth. I stood for some time looking down, and then descended, finding a superb font carved with a tree of life and a grinning face. It may be Norman, it may be older. It is set upon a modern brick base, but even this is fitting, as are the benches with strange ends, with a hole for the candlepricks, and I ran my hand over the golden curve, an eroticism stirring in the memory as the scent of flowers in a window splay touched my senses, an echo of a spring evening some twenty years before, when I had first ever thought myself in love, and this came to me now.
There was a crisp confidence to this building; it was expressed in the curious elegance of the 17th century English Church which had furnished it that, despite so many traumas, had finally come to represent the simplicity of the Puritans, the seemliness of the Anglicans, and that was the Elizabethan Settlement of the previous century fulfilled. Here Sancroft waited, while the world turned upside down around him, and then Cromwell died, and so too did the Puritan project; Sancroft became Dean of St Paul's Cathedral in London, witnessing its destruction by fire in 1666, and overseeing its complete rebuilding in the classical style, and such a contrast with St Mary Magdalene it must have made that perhaps he sometimes wished he was back here. A High Anglican, he crowned the Catholic James II with some misgivings, but then refused to recognise the Protestant coup of William III in 1688, returning once more to Suffolk, where he died.
I sat in the shadowed pew and felt the distant beat, the quiet trick of history turned and played. I thought of the certainty that this interior represented, the triumph of the will, of belief over mystery, and how the rationalist, superstitious 18th century worshippers here could not have conceived of the great sacramental fire that would one day flame out of Oxford and lick them clean.
I sat there, long enough to forget that I must of necessity move on, and the place began to cast a spell which I thought mostly due to the light, which was becoming pale as the sun faded beyond the distant trees, or perhaps the silence, but I knew in fact it was because of the matter on my mind.
You see, there's another thing. A few days before my visit to Withersdale I had spent a weekend abroad with three female friends, one of whom I felt increasingly drawn to, to the extent that I wondered if anything might come of it. This was also on my mind as I sat in the neat coolness of St Mary Magdalene, looking at the pussy willows in the altar vases, and talking to someone, possibly God.
How to understand flowers on altars, I wonder. How the 18th century puritans who furnished this place would be appalled! And yet they were perfect, as if the entire building had been constructed and furnished for them to be placed here, on this day, at this time, with the late afternoon light glancing down the hillside and leading my gaze to the brass vases. What did they mean to me, in comparison with their meaning for the people who placed them there? I ought to mention that the friends I went away with were all younger then me, at least twelve years, and it is to my great delight how younger people reinvent the world I think I understand, just as I must have done, and still do for people that much older than me. This constant process of reinterpretation must be immensely annoying for those who think they have grown old and wise, but I rejoice in it; it is a beautiful chaos, and keeps the world fresh and new, and history could not exist without it. By history, I mean of course the gradual process of constant change, which was also Newman's definition of the word tradition, rather than anything about dates and famous people.
So I sat there, and wondered if I should try and make something happen with the woman I mentioned, if I should tell her how I felt, and discover if what seemed to be the case was actually so, and so as I sit here now, writing this, I know the full story, and how it finally ended some weeks later, and this makes complete the circle from the moment I crossed the Waveney at Mendham, putting in chain an irrevokable sequence that would lead me here now to this computer keyboard, on this sunny spring evening in Ipswich. In A L'ombre des Jeunes Filles en Fleurs, Proust remembers crossing France by train at night, and the dislocation and alienation of being hurtled through an invisible, unfamiliar landscape. He cannot sleep, and in the middle of the night the train stops in a secret valley, far from the nearest town, perhaps because there is a station, or because the track is blocked, I don't remember. He opens the carriage window; it is a hot, sultry night.
Suddenly, a woman appears from the nearest cottage, with a jug of coffee, and he watches her give the coffee to a group of passengers, or perhaps they were the men removing the blockage, which I think was a tree, but may have been an animal of some kind, or perhaps it was to do with a swollen river. Proust thinks of her life in this lost valley ...from which its congregated summits hid the rest of the world, she could never see anyone save those in the trains which stopped for a moment only.
She moves back down the track, and gives the narrator some coffee. Wordlessly, he drinks it, returns the bowl, and the train starts to move, and he watches her silently as she recedes into the blackness, not knowing where he is, and only being certain that he will never see her again.
Instantly, the day is magnified, signified: Il faisait grand jour maintenant, says the narrator, je m'eloignais de l'aurore... This is history, thousands of these events, infuriatingly disparate and yet somehow connected. And this is so for everyone, for millions of us. I think now of Withersdale, and see connections ramifying, spiralling outwards, always becoming endless.
Replicated in the early 90s by Durham Constabularly to the exact spec of their patrol cars in the 70s.
The vehicle details for EHN 91J are:
Date of Liability 01 06 2014
Date of First Registration 18 08 1970
Year of Manufacture 1970
Cylinder Capacity (cc) 1798cc
CO₂ Emissions Not Available
Fuel Type PETROL
Export Marker N
Vehicle Status Licence Due to Expire
Vehicle Colour BLACK
Pride of Longbridge 2014.
An artist spends time in front of a large painting to reproduce a classic piece of artwork, oblivious to the other museum visitors passing through this hall.
Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8
Phew.
By request, here’s a quick guide to replicating this on Unix. The one nonstandard tool you’ll need is GDAL, which most package managers know about. You’ll also want something that works with images; imagemagick is fine. Also, we’ll be doing a lot of bulk i/o, so if one of your drives is faster, do this project on it and save several minutes of looking at progress meters. Watch out for Flickr mangling my sh, and tweet at me if you spot bugs.
Part 1: The elevation data
We’ll use CGIAR’s 5°×5° dataset, which is overkill, but that’s how we do. You can use their handy Google Earth layer to find the data cells we need, which turn out to be column 12, rows 2–4 inclusive; 13, rows 2–4; 14, rows 2–4; and 15, row 4. Copying one of the GeoTIFF download links from the KML’s popup, we find we can get them like this:
$ curl -O 'http://srtm.geog.kcl.ac.uk/portal/srtm41/srtm_data_geotiff/srtm_{12_02,12_03,12_04,13_02,13_03,13_04,14_02,14_03,14_04,15_04}.zip'
If you’re willing to give up your data’s chain of custody, you can do a web search for one of the file names and find other sources, some of them faster than KCL.
Unzip the data. You can remove the *.txt, *.hdr, and *.tfw files, so we’re left with 10 GeoTIFFs and nothing else. We merge them into a single GeoTIFF:
$ gdal_merge.py srtm*.tif -o main.tiff
Mine is 843892 kB and has a $(shasum) of 0a3b92fb5ccd60951df6c459aadd167bc397d425.
Part 2: The cutline
If you find a better way of doing this step, leave a comment, because it’s ridiculous. The version presented here is several hours faster than what I originally did, but no less kludgy.
We want the data in MVBCRB. Unfortunately, it’s not an outline (a single ordered sequence of points), it’s a series of several dozen outline segments. Geometrically, it’s a handful of curves in no particular order that happen to share endpoints. But sharing endpoints means we can join them into a single polygon if we’re willing to suffer a little.
Grab the KML version of this that André Coleman put up. It’s relatively cleaned up and saves us some preparation steps:
$ curl -O webpages.charter.net/zeeland/crws.kml
If you look in there (watch out, it’s almost a megabyte), you’ll see that the overall polygon is defined as a bunch of LineString elements, and that the coordinates of these elements happen to be the only lines that start with “-”. So we can extract them like this:
$ grep '^-' crws.kml > linestrings
Super gross but super effective. Now the linestrings file has 65 lines containing point series in the format “lat,lon,ele ”*. Take this and run it like this:
$ python linesplice.py linestrings > cutline.kml
This will join the 65 individual lines into a single line based on shared endpoints. It’s purpose-built around the perfect overlaps of this dataset, so if you use it on anything else, do some fuzzy matching or risk an infinite loop.
Part 3: Rendering
We’ll use gdalwarp to do three important things at once: (1) reproject the data to Oregon Lambert (EPSG 2993), a fairly conservative choice; (2) make the file smaller, because right now it’s 24000×18000 and that’s ridiculous, and (3) mask out everything outside the Columbia River Basin. (I won’t describe all the minor flags I pass the gdal tools; look them up if curious.)
$ gdalwarp -r cubicspline -multi -t_srs EPSG:2993 -ts 8000 0 -cutline cutline.kml main.tiff proj.tiff
We’re on the home stretch. Now let’s do a hillshade image (sun azumith of 200°, vertical exaggeration of 3×):
$ gdaldem hillshade -compute_edges -az 200 -z 3 proj.tiff shade.tiff
This is the first thing we’ve made that’s actually intelligible to look at, so pull it up. It should look correct but bland.
Now some hypsometric tints – Leonardo da Vinci’s most important invention. Make a text file called, say, height.txt and put something like this in it:
3000 255 255 255
1500 10 80 20
500 150 150 100
1 20 100 80
0 0 0 0
The first column is an elevation (in meters) and the next three are the R, G, and B of the color you want that elevation to be. It interpolates smoothly for you. I picked this palette to suggest general land use: floodplain-type stuff down low, then amber waves of grain, woods in the hills, and rock and snow up high. Tinkering with these colors is a lot of fun. Now we make a hypsometry layer:
$ gdaldem color-relief proj.tiff height.txt color.tiff
Now merge the files. You can do fancy stuff with overlay compositing, but a simple average looks pretty good:
$ convert -average shade.tiff color.tiff merged.tiff
Convert will kvetch about TIFF tags it doesn’t recognize, which is fine; we no longer need the georeference data. You might also want to crop the image a bit, since it still reaches the bounding box of all the topo data we downloaded:
$ convert -trim merged.tiff trimmed.tiff
You now have something that differs only in incidental ways like color choice from the above image.
The main things I would do to improve this workflow are (1) find or make a better cutline, (2) handle null data better (look at the mouth of the Columbia – ugh), and (3) cut after hillshading, so the edge of the watershed doesn’t get shading.
If you have improvements – those or others – please comment.
So, I was trying to replicate the whole "dancing in the spotlight" idea but without losing the nice ambient background.
Strobist: 50mm 1.2L with 430 ExII on umbrella stand, camera right. Triggered by canon remote.
It looks like the couple are alone but there were 200 guests standing behind me (no pressure). My wife was aiming and tracking the couple with the light while also making sure no-one tripped over the stand!
“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.”
“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.”
Since I got my own Replicator 2 3D printer, I've been printing many objects most of which I've downloaded from another source but very few of them I designed myself. From left to right, back row there is: the icosigonal star dodecahedron (my own design), a rotated koch curve platform, Klein bottle, a single tetracontagonal star (my design). Front row: Menger sponge fractal (also my design), Fibonacci square hole ornament, and a twisted square tower.
So far, I have faced many problems with my printer. The one I'm experiencing now is the worst, that is the most challenging to solve. For some reason the printer won't print anything new, just objects that I've printed or almost printed before the problem started.
Also, I have found and downloaded a model of the FIT, however I have now idea how to 3D model any other wireframe designs I've made in the past.
Replicating the efforts of Stratford Depot, the GreaterAnglia 90 has been decorated with Union Flag, SIlver Roof and named 'Diamond Jubilee'.
Not wishing to bore you all but many of you will already be aware that this year [the very end of May] we celebrate 40 years of married life.
Ten years after we married I was posted overseas to Gibraltar [just before the Falklands War broke out as it happens which is why I wasn't able to go down that way although prior to going to Gibraltar I had been drafted to HMS Antelope. You may recall that she was one of the ships that went down in the South Atlantic.....lucky for me but sadly not for some of them]. Anyway, the left hand image above was taken at the 1st mess dinner we attended and it was customary to have your photograph taken. We have both always liked this one and it does, of course, bring back some very happy memories for us. I figured that as a part of our Ruby Wedding celebrations it might be fun to try and replicate that photograph taken 30 years ago and here is the result of that on the right. Alas, we no longer have the clothes we wore back then [ except for the bow tie I'm wearing which is the same one!!] but we've had a pretty good stab at wearing something from our current wardrobes!!
How lucky we are to have such wonderful processing software available to us that allowed me to combine the new photograph with the background of the old one. We had great fun this evening getting dressed up and trying to get in the same pose that we did all those years ago and I've had great fun burning the midnight oil doing all the processing!!!! LOL I reckon I could have kept on working on it but there came a time when I had to say enough was enough.
Anyway I thought it might be nice to share the fruits of our labours with everyone and hope that you derive some pleasure from it as indeed we have.
Thanks in advance of any views, comments and/or faves, your time taken to do that is so very much appreciated. :>)
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.
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.
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 actual setting shown below.
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.