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A site specific piece that represents my daily ritual of walking across the Williamsburg Bridge. Over 2,000 strands of yarn were used and it took a little over 11 hours to complete. Williamsburg, Brooklyn. August, 2013 Photo taken by Patrick Sullivan
See the video HERE
Looking out from the tower of the Grade I Listed Bath Abbey over the city, in Bath, Somerset.
In 675 Osric, King of the Hwicce, granted the Abbess Berta 100 hides near Bath for the establishment of a convent. This religious house became a monastery under the patronage of the Bishop of Worcester. King Offa of Mercia successfully wrested "that most famous monastery at Bath" from the bishop in 781. William of Malmesbury tells that Offa rebuilt the monastic church, which may have occupied the site of an earlier pagan temple.
Bath was ravaged in the power struggle between the sons of William the Conqueror following his death in 1087. The victor, William II Rufus, granted the city to a royal physician, John of Tours, who became Bishop of Wells and Abbot of Bath. Shortly after his consecration John bought Bath Abbey's grounds from the king, as well as the city of Bath itself.
When this was effected in 1090, John became the first Bishop of Bath, and St Peter's was raised to cathedral status. As the roles of bishop and abbot had been combined, the monastery became a priory, run by its prior. With the elevation of the abbey to cathedral status, it was felt that a larger, more up-to-date building was required. John of Tours planned a new cathedral on a grand scale, dedicated to Saint Peter and Saint Paul, but only the ambulatory was complete when he died in December 1122.
The half-finished cathedral was devastated by fire in 1137, but work continued under Godfrey, the new bishop, until about 1156; the completed building was approximately 330 feet (101 m) long. It was consecrated while Robert of Bath was bishop. The specific date is not known however it was between 1148 and 1161.
In 1197, Reginald Fitz Jocelin's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey, but the monks there would not accept their new Bishop of Glastonbury and the title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219. Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath.
Joint cathedral status was awarded by Pope Innocent IV to Bath and Wells in 1245. Roger of Salisbury was appointed the first Bishop of Bath and Wells, having been Bishop of Bath for a year previously. Bath Cathedral gradually fell into disrepair. When Oliver King, Bishop of Bath and Wells 1495–1503, visited Bath in 1499 he was shocked to find this famous church in ruins. King took a year to consider what action to take, before writing to the Prior of Bath in October 1500 to explain that a large amount of the priory income would be dedicated to rebuilding the cathedral.
Robert and William Vertue, the king's masons were commissioned, promising to build the finest vault in England. The new design incorporated the surviving Norman crossing wall and arches.
Prior Holloway surrendered Bath Priory to the crown in January 1539. It was sold to Humphry Colles of Taunton. The church was stripped of lead, iron and glass and left to decay. Colles sold it to Matthew Colthurst of Wardour Castle in 1543. His son Edmund Colthurst gave the roofless remains of the building to the corporation of Bath in 1572. The corporation had difficulty finding private funds for its restoration.
In 1574, Queen Elizabeth I promoted the restoration of the church, to serve as the grand parish church of Bath. She ordered that a national fund should be set up to finance the work, and in 1583 decreed that it should become the parish church of Bath. James Montague, the Bishop of Bath and Wells from 1608–1616, paid £1,000 for a new nave roof of timber lath construction; according to the inscription on his tomb, this was prompted after seeking shelter in the roofless nave during a thunderstorm.
Paris, France
« L'Arc de Triomphe, Wrapped est visible durant 16 jours, du samedi 18 septembre au dimanche 3 octobre 2021. Le projet est réalisé en partenariat avec le Centre des monuments nationaux (CMN) et en coordination avec la Ville de Paris. Il reçoit aussi le soutien du Centre Pompidou. L'Arc de Triomphe est empaqueté dans 25 000 mètres carrés de tissu recyclable en polypropylène argent bleuté et avec 3 000 mètres de corde recyclable en polypropylène rouge.
En 1961, trois ans après s'être rencontrés à Paris, Christo et Jeanne-Claude commencent à concevoir des œuvres temporaires dans l'espace public. L'un de leurs projets était d'empaqueter un édifice public. À son arrivée à Paris, Christo loue une chambre de bonne à proximité de l'Arc de triomphe et le monument ne cessera de l'attirer depuis. En 1962, il réalise un photomontage de l'Arc de triomphe empaqueté vu depuis l'avenue Foch et en 1988, un collage. 60 ans plus tard, le projet est finalement concrétisé.
Le projet est entièrement autofinancé par l'Estate de Christo V. Javacheff grâce à la vente d'œuvres originales de Christo : collages et dessins préparatoires, maquettes, œuvres des années cinquante-soixante et lithographies. Il ne bénéficie d’aucun autre financement public ou privé.
Le Centre des monuments nationaux, qui assure au nom de l'État la conservation et l'ouverture au public de l'Arc de triomphe, se félicite de la réalisation d'un projet qui témoigne de son engagement en faveur de la création contemporaine et de la mise en valeur de l'un des monuments les plus emblématiques de Paris et de France.
La Flamme de la Nation devant la tombe du Soldat Inconnu, sous l'Arc de triomphe, a continue à brûler pendant le montage et le démontage, ainsi que durant toute la période où l'œuvre est visible. Associations, bénévoles et volontaires attachés aux valeurs de la République continuent à s'y relayer pour assurer la continuité du souvenir et de la mémoire. Les cérémonies quotidiennes du ravivage de la Flamme ainsi que les hommages au Soldat Inconnu ont lieu dans la solennité requise.
Christo et Jeanne-Claude ont toujours souhaité que leurs œuvres en cours soient achevées dans le cas de leur disparition. Selon le vœu de Christo, L'Arc de Triomphe, Wrapped est réalisé par son équipe. »
I attended AllFord at Alford this afternoon Sunday 19th August 2018, its a yearly event attended by Ford car lovers and owners displaying their cherished vehicles within the grounds of Grampian Transport Museum in Alford, Aberdeenshire .
I had my Nikon D750 with me, I walked the grounds capturing cars that caught my eye or have a specific interest for me, after the event had ended I stayed around to watch the cars leave etc, climbing over the barrier and up a small hill I noticed a row of Aston Martins all parked together, excitement overtook me and I snapped away capturing each car in detail, finally I whipped out my iphone to capture the scene on video, this file is the result.
Aston Martin DB5
The Aston Martin DB5 is a British luxury grand tourer that was made by Aston Martin and designed by the Italian coachbuilder Carrozzeria Touring Superleggera. Released in 1963, it was an evolution of the final series of DB4. The DB series was named honouring Sir David Brown (the owner of Aston Martin from 1947 to 1972).
Although not the first in the DB series, the DB5 is famous for being the most recognised cinematic James Bond car, first appearing in the James Bond film Goldfinger (1964).
Design
The principal differences between the DB4 Series V and the DB5 are the all-aluminium engine, enlarged from 3.7 L to 4.0 L; a new robust ZF five-speed transmission (except for some of the very first DB5s); and three SU carburettors.
This engine, producing 282 bhp (210 kW), which propelled the car to 145 mph (233 km/h), available on the Vantage (high powered) version of the DB4 since March 1962, became the standard Aston Martin power unit with the launch in September 1963 of the DB5.
Standard equipment on the DB5 included reclining seats, wool pile carpets, electric windows, twin fuel tanks, chrome wire wheels, oil cooler, magnesium-alloy body built to superleggera patent technique, full leather trim in the cabin and even a fire extinguisher. All models have two doors and are of a 2+2 configuration.
Like the DB4, the DB5 used a live rear axle.
At the beginning, the original four-speed manual (with optional overdrive) was standard fitment, but it was soon dropped in favour of the ZF five-speed.
A three-speed Borg-Warner DG automatic transmission was available as well.
The automatic option was then changed to the Borg-Warner Model 8 shortly before the DB6 replaced the DB5.
Standard coupé:
* Engine: 3,995 cc (243.8 cu in) Inline-6
* Power: 282 bhp (210 kW) at 5,500 rpm (210) Net HP
* Torque: 288 lb·ft (390 N·m) at 3,850 rpm
* Weight: 1,502 kg (3,311 lb)
* Top Speed: 143 mph (230 km/h)[8]
* 0–60 mph (97 km/h) Acceleration: 8 s
James Bond's DB5
Two Aston Martin DB5s were built for production, one of which had no gadgets.
The Aston Martin DB5 is one of the most famous cars in the world thanks to Oscar-winning special effects expert John Stears, who created the deadly silver-birch DB5 for use by James Bond in Goldfinger (1964). Although Ian Fleming had placed Bond in a DB Mark III in the novel, the DB5 was the company's latest model when the film was being made.
The car used in the film was the original DB5 prototype, with another standard car used for stunts. To promote the film, the two DB5s were showcased at the 1964 New York World's Fair, and it was dubbed "the most famous car in the world",and subsequently sales of the car rose.[12] In January 2006, one of these was auctioned in Arizona; the same car was originally bought in 1970 from the owner, Sir Anthony Bamford, by a Tennessee museum owner.[13] A car, mainly used for promoting the movie, is now located in the Louwman Museum, Netherlands.
The first DB5 prototype used in Goldfinger with the chassis number DP/216/1 was later stripped of its weaponry and gadgetry by Aston Martin and then resold. It was then retrofitted by subsequent owners with nonoriginal weaponry. The Chassis DP/216/1 DB5 was stolen in 1997 from its last owner in Florida and is currently still missing.
Within the universe of James Bond, the same car (registration BMT 216A) was used again in the following film, Thunderball, a year later.
A different Aston Martin DB5 (registration BMT 214A) was used in the 1995 Bond film, GoldenEye, in the which the car is Bond's personal vehicle. Three different DB5s were used for filming. A variation of the registration number (BMT2144) was used on the BMW 750IL in Tomorrow Never Dies (1997) and was set to make a cameo appearance in the Scotland-set scenes in The World Is Not Enough (1999), but these were cut in the final edit. Yet another DB5 appeared in Casino Royale (2006), this one with Bahamian number plates and left-hand drive (where the previous British versions had been right-hand drive).
Another silver-birch DB5 with the original registration BMT 216A is used in the 23rd James Bond film, Skyfall, during the 50th anniversary of the release of the first James Bond film Dr. No.
In the film "M" (Judi Dench) describes the car as "not very comfortable". The DB5 is destroyed in the film's climactic finale. It is seen again in Spectre, firstly in Q's underground workshop in various stages of rebuild, and at the film's ending, fully rebuilt, with Bond driving away with it.
On 1 June 2010, RM Auctions announced the upcoming auction of a DB5 used in both Goldfinger and Thunderball. The owner (Jerry Lee, president/owner of WBEB Radio in Philadelphia, Pennsylvania) originally bought the car from the Aston Martin company in 1969. At the auction, the DB5 was sold for £2.6 million.
In popular culture
Although the DB5 is often credited as being the first car James Bond drives in the movies, it is in fact not. The first "Bond car" was a 1962 Sunbeam Alpine Series II used in the very first movie Dr. No. The DB5 is however unquestionably the most recognised cinematic James Bond car.
It was also used by actor Roger Moore, as he played a James Bond parody character in the film The Cannonball Run. Moore plays Seymour Goldfarb, Jr., a man who believes himself to be both Roger Moore and James Bond, who participates in a madcap, cross-country road race. The registration number BMT 216A, and the original bond car in its original dark red paintjob also appear in "The Noble Sportsman", a 1964 episode of "The Saint" TV series starring Roger Moore.
The 1983 reunion telefilm The Return of the Man from U.N.C.L.E.: The Fifteen Years Later Affair includes a brief cameo by George Lazenby as "JB", a white-tuxedoed British man shown driving an Aston Martin DB5, who assists Napoleon Soloduring a car chase. "It's just like On Her Majesty's Secret Service," enthuses a female character at the conclusion of the cameo. This special came out in 1983, the same year as Octopussy and Never Say Never Again.
It appears in several video games such as 007 Racing, Driver San Francisco (Deluxe Edition), James Bond 007: Agent Under Fire, From Russia with Love, and James Bond 007: Blood Stone. The From Russia with Love movie was released in 1963, one year before Goldfinger (in which the DB5 used the first time), but the video game used the car.
It appeared in animated form in James Bond Jr. in the very first episode "The Beginning". In the episode it was able to transform into a plane and could be driven by remote control. The car was destroyed in a plane crash and its remains recycled into a red sports car, which the PAL VHS cover identifies as the "Aston Martin Super".
A version of the car appeared in Grand Theft Auto: London 1969, being called a "James Bomb".
Leonardo DiCaprio was seen driving one in Catch Me If You Can, imitating Bond (even down to the suit) in Goldfinger.
In 2003, it appears in the action comedy film Charlie's Angels: Full Throttle, driven by Bernie Mac's character, Jimmy Bosley. It is only seen once in which Bosley is driving a witness, Max Petroni (portrayed by Shia LaBeouf) to his mother's house, to be safe from the O'Grady Crime Syndicate.
The 2004 French spy comedy film, called Double Zéro (directed by Gérard Pirès) also showed a DB5. It can be seen once in the film, when the two main characters go to meet the parody of Q.
In 2011, an Aston Martin DB5 appeared in heavily stylized form as "Finn McMissile", a British secret agent voiced by Michael Caine in the 2011 Pixar film Cars 2. The car character was a homage to the Bond DB5 although has also been known to bear resemblance to the Volvo P1800, as used by the fictional British secret agent Simon Templar in The Saint.
In 2013, Grand Theft Auto V featured a car called the "JB 700" that heavily alluded to being a DB5, or was based on the DB5; specifically the one used by James Bond. Need for Speed: Most Wanted released a DLC named "Movie Legends" that featured the car.
The music video for the Usher song Burn, features a DB5. The exact same car with the same registration number appears a number of times in the short lived TV series Fastlane, it later turned out to be fake.
In the 2015 TV series Thunderbirds Are Go a DB5 can be seen as Lady Penelope gets into Fab 1 in the first episode Ring Of Fire.
Whilst not based on any specific prototype, this image is representative of the many road vehicles utilised by British Railways for collection and delivery work. The Loadstar was the second incarnation of Austin K4, which, in original form, was commonly known as the Birmingham Bedford because of its similarity to the contemporary Bedford O-Series. In this Mk II form, it gained its own identity with a stylish new cab and bonnet assembly, used also on the 4x4 Austin K9. There was to be one further iteration of the K4 with long-nosed Mk III. The base image is an Austin Loadstar, preserved in the livery of RC Jeffrey but now with a subsequent owner, photographed on the 2015 Tyne Tees Run but transplanted onto a new background (18-Nov-16).
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NASA PHOTO KSC-69PC-238
VIA J.L. Pickering. REMASTERED by Dan Beaumont.
NASA INFO: The Apollo 11 rocket towers over the Kennedy Space Center’s crawlerway during the May 20, 1969 rollout from the Vehicle Assembly Building to Launch Pad 39A. The Saturn V launched astronauts Neil Armstrong, Michael Collins and Buzz Aldrin on the first lunar landing mission two months later.
By Bob Granath,
NASA's Kennedy Space Center, Fla.
Construction of the Vehicle Assembly Building, or VAB, at NASA's Kennedy Space Center in Florida began a half-century ago this summer. After serving through the Apollo and Space Shuttle Programs, the mammoth structure now is undergoing renovations to accommodate future launch vehicles and to continue as a major part of America's efforts to explore space for another 50 years.
Construction began with driving the first steel pilings on Aug. 2, 1963. It was part of NASA's massive effort to send astronauts to the moon for the Apollo Program. Altogether, 4,225 pilings were driven down 164 feet to bedrock with a foundation consisting of 30,000 cubic yards of concrete. Construction of the VAB required 98,590 tons of steel.
When completed in 1965, the VAB was one of the largest buildings in the world with 129,428,000 cubic feet of interior volume. The structure covers eight acres, is 525 feet tall and 518 feet wide.
To accommodate moving, processing and stacking rocket stages, 71 cranes and hoists, including two 250-ton bridge cranes were installed. On the east and west sides are four high bay doors, each designed to open 456 feet in height allowing rollout of the Apollo/Saturn V moon rockets mounted atop launch umbilical towers.The VAB was constructed 3.5 miles from Launch Pad 39A and 4.2 miles from Launch Pad 39B. A pair of crawler-transporters, among the largest machines ever built to move on land, carried the assembled rockets to the pads.
After the conclusion of Apollo in the 1970s, the building was refurbished to accommodate the space shuttle. Inside the VAB, the shuttle solid rocket boosters were stacked atop a mobile launcher platform. The external fuel tank was attached between the two boosters and the shuttle mounted to the tank. Following three decades of flight, the shuttle was retired in 2011.
Modifications of the VAB are underway to support the Space Launch System (SLS) and Orion spacecraft, which also will result in the ability to process multiple launch vehicle types. SLS will be the agency’s advanced heavy-lift launch vehicle providing a new capability for human exploration beyond Earth orbit. However, NASA also is partnering with private industry on launch vehicle and spacecraft development options for taking astronauts to low-Earth orbit and the International Space Station.
Last year shuttle-era work platforms were removed from the VAB's High Bay 3 as a project of Ground Systems Development and Operations, or GSDO, to accommodate the SLS heavy-lift rocket.
According to Jose Lopez, the VAB senior project manager in the Vehicle Integration and Launch Support Branch of GSDO, the changes are part of a centerwide modernization and refurbishment initiative in preparation for the next generation of human spaceflight.
Lopez noted that some of the utilities and systems scheduled for replacement at the VAB have been used since the facility was originally built. This initial work is required to support any launch vehicle operated from Launch Complex 39 and will allow NASA to begin modernizing the facilities while vehicle-specific requirements are being developed.
Plans for 2014 include awarding the construction contract for new access platforms, including structures and systems required for the SLS.
Some of the current work has included removal of over 150 miles of obsolete Apollo- and shuttle-era cabling. This will make room for installation of more efficient, state-of-the-art command, communication, control and power systems needed to perform testing and verification prior to the SLS and other rockets being rolled out to the launch pad.
As plans move ahead to outfit the VAB with the new infrastructure, code upgrades and safety improvements, the building will continue in its role as a central hub for the Florida spaceport well into the future.
9th Avenue | West 28th Street 27/04/2015 15h56
A double classic! First because this European Citroën CX Pallas D has never been officially exported to the USA and secondly because this Citroën is more than 30 years old. The driver was obviously used to the attention and greeted me warmly. And I found out this specific car is on the Wikipedia photo page to illustrate the fact that this car is very special in the USA.
Citroën CX
The Citroën CX is an automobile produced by the French automaker Citroën from 1974 to 1991. Citroën sold nearly 1.2 million CXs during its 16 years of production. The CX was voted European Car of the Year in 1975. The name CX is the French equivalent abbreviation of Cd for drag coefficient in English, drawing attention to the car's aerodynamic styling, which was uncommon in 1974.
It is considered by some enthusiasts as the last "real Citroën" before Peugeot took control of the company in 1976.
Available models were a four-door fastback, a station wagon (break, or estate car), and a long-wheelbase model built on the break chassis. The CX employed Citroën's unique hydropneumatic self-leveling suspension system.
The CX was never sold in North American markets by PSA Peugeot Citroën, but Americans were still able to obtain the car by other means.
In 1974, the final nail in the coffin of Citroën selling autos in North America was delivered—the decision by the U.S. National Highway Traffic Safety Administration (NHTSA) to prohibit passenger vehicles with height-adjustable suspension. Citroën actually built 1974-model-year cars for the U.S., but was barred from selling them. For many years, Citroën had been running into issues where U.S. design legislation fixed older technologies in place, and prohibited certain engineering innovations "not invented here", including items in many automobile designs today, like mineral oil brake fluid, aerodynamic headlights, and directional headlights. The wisdom of these regulations has since been reconsidered and most have been repealed in the light of developing technology.
Since the height-adjustable suspension was an integral feature of the CX design, there was no way to engineer around it. Even financially powerful Mercedes-Benz had to remove the height adjustment switch from its flagship 6.9 while retaining the hydropneumatic suspension in the U.S.
A few CXs came to North America under unclear circumstances (some related to diplomatic immunity) during the 1970s, but the situation was eased when U.S. Government repealed the ban on height-adjustable suspension in 1981. As with any other grey market car, the CX could be imported and brought into compliance with the unique design regulations applied by the U.S.
In addition to personal imports, several companies began converting and selling CXs to Americans. These were not "grey market" cars, but officially imported vehicles remanufactured and type approved for the U.S. The importing companies suffered legal harassment from PSA Peugeot Citroën, but despite this, and with no advertising and only a minimal service network, the powerful cult brand of Citroën still managed to sell about 1,000 cars at approximately double the price of the same vehicle imported conventionally.
Today the U.S. Government exempts cars older than 25 years from all design legislation, so most CXs can be freely imported. The Canadian government applies a similar rule after 15 years.
FACTS & FIGURES
Manufacturer: Citroën
Production: 1974–1991
Assembly: Aulnay-sous-Bois (France), Chili, Spain
Length: 4,666 mm
Width: 1,730 mm
Height: 1,360 mm
Successor: Citroën XM (1989-2000)
[ Source and more Info: Wikipedia - Citroën CX (USA) ]
@algonquinoutfit : RT @kristapetrie: Check out @Algonquin_PP Leaf Lake Nordic Ski trails: t.co/8nnSHQFXbj #algonquinpark #xcski #leaflake (via Twitter twitter.com/algonquinoutfit/status/822454589404434432)
While the mall doesn't have a specific photo policy on its website or posted at the mall, Macy's is pretty clear about no photography. The store has a fair amount of people walking about, so I am not really interested in flouting this rule. Even still, I managed to grab this shot just open entering from the upper level of the Macy's parking deck.
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Tri-County Center opened on September 26, 1960. When it opened, the open-air center contained such stores as Shillito's, Pogue's, Kroger, a Kresge 5 and 10, and over 45 other stores. The center was enclosed by 1968 and renamed Tri-County Mall. Sears came to the mall around that same time. Between 1989 and 1992, the mall saw the addition of a second floor, along with the construction of MacAlpin's as a fourth anchor.
Today, Sears is the only mall anchor that has not had a name change. Shillito's became Shillito Rikes in 1982 when the two stores combined. In 1986, the store became a Lazarus; it was known as Lazarus-Macy's in 2003, then simply Macy's in 2005. Pogue's was renamed L.S. Ayres in 1983 and was closed in 1988. J.C.Penney took over that space, closing in July 2005. Today, the former J.C.Penney store is the site of an additional mall entrance, B.J.'s Restaurant & Brewhouse, Ethan Allan Furniture, and several smaller stores. The upper level of the former J.C.Penney became an indoor theme park, which is no longer open. McAlpin's became Dillard's in 1998. The Dillard's store was "downgraded" to a clearance center in 2013 and closed in 2015. As of today, that space is still vacant.
:O
Description: The individual portrayed is a male of Odontomachus sp., possibly Odontomachus bauri as this is one of the most common species in this specific area of distribution and my suspicions shot skywards when I saw a picture of a male of Odontomachus bauri which I provided below, containing the same thorax designs and features. They belong in the order Hymenoptera, suborder Apocrita, infraorder Aculeata, superfamily Formicoidea, family Formicidae, subfamily Ponerinae and tribe Ponerini. They are commonly known in Brazil as a whole as "formigas-de-estalo" and specifically in the Northwestern states as "trinca-cunhão".
The males of Odontomachus differ incredibly from the females, which possess very strong jaw muscles and very large, elongate trap-jaws which stays open horizontally similar to open scissors at 180º when they are seeking prey. The trap is triggered when the prey touches the frontal trigger setae beneath the mandibles; the jaws click shut at incredible speeds and force. In fact, this is the fastest movement ever measured in any animal. Kinematic data indicate that the force of the jaws closure in Odontomachus scales positively with body size, while acceleration scales inversely with body size. The reason to this nature for foraging is still unknown. The workers generally feel their prey with their antennae, proceeding to withdraw the antennae and snaps the mandibles shut on the prey, which is held in the mandibles and lifted off the substrate, stung, and then transported to the nest. The stinging part is sometimes not necessary. This behaviour can suffer changes depending on the prey, and multiple mandibular strikes can be used to stun or dismember prey. Workers are very cautious during prey capture, especially when they are dealing with potentially dangerous prey. A few workers learned to avoid overly dangerous prey.
Some Odontomachus conduct rapid mandibular strikes for other uses, with the force being used to bounce to safety or onto intruders or eject intruders away. They can also use their mandibles for basic tasks such as nest construction and brood care.
Males (the subject portrayed) lack the intimidating appearance of the females and lack their trap-jaws. The antennal segment count of males reach a number of thirteen, while a worker's count reaches twelve. The male and the worker's antennal club are absent. Dental count on workers are between 3 and 20, while on males that count reaches zero. The mandibles are reduced and non-opposable. Their genital capsule is not fully retractile and the cerci are well developed and conspicuous. The petiolar node in Odontomachus males is more or less conical, with narrowly rounded or even pointed apex. Counting the stretched antennae, the subject portrayed measured approximately 1,3cm in length and possessed well developed wings. The head is broad, with half to just about all of the sides of the head occupied by large compound eyes with, generally, weak emarginate mesal margins in frontal (dorsal) view and weak emarginate lateral margins as seen from the sides. The clypeus is small and convex, with convex or nearly straight anterior free margin. The ocelli are large and close to each other, normally situated on an eminence. The mandibles are small and narrow with acute to bluntly rounded apices. The labrum is small, bilobed, with a median cleft, fitting into the space between the mandibles. The antennae have a short, cylindrical scape and even shorter pedicel. The trunk is rather robust. Pygidium produced as a sharp, slender downcurved spine in all known Odontomachus males. The hypogygium is linguiform, with parallel sides and rounded or subtruncate apex. The legs and tarsal claws are slender with or without a small submedian tooth. More information on the source provided below.
In addition to the incredibly powerful trap-jaws, Odontomachus also feature a stinger at the apex of the abdomen which is also used to harm prey. Salticidae spiders of the genus Enoplomischus SEEM to mimic Odontomachus ants.
Most species can be found in tropical and subtropical zones, but some can be found in temperate and even semi-desert zones. The nesting behaviour of Odontomachus often include the construction of nests in the soil, rotting wood, arboreally or in abandoned termite nests.
In general they prey arthropods, but some specialize on certain prey such as termites. Still, Odontomachus are carnivorous ants. The colony size varies a lot between species. Most species possess typically winged queens, but some do possess wingless queens. Some queens perform tasks that are typical to workers, such as foraging outside of the nest. It's possible to hear a clicking sound when the traps are triggered due to the incredible speed and force that the jaws shut close. Bites and stings from females of Odontomachus are painful and can cause local burning, which can be intense. Moments later, a skin swelling that varies in duration and that can be very itchy might appear. They are harmless to the life of humans and animals, though.
They are leaf litter ants that forages individually most of the time underneath the leaf litter. The Odontomachus bauri is distributed throughout the Neotropical zone. Colonies establish foraging territories and tend to avoid conspecific territories of neighboring nests, but are normally found in forests of many kinds, suburban habitats and even urban habitats.
Text revision by Marina de Azevedo Guerra (www.facebook.com/marina.guerragymnopaedist)
Subfamilies of Formicidae:
Aenictinae
Aenictogitoninae
Agroecomyrmecinae
Amblyoponinae
Aneuretinae
† Armaniinae (extinct)
† Brownimeciinae (extinct)
Cerapachyinae
Dolichoderinae
Dorylinae
Ecitoninae
Ectatomminae
† Formiciinae (extinct)
Formicinae
Heteroponerinae
Leptanillinae
Leptanilloidinae
Martialinae
Myrmeciinae
Myrmicinae
Paraponerinae
Ponerinae
Proceratiinae
Pseudomyrmecinae
† Sphecomyrminae (extinct)
Incertae Sedis:
† Calyptites (extinct)
Condylon
† Cretopone (extinct)
† Curticorna (extinct)
† Eoanictites (extinct)
† Eoformica (extinct)
† Fonsecahymen (extinct)
† Gerontoformica (extinct)
† Klondikia (extinct)
† Kohlsimyrma (extinct)
† Myanmyrma (extinct)
† Petropone (extinct)
Tribes within Ponerinae:
Platythyreini
Ponerini
Thaumatomyrmecini
Incertae Sedis
Genera within Ponerini:
Anochetus
† Archiponera (extinct)
Asphinctopone
Belonopelta
Bothroponera
Centromyrmex
† Cephalopone (extinct)
Cryptopone
† Cyrtopone (extinct)
Diacamma
Dinoponera
Dolioponera
Emeryopone
Feroponera
Harpegnathos
Hypoponera
Leptogenys
Megaponera
† Messelepone (extinct)
Myopias
Odontomachus
Odontoponera
Pachycondyla
Phrynoponera
Paltothryreus
Plectroctena
Ponera
Promyopias
† Protopone (extinct)
Psalidomyrmex
Simopelta
Streblognathus
Austroponera (?)
Ectomomyrmex (?)
Iroponera (?)
Parvaponera (?)
Pseudoponera (?)
Rasopone (?)
Sources:
Picture of a male of Odontomachus bauri, one of the most common species in this specific area of distribution, containing thorax designs and a few other traits that can be compared to the subject in my picture: doidoporformigas.blogspot.com.br/2010/12/odontomachus-bau...
Ant Wiki (Odontomachus): www.antwiki.org/wiki/Odontomachus
Ant Wiki (New World Ponerinae key): www.antwiki.org/wiki/Key_to_New_World_Genera_of_Ponerinae
Wikipedia (PT): pt.wikipedia.org/wiki/Odontomachus
Wikipedia (EN): en.wikipedia.org/wiki/Odontomachus
Lackluster Wikipedia article in Portuguese showcasing the Brazilian common name of trap-jaw ants but without further reliable details and explanations: pt.wikipedia.org/wiki/Formiga-de-estalo
Feeding type: Predator.
PROJECT NOAH (Português): www.projectnoah.org/spottings/1747050567
Situated amidst the calming greenery, a village steeped in ancient animism and rituals, is the home of about 250 artisans carrying forward the tradition of ecstatic wooden mask making for generations. The craft of Gomira dance masks is practiced in a specific area in North Dinajpur district of West Bengal state, India, in and around the village of Mahisbathan (Khunia Danga, Kushmandi Block) located approximately 50km south-east of Raiganj, the district headquarter.
The mask dance (or Mukha Khel) is usually organized in between mid-April to mid-July though there are no fixed dates, but each village in the area organizes at least one Gomira dance during this period according to their convenience, at a central location.
The Gomira dances have distinct forms. The Gomira format is the predominant one, which has characters with strong links to the animist tradition. It is performed to propitiate Gram-Chandi, the female deity, usher in the 'good forces' and drive out the 'evil forces'. Traditionally, the Gomira dance starts with the entry of two characters, Buro-Buri, (old couple). After the initial round of dancing, characters are called on to the arena or stage. They dance to the accompaniment of Dhak (percussion drum ethnic to rural Bengal) and Kansar (bell-metal disk used as cymbal). There are no songs or chants. The dancers choose their own movements, which include rotations and hops.
The craft of Gomira mask-making, in its pristine form, catered to the needs of the dancers (and any villager wishing to give a mask as an offering to the village deity). The masks make part of the costume of the traditional Gomira dance. Themes of the masks are usually spiritual, historic and religious.
Originally, the Gomira masks are crafted from neem wood, as per Hindu mythology. Later locally available cheaper wood such as gamhar, pakur, kadam, mango, and teak came to be used. The village craftsmen are very conscious of the environment and always plant one tree for trees cut down, usually of the same species.
The mask making begins with cutting the log and then immersed in water for seasoning. Once the basic shape has emerged, they use the broad chisel and heaviest hammer to bring out the final shape. The reverse side of the mask is scooped out very carefully. For finer finishing, narrower chisels, sand papers of various grades are being used and a coat or two of varnish, which provides smoothness to the mask and ensures durability. Formerly, the masks were hand-painted with natural dyes. Slowly the use of chemical dyes and even enamel paints have gained acceptance mainly because of ready availability and permanence.
The Gomira craftsmen are from Rajbongshi community and do not belong to any particular caste. The women folk have never been a part of mask-making. For most of the artisans, mask making is a supplementary source of income.
In association with UNESCO, Government of West Bengal's Department of Micro, Small and Medium Enterprises & Textiles has developed a Rural Craft Hub at Mahisbathan to resurrect this art form, by giving the craftsmen a place to work. The Mahisbathan Gramin Hasta Shilpa Samabay Samiti Limited (a cooperative of craftsmen and artisans who live in the nearby villages) runs the centre; ensures payments for work done and promotes the sale of masks and other wooden artefacts. The Samiti delivers more than 100 masks per month, where the selling price varies from Rs. 700 (USD $10) to Rs. 3500 (USD $50), depending on the complexity.
The Samity also runs a Folk Art Centre which is also equipped with accommodation facility for guests. One can participate in workshops, learn about the history of the community and craft, nuances of the mask making and the fascinating associated stories.
More, Gomira Dance Mask by Tulip Sinha - The Chitrolekha Journal on Art and Design
Beautiful Bengal, India
For their 65th Anniversary, the tails of all the aircraft of the Frecce Tricolori were repainted with the event logo, the names of all the pilots who flew with the team and the colour of the smoke spread by that specific plane. Frecce Tricolori 65th Anniversary airshow.
Read the complete article here: www.golfvictorspotting.it/wp/?p=1447&lang=en
Number 743 - OPN 658M - the Vauxhall Magnum driven by Mike Stewart seen during practice at Doune Hill Climb, September 2018.
Any additional information clarifying the vehicle's make, model, modifications made and its specific history will be welcomed.
Press "L" to view large.
Site-specific перформанс Ірини Плотнікової "IceDora" на фестивалі сучасного мистецтва Гогольфест 2016, Київ, Україна © repor.to/popenko
There's a specific slice of time in San Francisco, right before the sun dips below the western hills, when the light turns this incredible, buttery gold and every flat surface becomes a canvas for shadows. That's exactly what's happening here on this quiet, steeply angled street tucked into Russian Hill.
The architecture here isn't fussy or ornate. It's clean, modern, and wonderfully boxy—white stucco, industrial-style steel window frames with those big panes of glass, and simple, unadorned rooflines. The stepped facade gives it a really nice layered feel, like the building is stepping down the hill alongside the driveway. And you've got those lovely little touches of green—the planter boxes filled with grass lining the edge of the upper balcony, and that perfectly round, manicured shrub sitting right by the front door like a little sentinel.
But honestly, what makes this shot work is the light. It's hitting the building at such a low angle that the shadows of a nearby tree stretch across the white stucco in these long, diagonal strokes, breaking up the flat walls and turning the whole scene into a study of warmth and contrast. It's quiet, residential, and feels incredibly private—exactly the kind of tucked-away city moment you only catch if you're paying attention.
Model "US Truck T1 MkII" is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of truck. This build represents the more aerodynamic US truck models like for example the Freightliner Cascadia.
The truck features: solid axle suspension on all axles, PF powered driving with power transmitted independently to both rear axles, Ackerman geometry on steering axle, Servo powered steering, fully functional fifth wheel, modeled engine, detailed cabin interior and 3 light units.
Also can you build it yourself. To do so you can buy the building instructions and check the inventory/parts lists!.
The LEGO® Power Functions® Servo is used to enable the steering. Aligned with the trucks chassis the Servo is sitting inside of the cabin right behind the modeled engine in between both seats. With a 90 degrees conversion the motion of the Servo is transferred to the steering axle.
This truck model is powered by a CAT® CT15 which is revealed with the hood opened and its yellow color makes is an eye catcher. This power source is an inline 6 cylinder engine with a displacement of 15.21L. With a horsepower range from 450 up to 550 HP and this engine has a torque range from 1550 to 1850 lb-ft. (1202 - 2508 Nm) at 1200 rpm peak torque.
The modeled engine is a small object that really improves the realism of this model. The engine is very nice to build and to give it those realistic looks a total number of about 120 parts is used. Engine is detailed with for example engine oil dipstick, fan, fan belt, pulleys, hoses, oil filters including by-pass oil filter, turbo, exhaust manifold and so on. Together with much more engine bay details which are added the looks are phenomenal. These include break fluid reservoir, windshield washer container, internal air cleaner system and steering shaft.
A lot of detail is added to the cabin's interior as well in the colors Tan and Dark Bluish Gray. By opening this model’s doors one can access the cabin. Openable doors give the model very realistic looks and makes the detailed interior visible. The interior's colors really standout because of the rather dark color scheme of the truck's body work.
Dark Bluish Gray is used for both the interior and the exterior in order to link both color palettes. For the driver's comfort the interior has gauges, switches, speakers, cup holders, comfortable seats. Other details are a glove compartment, more compartments in both doors, angled dash and gauge panel, a steering wheel and a gear shift.
A site specific work by Patrick Dougherty. Built of locally collected red maple and sweet gum saplings the whimsical installation was built on site in a two story gallery space overlooking the garden of the Gibbs Museum in Charleston, South Carolina. The spire look forms were inspired by the distinctive church spires of Charleston.
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
Project Room
Barry McGee (TWIST)
Site-Specific Loft Installation (click to see a lot more photos from the installation)
"Running concurrently with the group exhibition Do Not Stack, McGee takes over the project space, transforming the room’s physical relationship with the visitor into an interactive viewing. A distinctive cluster of McGee’s various paintings, works on paper and urban objects can be accessed by ascending through the floor of the utilitarian structure to the lofted space above."
Barry McGee "Site-Specific Loft Installation" at the Roberts and Tilton Gallery in L.A.
I spoke with the director of the gallery. He said that the gallery offered this 10' x 10' room to Barry McGee to do something with it. He said they got to talking and then Barry asked, "Can I build a loft?" And they did. A real interesting space. Well worth a visit in my opinion.
U-BOOT TYP VII C - 1/38 (minifig) scale with full interior.
~ 177 CM (~70 INCH) LONG
~ 15.000 PARTS
~ 4.5 YEARS OF WORK
GOALS
The model was supposed to represent a ship from the initial period of the war.
It does not show a specific copy, but it should resemble uboots such as U-69 or U-96 (known from the classic Das Boot movie).
I wanted to get a fairly good representation of both the curves of the hull and as many pieces of internal equipment as possible.
MODEL CHARACTERISTICS
It consists of 6 modules that naturally represent the 6 sections of a real ship:
1. The forward torpedo room and crew compartment [Bow: ~ 3600 parts]
2. Officers', radio and listening room [Front mess: ~ 2000 parts]
3. Control room with conning tower [Control room: ~ 2700 parts]
4. Petty Officers' romm and galley [Rear mess: ~ 1700 parts]
5. Diesel engines room [Diesels: ~ 2400 parts]
6. Electric engines and aft torpedo room [Stern: ~ 2800 parts]
In each module, the port and / or starboard can be removed.
So the entire model can represent the ship from the outside or with an open interior.
The target configuration is with the starboard closed and the port open.
I finally made two photo sessions of the entire model - in a fully closed configuration and with a closed starboard and open port side.
Adittionally I have prepared presentation of individual modules separately.
[b][CONSTRUCTION][/b]
The construction was planned to be made in sections and I started from the control room.
Each module was first designed in LDD (first the hull, then the interior) and then built in reality.
The modules were created in this order:
3. Control room
2. Front mess
1. Bow
4. Rear mess
5. Diesels
6. Stern
Designing started on 26.12.2017.
[b][PHOTOS][/b]
I invite you to view photos.
I'm sorry that there are so many, but I couldn't resist.
(it took me about 3 months to photograph and post-process them)
Flickr albums (part of the photos):
0. Overall: www.flickr.com/photos/pigletciamek/albums/72177720300082599
1. Bow: www.flickr.com/photos/pigletciamek/albums/72177720300077412
2. Front mess: www.flickr.com/photos/pigletciamek/albums/72177720300086873
3. Control room: www.flickr.com/photos/pigletciamek/albums/72177720300082694
4. Rear mess: www.flickr.com/photos/pigletciamek/albums/72177720300082699
5. Diesels: www.flickr.com/photos/pigletciamek/albums/72177720300086878
6. Stern: www.flickr.com/photos/pigletciamek/albums/72177720300077462
0-6. Alltogether: www.flickr.com/photos/pigletciamek/albums/72177720300076411
BS (all photos):
0. Overall: brickshelf.com/cgi-bin/gallery.cgi?f=584704
1. Bow: brickshelf.com/cgi-bin/gallery.cgi?f=584706
2. Front mess: brickshelf.com/cgi-bin/gallery.cgi?f=584707
3. Control room: brickshelf.com/cgi-bin/gallery.cgi?f=584708
4. Rear mess: brickshelf.com/cgi-bin/gallery.cgi?f=584709
5. Diesels: brickshelf.com/cgi-bin/gallery.cgi?f=584710
Specific Perfection ENB www.nexusmods.com/skyrim/mods/62978/?
CAD25 texture pack www.nexusmods.com/skyrim/mods/49241/?
W.A.T.E.R v. 2.02 -------couldn't find the link :/
Joy of Ship www.nexusmods.com/skyrim/mods/61808/?
Joé Juneau: Team Canada's 1992 Olympic Star
This image captures Canadian ice hockey player Joé Juneau in his iconic Team Canada uniform, wearing jersey number 9. This specific jersey style, featuring the large maple leaf crest, was worn by the Canadian National Men's Hockey Team during the early 1990s, most notably at the 1992 Winter Olympics in Albertville, France. This specific photograph is an autographed piece of memorabilia, commemorating his time as an Olympic hero.
Juneau postponed his professional NHL career to represent his country, a decision that proved historic. At the 1992 Games, he was the standout player, leading the entire tournament in points with six goals and nine assists in just eight games. His exceptional play was a key factor in Canada winning a silver medal, the nation's first Olympic hockey medal in 24 years.
Player Profile
Full Name: Joseph "Joé" Juneau
Position: Centre
Nationality: Canadian
Olympic Achievement: Silver Medal (1992 Winter Olympics)
Notable Career Fact: In his rookie NHL season immediately following the Olympics, Juneau set an NHL record for assists by a left winger and amassed an incredible 102 points with the Boston Bruins. He earned a degree in aeronautical engineering from Rensselaer Polytechnic Institute, known for balancing high academics with elite athletics.
LINK to video - 1992 Gold Medal Hockey Game - Canada vs Unified Team Albertville winter Olympics - www.youtube.com/watch?v=wjDV8fGWQ5c
LINK to video - Great Canadians: Joé Juneau - www.youtube.com/watch?v=e_x9tBqL1eQ
Joé Juneau played a total of 78 games for Team Canada (including exhibition and Olympic tournament play) across the years 1989 to 1992. He famously led Canada to a silver medal at the 1992 Winter Olympics in Albertville, where he was the tournament's leading scorer.
1989/90 - 3 games
1990/91 - 7 games
1991/92 - 60 games
1992 - Winter Olympics - 8 games
The uniform he is wearing is not from the 1992 Winter Olympics Games - Does anybody know where and when this photo was taken? And what the advertisement on the boards says - BE / ANT / BRA ?
Joé Juneau was an ice hockey star. In 1991, the native of Pont-Rouge, Quebec postponed a confirmed trip to the National Hockey League so he could play on Canada’s national team. Clutching a new degree in aeronautical engineering, Juneau suited up for Team Canada and his impact was immediate. In 60 exhibition games, Juneau scored 69 points – but only a prelude to the Olympic tournament in 1992. At the Olympic Winter Games that year in Albertville, France, Juneau led a team composed of amateur players. Canada won a silver medal and not only did Juneau lead the team in points, he led the entire tournament. In eight games, the centre had six goals and nine assists for 15 points. LINK - develop.olympic.ca/2009/09/10/all-about-joe-juneau/
In the NHL, Juneau carved a memorable career. In his rookie season of 1992-1993, Juneau scored 102 points as a member of the Boston Bruins. His professional hockey career took him through Washington, Buffalo, Ottawa, Phoenix and Montreal. Juneau played in the Stanley Cup final twice, in 1998 with Washington and in 1999 with Buffalo. Upon retiring in 2004, Juneau had amassed 156 goals and 572 points in 828 career games.
CAREER HIGHLIGHTS:
At the 1992 Olympic Winter Games in Albertville, France, Juneau led a team composed of amateur players.Canada won a silver medal and not only did Juneau lead the team in points, he led the entire tournament – in eight games, the centre had six goals and nine assists for 15 points.
In his NHL rookie season of 1992-1993, Juneau scored 102 points as a member of the Boston Bruins.
His professional hockey career took him through Washington, Buffalo, Ottawa, Phoenix and Montreal. Juneau played in the Stanley Cup final twice, in 1998 with Washington and in 1999 with Buffalo.
Upon retiring in 2004, Juneau had amassed 156 goals and 572 points in 828 career games.
A 4th shot with Fabby. Throughout the shoot, we worked on developing specific feelings. For this shot, the feelings were pride and confidence, like on a day when everything is going your way.
Check out Fabby's fashion blog.
Strobist info: Main light: Menik SW400 through 36" octabox, boomed directly in front of model; fill with white foamcore in front of model; edge lights: Yongnuo 560ii through 16 inch gridded softbox, behind model left and right; back light: Yongnuo 560ii through grid and CTO gel onto gray seamless.
More Strobist Portraits
"The key to faking out the parents is the clammy hands. It’s a good non-specific symptom…I'm a big believer in it. A lot of people will tell you that a good phony fever is a dead-lock, but, uh, you get a nervous mother, you could wind up in the doctor's office...That's worse than school."- Ferris Bueller's Day Off
Yeah, so I'm sooooo not feeling school tomorrow...maybe I can fake being sick? Chicken Pox maybe? I mean I did have them like 4 times as a kid...it was excessive enough to maybe think that I really never grew an immunity to it...lol!
Well, since I can't go cry to my mommy and fake it...I guess I'll just have to go!
Sarah Dee Actions: Star Bright 40% and Pretty Vintage 50%
U-BOOT TYP VII C - 1/38 (minifig) scale with full interior.
~ 177 CM (~70 INCH) LONG
~ 15.000 PARTS
~ 4.5 YEARS OF WORK
GOALS
The model was supposed to represent a ship from the initial period of the war.
It does not show a specific copy, but it should resemble uboots such as U-69 or U-96 (known from the classic Das Boot movie).
I wanted to get a fairly good representation of both the curves of the hull and as many pieces of internal equipment as possible.
MODEL CHARACTERISTICS
It consists of 6 modules that naturally represent the 6 sections of a real ship:
1. The forward torpedo room and crew compartment [Bow: ~ 3600 parts]
2. Officers', radio and listening room [Front mess: ~ 2000 parts]
3. Control room with conning tower [Control room: ~ 2700 parts]
4. Petty Officers' romm and galley [Rear mess: ~ 1700 parts]
5. Diesel engines room [Diesels: ~ 2400 parts]
6. Electric engines and aft torpedo room [Stern: ~ 2800 parts]
In each module, the port and / or starboard can be removed.
So the entire model can represent the ship from the outside or with an open interior.
The target configuration is with the starboard closed and the port open.
I finally made two photo sessions of the entire model - in a fully closed configuration and with a closed starboard and open port side.
Adittionally I have prepared presentation of individual modules separately.
[b][CONSTRUCTION][/b]
The construction was planned to be made in sections and I started from the control room.
Each module was first designed in LDD (first the hull, then the interior) and then built in reality.
The modules were created in this order:
3. Control room
2. Front mess
1. Bow
4. Rear mess
5. Diesels
6. Stern
Designing started on 26.12.2017.
[b][PHOTOS][/b]
I invite you to view photos.
I'm sorry that there are so many, but I couldn't resist.
(it took me about 3 months to photograph and post-process them)
Flickr albums (part of the photos):
0. Overall: www.flickr.com/photos/pigletciamek/albums/72177720300082599
1. Bow: www.flickr.com/photos/pigletciamek/albums/72177720300077412
2. Front mess: www.flickr.com/photos/pigletciamek/albums/72177720300086873
3. Control room: www.flickr.com/photos/pigletciamek/albums/72177720300082694
4. Rear mess: www.flickr.com/photos/pigletciamek/albums/72177720300082699
5. Diesels: www.flickr.com/photos/pigletciamek/albums/72177720300086878
6. Stern: www.flickr.com/photos/pigletciamek/albums/72177720300077462
0-6. Alltogether: www.flickr.com/photos/pigletciamek/albums/72177720300076411
BS (all photos):
0. Overall: brickshelf.com/cgi-bin/gallery.cgi?f=584704
1. Bow: brickshelf.com/cgi-bin/gallery.cgi?f=584706
2. Front mess: brickshelf.com/cgi-bin/gallery.cgi?f=584707
3. Control room: brickshelf.com/cgi-bin/gallery.cgi?f=584708
4. Rear mess: brickshelf.com/cgi-bin/gallery.cgi?f=584709
5. Diesels: brickshelf.com/cgi-bin/gallery.cgi?f=584710
Today was a good day and not just for the absence of any misfortune, which in itself can constitute a good day. Today was good for specific reasons too. For one, I had a much anticipated roll of film developed and it turned out excitingly well. There is nothing like the anticipation and delayed gratification of film, especially when it contains photos that by their nature were a bit more experimental and waiting to see if they succeeded or not just makes the whole experience more gratifying. Plus, despite how long I have done this, or maybe because of it, I find I push the envelope a bit further. As a former experimental risk becomes less of both, I try new things that are inherently risky just because they are new techniques or ideas that I am less practiced or experienced doing. Maybe this all sounds a bit abstract to you. I'll clue you in that one of the exposures on this anticipated roll of film was an 80 minute exposure of the entire Trek in the Park performance yesterday combined with a motion blur of the crowd and the trail left by the setting sun in the sky above it all. It all came together beautifully.
I'm excited.
Being excited makes me happy. :-) (I like simple equations like this).
I won't spoil the surprise though and tell you what else came out really well on that roll. Even better than my 80 minute exposure. You'll see soon enough. Sorry to be a tease (but not really).
What really capped off the day though was the weekly Chieu Hoi meeting. It was so good. Many of you might remember this project I have been a part of since January bring to light and life a collection of negatives made during the Vietnam War by an Army photographer named Charlie Haughey. Back in April there was a show of the work and it got huge press. It was featured on the Boston Globe's site, Der Spiegel, CBS Evening News (and the Sunday morning show too). Numerous other websites, radio shows, and magazines followed. The show was a smash. We sold a ton of prints and created a nice savings for the next step of the project which is what we have been working on quietly in the intervening months. That next step has long been a book, both a physical print book and an accompanying iPad version that will include lengthier captions, audio content, possibly video and the story of the whole project from the beginning.
The creation of the book has gone through several stages from the initial curation to the finer editing that brought it down to 150 or so images. The past month has seen us doing sequencing, the art of figuring out which order the images go in. This itself was a pretty tricky question. Do we organize the book into folios of similar content, i.e. combat photos, recreation, portraits of the men, civilian life. Or do we run it chronologically? In photo essays or single images? Color at the end all together or interspersed. It took us several weeks of brainstorming sessions to make ground on this. The way we finally did it was to take the curated images and divide them up into three groups based on emotional content. We ended up with the "highs", "mediums" and "lows". So photos whose emotional resonance was higher and lighter versus those darker or heavier images, and the ones left in the middle. Having them thus organized we then wove a narrative based almost solely on emotional reaction, sort of like stringing together notes to make a piece of music.
Well, tonight was the first night that we sat down as a group and looked at the entire sequence of the book from start to finish. It was so good. I am proud of the work we have done and what we have put together and the book is barely even half done. We still need to lay down the finer points of the design layout and tweak some sequencing issues. In the meanwhile, Charlie got into a recording studio and recorded several hours of audio dialogue telling the stories of and behind the photos which will become audio excerpts for the iPad version and pull quotes for the print version. We still have a ways to go before you sitting there reading this will be able to hold the book in your hands, several more months for sure, but it is like climbing a mountain. You may get halfway and look up and see how much farther you have to go, but then you not only look down and see the immense distance you have covered, more importantly you look around and see the awesome view the effort to that point has rewarded you with.
That is where I am tonight, enjoying that incredible view.
While I do generally hate "centered" compositions, what is there to do when there's essentially nothing else in the composition? Not a lot. Center it, and go with it. I feel too ambivalent to crop this in any specific way, anyway.
The first time I saw a phrenology bust I was captivated by it's stark appearance and the tidy grid that sectioned it's smooth white landscape. The 19th century pseudoscience of phrenology claimed to have determined that one's personality traits were expressed in the shape of one's brain, and were revealed in the contours of one's skull. They charted out sections of the skull, and attributed certain behavioral aspects to specific areas, and then made predictions about one's personality–for better or for worse. Phrenology eventually fell by the wayside under the scrutiny of the scientific method, but it's general concept was influential to developments in neuroscience.
The concept of the brain shaping the skull, or more generally, of a vessel being shaped by its contents may seem simple, but under examination it is quite profound. We tend to think, instead, in terms of contents conforming to the shape of their vessel - water in a pitcher, sand in an hourglass, air in a balloon. But these are images of stasis and control. Is it the brain pressing outward that determines the shape of the skull, or the skull that allows the brain to fill it, or is this a dynamic relationship? I don't know, but the metaphor is rich. The brain in its skull, like a voluta snail in its shell, fit each other in a perfect harmony. Like a hand in a glove, there are no gaps. Our bodies, in their entirety, are the vessels for our selves; this is where we draw the distinction of self from other. What if we were to zoom out and imagine the world external to ourselves as a vessel that carries us through time? We are in it, contained in it, a portion, but not the whole. There are no gaps. In this dynamic system, it naturally follows that who we are, our thoughts, our actions are all influenced by our very specific circumstances, and in turn, our behaviors have reciprocal influence on the vessel which is our reality.
Someone asked me recently how I was expressing myself, in light of the difficult experiences I am currently going through, in my art. Perhaps these self portraits are one way. When I look at these photos I see my stark bald head, and it is a shocking thing to me. I could not have imagined myself appearing this way. It captivates me. Does the shape of my skull reveal tell-tale signs about my ideality, suavity or combativeness? No, but to the viewer, it does indicate something. Women so rarely sport a bald head, and when they do we are likely to presume it's either an act of counter-cultural expression or the result of a health catastrophe. I frequently wonder what comes to mind–not so much what it is that people think is the cause for my absence of hair, but rather what feeling it invokes in them. Is it unsettling? Does it induce subconscious fear, or sympathy? By simply looking this way I influence the world around me, and its reaction to me affects me in return.
This is a theme that surfaces in my life again and again, and I think taking it to it's every conclusion, it can teach us about the enormity of our role in the world with even the smallest of actions. Here I find myself saying that I would never have willingly chosen this look for myself, and I tell myself that I didn't choose cancer, that it chose me. And this is in many ways true, and yet, these are my circumstances, and in enduring them and embracing them, filling in all the gaps that might otherwise be occupied by denial or something worse, I shape them as they shape me. That, is my phrenology.
Note to whom it may concern: As a member of the Philippine Bus Enthusiasts Society (PhilBES) and its junior and affiliate group, the Philippine Bus Photographers Association (PBPA), both of which are communities/groups of bus and coach enthusiasts and amateur photographers, that focus on bus companies' history, technical specifications of vehicles, and other related subject matter, that is based in the Philippines, I would like inform you that the number plate of the bus on this photo has been blurred out to prevent it being used as evidence by any agencies, whether be it privately-owned or government-owned, to apprehend the said vehicle or the operating company of the vehicle on the photo at times when the said vehicle may be involved in any motoring mishap, incident, or accident. This is to prevent the involvement of myself, and/or any members of the groups stated to any such cases or the hassles and possible dangers presented with being involved at such cases. I would also like to stress out that I am NOT a part nor am I affiliated or connected in any way with any bus companies inside or outside the country. At times when you may experience any of employees of the operating company of the bus on the photo behave in an offensive manner; such that of reckless driving, lack of manners towards the passengers, incorrect and excessive charging of fare, and any other offenses they may commit, I do advise you report them to their respective managements for further action.
However, despite the limitation I stated earlier about the use of my photos, any person is free to download and use any of my photos to any general or civilian use such as advertisement and other promotional use, school works, or personal interests about the subject.
Shot Location: Victory Liner, Inc. Motorpool, E. Rodriguez Sr. Ave., Quezon City, Philippines
Date Taken: February 25, 2012
Basic Details:
Operator: VICTORY LINER, INC.
Fleet Number: 1568
Classification: Air-Conditioned Provincial Operation Bus
Seating Configuration: 2x2 Seats
Seating Capacity: 49 Passengers
Body:
Coachbuilder: Five Star Bus Body
Body Model: Five Star Bus Body Generic Bus Body Design (No Specific Model Name)
Air-Conditioning Unit: Dependent Overhead Unit
Chassis:
Chassis Manufacturer: Nissan Diesel Motor Company, Ltd.
Chassis Model: Nissan Diesel RB46S
Layout: Rear-Mounted Engine Rear-Wheel Drive (4x2 RR layout)
Suspension: Leaf Springs Suspension
Engine:
Engine Manufacturer: Nissan Diesel Motor Company, Ltd.
Engine Model: Nissan Diesel PE6-T
Cylinder Displacement: 711.987 cu. inches (11,670 cc / 11.7 Liters)
Cylinder Configuration: Straight-6
Engine Aspiration: Turbocharged
Max. Power Output: 276 bhp (280 PS - metric hp / 206 kW) @ 2,300 rpm
Peak Torque Output: 795 lb.ft (1,078 N.m / 110 kg.m) @ 1,200 rpm
Transmission:
Type: Manual Transmission
Gears: 6-Speed Forward, 1-Speed Reverse
* The specifications may be subjected for verification and may be changed without prior notice...
More butterflies seen at this good spot beside the main road fairly early on this final morning in this part of Panama.
Both of these have been given the same name as one uploaded earlier in the trip, tough all look different to me. I am not sure whether they are all the same or how I named these two. This one is a specific sub-species so I must have been told the ID.
U-BOOT TYP VII C - 1/38 (minifig) scale with full interior.
~ 177 CM (~70 INCH) LONG
~ 15.000 PARTS
~ 4.5 YEARS OF WORK
GOALS
The model was supposed to represent a ship from the initial period of the war.
It does not show a specific copy, but it should resemble uboots such as U-69 or U-96 (known from the classic Das Boot movie).
I wanted to get a fairly good representation of both the curves of the hull and as many pieces of internal equipment as possible.
MODEL CHARACTERISTICS
It consists of 6 modules that naturally represent the 6 sections of a real ship:
1. The forward torpedo room and crew compartment [Bow: ~ 3600 parts]
2. Officers', radio and listening room [Front mess: ~ 2000 parts]
3. Control room with conning tower [Control room: ~ 2700 parts]
4. Petty Officers' romm and galley [Rear mess: ~ 1700 parts]
5. Diesel engines room [Diesels: ~ 2400 parts]
6. Electric engines and aft torpedo room [Stern: ~ 2800 parts]
In each module, the port and / or starboard can be removed.
So the entire model can represent the ship from the outside or with an open interior.
The target configuration is with the starboard closed and the port open.
I finally made two photo sessions of the entire model - in a fully closed configuration and with a closed starboard and open port side.
Adittionally I have prepared presentation of individual modules separately.
[b][CONSTRUCTION][/b]
The construction was planned to be made in sections and I started from the control room.
Each module was first designed in LDD (first the hull, then the interior) and then built in reality.
The modules were created in this order:
3. Control room
2. Front mess
1. Bow
4. Rear mess
5. Diesels
6. Stern
Designing started on 26.12.2017.
[b][PHOTOS][/b]
I invite you to view photos.
I'm sorry that there are so many, but I couldn't resist.
(it took me about 3 months to photograph and post-process them)
Flickr albums (part of the photos):
0. Overall: www.flickr.com/photos/pigletciamek/albums/72177720300082599
1. Bow: www.flickr.com/photos/pigletciamek/albums/72177720300077412
2. Front mess: www.flickr.com/photos/pigletciamek/albums/72177720300086873
3. Control room: www.flickr.com/photos/pigletciamek/albums/72177720300082694
4. Rear mess: www.flickr.com/photos/pigletciamek/albums/72177720300082699
5. Diesels: www.flickr.com/photos/pigletciamek/albums/72177720300086878
6. Stern: www.flickr.com/photos/pigletciamek/albums/72177720300077462
0-6. Alltogether: www.flickr.com/photos/pigletciamek/albums/72177720300076411
BS (all photos):
0. Overall: brickshelf.com/cgi-bin/gallery.cgi?f=584704
1. Bow: brickshelf.com/cgi-bin/gallery.cgi?f=584706
2. Front mess: brickshelf.com/cgi-bin/gallery.cgi?f=584707
3. Control room: brickshelf.com/cgi-bin/gallery.cgi?f=584708
4. Rear mess: brickshelf.com/cgi-bin/gallery.cgi?f=584709
5. Diesels: brickshelf.com/cgi-bin/gallery.cgi?f=584710
The Zebra longwing doesn't wait for a specific time to mate. A female Zebra longwing can be smelled through the wall of the chrysalis and male Zebra longwings will often hover around the chrysalis in anticipation of mating when the new female emerges! Or even penetrate the pupa.
Butterflies reproduce the way other animals do -- sperm from a male fertilizes eggs from a female. Males and females of the same species recognize one another by the size, color, shape and vein structure of the wings, all of which are species specific. Butterflies also recognize each other through pheromones or scents. During mating, males use clasping organs on their abdomens to grasp females.
Many male butterflies deliver more than just sperm to their mates. Most provide a spermatophore, a package of sperm and nutrients the female needs to produce and lay eggs. Some males collect specific nutrients to produce a better spermatophore in an attempt to attract a mate. Some females, however, don't have a choice -- in some species, males mate with females before they have left their chrysalis or swarm the chrysalis waiting for the female to appear. In most species, males and females look a lot a like, but females often have larger abdomens for carrying their eggs.
Females store the sperm in a sac called a bursa until she's ready to lay her eggs. She fertilizes her eggs as she lays them, using the last sperm she received first. For this reason, males of some species will leave a substance that dries into a film on the female's abdomen in an effort to keep her from mating with other males. Females lay their eggs one at a time or in batches of hundreds depending on their species.
A butterfly has to take special care when laying eggs. The eggs must be kept warm and at the right humidity level. Too much moisture and the egg will rot or be attacked by fungus. Too little and the egg will dry out. Caterpillars also need to start eating as soon as they hatch, so most of the time females place the eggs directly onto a plant the caterpillar will eat. Typically, the eggs attach to the underside of a leaf so they are hidden from predators.
In spite of all the effort female butterflies make to protect their eggs, very few make it to adulthood. Ants, birds and other animals can eat the eggs themselves. Also caterpillars and butterflies are popular snacks for everything from birds to bats. Some insects also lurk in or around flowers to prey on adult butterflies. A butterfly's chrysalis also has few defenses from predators and, at all stages of life, a butterfly can succumb to fungi and diseases.
Zebra longwing, Heliconius charitonius
Fairchild Tropical Botanic Garden, Miami, FL
The orca or killer whale (Orcinus orca) is a toothed whale belonging to the oceanic dolphin family, of which it is the largest member. It is the only extant species in the genus Orcinus and is recognizable by its black-and-white patterned body. A cosmopolitan species, orcas can be found in all of the world's oceans in a variety of marine environments, from Arctic and Antarctic regions to tropical seas.
Orcas have a diverse diet, although individual populations often specialize in particular types of prey. Some feed exclusively on fish, while others hunt marine mammals such as seals and other species of dolphin. They have been known to attack baleen whale calves, and even adult whales. Orcas are apex predators, as they have no natural predators.
They are highly social; some populations are composed of very stable matrilineal family groups (pods) which are the most stable of any animal species. Their sophisticated hunting techniques and vocal behaviours, which are often specific to a particular group and passed across generations, have been described as manifestations of animal culture
Orcas are the largest extant members of the dolphin family. Males typically range from 6 to 8 metres (20 to 26 ft) long and weigh in excess of 6 tonnes (5.9 long tons; 6.6 short tons). Females are smaller, generally ranging from 5 to 7 m (16 to 23 ft) and weighing about 3 to 4 tonnes (3.0 to 3.9 long tons; 3.3 to 4.4 short tons). Calves at birth weigh about 180 kg (400 lb) and are about 2.4 m (7.9 ft) long. The skeleton of the orca is typical for an oceanic dolphin, but more robust.
With their distinctive pigmentation, adult orcas are seldom confused with any other species. When seen from a distance, juveniles can be confused with false killer whales or Risso's dolphins. The orca typically has a sharply contrasted black-and-white body; being mostly black on the upper side and white on the underside. The entire lower jaw is white and from here, the colouration stretches across the underside to the genital area; narrowing between the flippers then widening some and extending into lateral flank patches close to the end.
The tail fluke is also white on the underside, while the eyes have white oval-shaped patches behind and above them, and a grey or white "saddle patch" exists behind the dorsal fin and across the back.[31][34] Males and females also have different patterns of black and white skin in their genital areas. In newborns, the white areas are yellow or orange coloured.[31][34] Antarctic orcas may have pale grey to nearly white backs. Some Antarctic orcas are brown and yellow due to diatoms in the water. Both albino and melanistic orcas have been documented.
This image was taken in the Pacific Ocean, off the coast of Peru in South America
Riff, PD#18245, a land art monument celebrating 100 years of the Zuiderzee Act
A collaboration of artist Bob Gramsma and engineer WaltGalmarini AG
Riff, PD#18245 is a site-specific work, a Land Art monument. The tectonic work looks like it is emerging from the natural-cultural landscape and, at the same time, helps to frame it. A mound of soil was heaped up on a foundation of slanted pillars. Large cavities were dug into the mound and then cast in concrete, thus creating an inverted sculptural reproduction of the void in the mound. Afterwards, the mound was removed, and the concrete sculpture cleaned of loose soil and sand. The result is a large-scale work, supported by three stalactite-shaped concrete volumes and the pillars of the foundation, which are partially visible. The monument is in context with the horizon, the landscape and the sunset. A stairway leads up to the top of the structure, inviting visitors to overview its surface.
The process of digging uses the labour of construction to create traces of landscape – space without architecture. The sculpture re-interprets the material and historical conditions of the site. The slightly slanted volume echoes characteristics of the Polder, like dikes, ditches, canals, plots, embankment, drainage, extraction, renaturation and depilution (vertical segregation). At the same time, Riff, PD#18245 also appears foreign in this environment – a hull resting on slanted pillars, aligned with the dikes. It is reminiscent of other interventions in this particular landscape: water management, flood protections, the signs of the transition from fishing to agriculture, and the renaturation of the landscape. It literally emerges from, and melds into, the artificial topography, the geology, the IJsselmeer polder and the Zuiderzee bed.
At the same time, Riff, PD#18245 is a trace of the artistic and the production process, outlining an interstice between the present and the past. The trace as an index of the working process creates a nexus between time and spatiality. The monumental blueprint of an excavation, which has long since disappeared, turns into a poetic sculpture, a hollow resonant body with a natural patina growing over time. Riff, PD#18245 looks southwest westward across the renatured land in the direction of the sunset and the amusement parks, providing a visual link to the Veluwemeer and the Flevopolder, the largest man-made island and its physical vastness.
Riff, PD#18245 becomes a space for the audience to project, or to reanimate, their understanding of the site, its history and its present. The sculpture is at once a tool to reflect on history and an incitement for the viewer to dream those stories. It is a way of visualizing both absence and presence, a sculpted ghost, or spirit, that opens up a new space for rethinking the relationship between material and memory. It is a residue of memory, honouring the past, while serving the present. By means of the elemental exposure of the earth, the missing cast, and the past that it encapsulates, we are reminded that earth and its history — as well as the cosmic forces or energies shaping it — are beyond human intelligibility. But we can try to understand, or appreciate, their unfathomable presence in time as we access this exhumed vestige.
Production
After creating a foundation by driving piles deep into the ground, a huge mound (70 x 40 x 7 m, 15.000 m3) was heaped up on top of it, consisting of sand and clay from the agricultural land and from the bottom of the Zuiderzee on the site. A wide sinkhole, reaching 2 m under sea level, and two narrow deep pits, reaching down to the level of the pillars, were dug into the mound. Reinforcement structures were built, and concrete poured and pneumatically projected into the cavities to produce an inverted sculptural reproduction of the empty space. After the concrete had dried, the heaped-up soil was bulldozed away and returned to build the new environment for the New Nature Programme. An immersive sculpture, whose platform hovers above the ground, is revealed. A small staircase cuts into the platform. The piece is approx. 37,5 m long, 13 m wide and 7 m high.
Using the local soil as false work, as well as formwork, and reusing it after the production for the new reserve is a very ecological, as well as economical, casting technique. It allows to produce an intricate seamless hollow concrete cast in one piece. After the structure was cleaned, it is ready for the public and the winds to take over. Within time, an ecosystem will evolve on the inside of the hollow body, and the surface will be partly covered with moss, chalk, and salt efflorescence. Little gaps in the shell enable insects and animals to build viable habitats inside the hollow body. The whole production process was open to the public to provide an in-depth vision and understanding in the making of Riff, PD#18245. The sculpture itself thus starts to generate memories in the minds of the audience – a process that will continue well into the future as weather and nature gradually take over the sculpture, altering its shape and functions over time, while the wind is playing on its resonant body.
Text: Martin Jaeggi
In every one of our Cutting Edge Die Sets, each die comes with its matching cut-out. The die is the framed 'negative space' shape, and the cut-out is the actual shape that used to be part of the die before it was cut out.
The dies were designed for silhouette dieforming – pushing flat sheets of polymer clay through an opening to make 3D forms with a specific silhouette – as explained in our book, Relief Beyond Belief. Since we released that book almost two years ago, the dies have become the more famous half of these two-part tools. But cut-outs on their own were in my studio long before I made dies or developed dieforming for polymer clay. They've always been an indispensable tool when cutting shapes out of flat veneers, blends, textures, mokume, whatever...
It's possible to cut out shapes using the opening within a single template or in a template sheet (like those green plastic geometric templates sold in art supply stores that many of us own). The opening is like a window and you can easily and exactly frame the area you want. But when you cut within a window, you're cutting on the inside edge of the template, which is awkward, and you have to be careful not to slip. If you do, the only way for your blade to go is in, and then you mar the good clay you've carefully prepared and chosen to feature within your shape. That's why I use cut-outs, to cut outside the edge of a shape instead of within it: the cut-out protects the swatch as I cut; I can see the cut line easier; I don't have to get into small spaces and tight corners; and if I do slip, I'm only cutting the part of the veneer that I wasn't going to use anyway. It's a trick I picked up in art school years ago (back when cutting and pasting actually involved X-ACTO knives and glue). It's carried over into my work in polymer clay and fits so perfectly for this application.
For well-placed patterns and perfect shapes every time, I use both the die and its matching cut-out. First, I use the die window to find and define the area of pattern I want to use. Once it's in place on my veneer, I drop in the cut-out and swap out the die, masking the area I know I want, and revealing the rest to be trimmed away with my X-ACTO knife and #11 blade. Once trimmed, I remove the cut-out, and reveal my cut-out shape, exactly as I expected.
When we designed our Die Sets, we did so with dieforming in mind. But we also knew the matching cut-outs were an important 'other half' to these tools. For dieforming, I use dies. But if I want to cut out a shape, I use a cut-out.
Borrowing step-outs from our book, and following the numbered sequence in the diptic here, here are the basic steps for cutting shapes with cut-outs...
1. frame your veneer within the window of your die and set it in place
2. grab the matching cut-out
3. place the cut-out into the die window
4. gently hold the cut-out in place and lift the die off the veneer
5. your cut-out is now in postion and your veneer is ready to trim into a shape
BTW, the only time you wouldn't want to use a cut-out is if you wanted to create a 'negative space' shape within a larger veneer. In other words, if you want to cut out a window, you use the window to cut it out (after you've used the cut-out to place your window where you want it..). But hey, that's a lesson for another day.
If you're interested, you can see the complete collection of Geometric, Organic, Polygon, and Long Trio Die Sets (each with dies and their matching cut-outs) in The Cutting Edge Store.
Looking for Specific Gravity Balance Digital? We are manufacturer, supplier and exporter of Specific Gravity Balance Digital testing instruments & equipments. Visit Prestogroup.com for more testing machines information.
Everything here has a specific meaning at the Avenue of Honour. This is the main Avenue itself, leading down to the lake. For explanation of details, see the shot of the Memorial Guide.
Retrowave refers to a specific type of synthwave where artists recreate the 80s when synthwave was most popular. It heavily utilizes Retro-Futurism by adopting the optimistic and neon-filled vision of the future prevalent at the time.
~
ai/gimp/pixlr
Vorrei specificare che non è un lavoro di PP,mà i colori sono naturali vedi lo scatto in data 15 giugno 2011 ,la sera dell'evento di "LUNA ROSSA" appuntamento ogni 4 anni ...ora .prevista per il 28 Settembre 2015.
OK...I'm sensing that interest in these Christmas photos is waning. Actually, there is a VERY small, and very limited interest in Christmas photos on Flickr anyway. Such is life.
This will be the last of the Christmas decoration photos for this year. I may do a couple of specific detail shots -- like the Nutcracker diorama seen on top of the wood-burning stove in the mantle. I think, though, that the several shots I've uploaded of the room are sufficient for this year.
2015 will be a year of new and different types of photography. I'll be spending much more time in the studio, working on 'commercial'-type images. And I'll be attempting to guide folks through how some of the photos were made. A few will actually be interested.
TO EVERYONE:
English - Merry Christmas and a Happy New Year!
Afrikaans - Geseënde Kersfees en 'n gelukkige nuwe jaar! Geseënde Kersfees en 'n voorspoedige Nuwe jaar!
Akeanon - Maayad-ayad nga Paskwa! Mahigugmaon nga Bag-ong Dag-on kinyo tanan!
Albanian - Gëzuar Krishtlindjet e Vitin e Ri!
Aleut - Kamgan Ukudigaa!
Alsatian - E güeti Wïnâchte un e gleckichs Nej Johr!
Amharic - Melkam Gena! Melkam Addis Amet!
Apache (Western) - Gozhqq Keshmish!
Arabic (Modern Standard)أجمل التهاني بمناسبة الميلاد و حلول السنة الجديدة
(ajmil at-tihānī bimunāsabah al-mīlād wa ḥilūl as-sanah al-jadīdah)
Armenian (Eastern) - Շնորհավոր Ամանոր և Սուրբ Ծնունդ (Shnorhavor Amanor yev Surb Tznund)
Armenian (Western) - Շնորհաւոր Նոր Տարի եւ Սուրբ Ծնունդ: (Shnorhavor Nor Daree yev Soorp Dzuhnoont) Բարի կաղանդ և ամանոր (Paree gaghant yev amanor)
Aromanian - Cãrciun hãrios (Hristolu s-aflà! Dealihea cà s-afla!)
shi ti multsã-anji Anlu Nàù!
Asturian - Bones Navidaes y Gayoleru añu nuevu!
Aymara - Sooma Nawira-ra!
Azerbaijani - Yeni Iliniz Mübarək / Təzə iliniz yaxşı olsun!
Basque - Zorionak eta urte berri on!
Belarusian - З Божым нараджэннем! (Z Bozym naradzenniem!) Шчаслівых Калядау! (Szczaslivych Kaliadau!) З Новым годам i Калядамi! (Z Novym godam i Kaliadami!)
Bengali - শুভ বড়দিন (shubho bôṛodin) শুভ নববর্ষ (shubho nôbobôrsho)
Bikol - Maogmang Pasko! Mamura-way na Ba-gong Taon sa indo gabos!
Blackfoot - I'taamomahkatoyiiksistsikomi!
Bosnian - Sretan Bozic i sretna nova godina!
Breton - Nedeleg laouen ha bloavezh mat!
Bulgarian - Честита Коледа! (Čestita Koleda!) Щастлива Нова Година! (Štastliva Nova Godina!)
Catalan - Bon Nadal i feliç any nou!
Cebuano - Maayong Pasko! Mabungahong Bag-ong Tuig kaninyong tanan!
Chamorro - Felis Nåbidåt yan Magof na Åñu Nuebu! Felis Påsgua yan Magof na Åñu Nuebu!
Cherokee - Danistayohihv & Aliheli'sdi Itse Udetiyvasadisv!
Cheyenne - Hoesenestotse & Aa'eEmona'e!
Chinese (Cantonese) - 聖誕節同新年快樂 (singdaanjit tùnhg sànnìhn faailohk)
Chinese (Hakka) - 聖誕節快樂, 新年快樂 (shin5-tan5-ziet7 kwai5-lok8, sin1-ngien2 kwai5-lok8)
Chinese (Mandarin) - 聖誕快樂 新年快樂 [圣诞快乐 新年快乐] (shèngdàn kuàilè xīnnián kuàilè)
Chinese (Shanghainese) - 圣诞节快乐 (sendaijiq kualoq) 新年快乐 (sinni kualoq)
Chinese (Taiwanese) - Sèng-tàn-chiat Khòai-lo̍k (聖誕節快樂)
Sin-nî Chhut-thâu-thiⁿ (新年出頭天)
Chinese (Teochew) - 圣诞快乐 (siandang kuailak) 新年快乐 (singnin kuailak)
Choctaw - Yukpa, Nitak Hollo Chito!
Comanche - Tsaa Nu̶u̶sukatu̶̲ Waa Himaru̶!
Cornish - Nadelik Lowen ha Blydhen Nowydh Da! Nadelik Looan ha Looan Blethen Noweth! Nadelack looan ha looan blethan noueth!
Cree - Mitho Makosi Kesikansi!
Creek - Afvcke Nettvcakorakko!
Croatian - Sretan Božić! Sretna Nova godina!
Czech - Veselé vánoce a šťastný nový rok!
Danish - Glædelig jul og godt nytår!
Dutch - Prettige kerstdagen en een Gelukkig Nieuwjaar! Zalig kerstfeest en Gelukkig Nieuwjaar!
East Inuktitut - Quviasummi Quviasugitsi/Quviasuvvisiutsiarit ammalu Qitinngumarik!
Esperanto - Ĝojan/Bonan Kristnaskon kaj feliĉan novan jaron!
Estonian - Rõõmsaid Jõule ja Head Uut Aastat! Häid Jõule ja Head Uut Aastat!
Faroese - Gleðilig Jól og eydnuríkt nýggjár! Gleðilig Jól og gott nýggjár! Gleiðilig jól og eitt av harranum signað nýggjár!
Fijian - Me Nomuni na marau ni siga ni sucu dei na yabaki vou!
Finnish - Hyvää joulua ja onnellista uutta vuotta!
Flemish - Zalig Kerstfeest en Gelukkig nieuw jaar!
Frisian - Noflike Krystdagen en folle lok en seine!
French - Joyeux Noël et bonne année!
Friulian - Bon Nadâl e Biel An Gnûv!
Galician - Bo Nadal e próspero aninovo!
Georgian - გილოცავთ შობა-ახალ წელს (gilocavth shoba-akhal c’els) გილოცავ შობა-ახალ წელს (gilocav shoba-akhal c’els)
German - Fröhliche Weihnachten und ein gutes neues Jahr!
German (Bavarian) - Froue Weihnåcht'n, und a guad's nei's Joah!
German (Hessian) - Frohe Weihnachte unn ein gudes neus Jahr!
German (Swiss) - Schöni Wienachte und e guets neus Jahr! Schöni Wiehnachte und es guets Neus! Schöni Wiänachtä, äs guets Nöis!
German (Pennsylvania) - En frehlicher Grischtdaag un en hallich Nei Yaahr!
Greek - Καλά Χριστούγεννα! (kalá hristúyenna) Ευτυχισμένο το Νέο Έτος! (eftyhisméno to Néo Étos!) Καλή χρονιά! (kalí hroñá)
Greenlandic - Juullimi ukiortaasamilu pilluaritsi!
Hausa - Barka da Kirsimatikuma barka da sabuwar shekara!
Hawaiian - Mele Kalikimaka me ka Hauʻoli Makahiki Hou!
Hebrew - חג מולד שמח ושנה טובה Chag Molad Sameach v'Shanah Tovah
Hiligaynon - Malipayon nga Paskwa!
Mahamungayaon - Nga Bag-ong Tuig sa inyong tanan!
Hindi - शुभ क्रिसमस (Śubh krisamas) नये साल की हार्दिक शुभकामनायें (Naye sāl kī hārdik śubhkāmnayeṅ)
Hungarian - Kellemes karácsonyt és boldog új évet!
Icelandic - Gleðileg jól og farsælt komandi ár! Gleðileg jól og farsælt nýtt ár!
Ilokano - Naragsak a Paskua! Narang-ay a Baro a Tawen kadakayo amin!
Indonesian - Selamat hari natal dan tahun baru!
Inonhan - Malipayon nga Paskwa kag Masadya nga Bag-ong Tuig sa inyo tanan!
Inuktitut - Kuvianak Inovia! IñupiaqQuvianagli Anaiyyuniqpaliqsi suli Nakuuluni Ukiutqiutiqsi! InupiatunAnnaurri Aniruq-lu Paglaun Ukiutchiaq! Quvianaq Agaayuniqpak-lu Paglaun Ukiutchiaq! Nayaangmik Piqagiñ-lu Paglaun Ukiutchiaq!
Irish (Gaelic) - Nollaig shona duit! Beannachtaí na Nollag! Beannachtaí an tSéasúir! Athbhliain faoi mhaise duit! Bliain úr faoi shéan is faoi mhaise duit!
Italian - Buon Natale e felice anno nuovo!
Japanese - メリークリスマス (merī kurisumasu) 新年おめでとうございます (shinnen omedetō gozaimasu) 明けましておめでとうございます (akemashite omedetō gozaimasu) 旧年中大変お世話になりました (kyūnenjū taihen osewa ni narimashita) 本年もよろしくお願いいたします (honnen mo yoroshiku onegai itashimasu)
Jèrriais - Bouan Noué / Jouaiyeux Noué et Bouonne année! Un Bouan Noué et lé Nouvel An!
Judeo-Spanish / Ladino - Noel alegre i felis anyo muevo!
Kapampangan - Masayang Pasku! Masaplalang Bayung Banwa keko ngan!
Kazakh - Жаңа жыл құтты болсын! (Jaña jıl quttı bolsın!) Жаңа жылыңыз құтты болсын! (Jaña jılıñız quttı bolsın!)
Kinyarwanda - Noheri nziza n'umwaka mushya muhire!
Kirghiz - Жаны Жылыныздар куттуу болсун!
Korean - 즐거운 성탄절 보내세요 및 새해 복 많이 받으세요 (jeulgeoun seongtanjeol bonaeseyo mich saehae bok manhi bateusaeyo) 메리 크리스마스 잘 지내고 새해 복 많이 받으세요
(meri keuriseumaseu mich saehae bok manhi bateusaeyo)
Kurdish (Kurmanji) - Kirîsmes u ser sala we pîroz be!
Kurdish (Sorani) - Kirîsmes u salî nwêtan lê pîroz bê!
Lao - Souksan van Christmas! Sabai dee pee mai!
Latin - Natale hilare et annum faustum!
Latvian - Priecīgus Ziemassvētkus un laimīgu Jauno gadu!
Lithuanian - Linksmų Kalėdų ir laimingų Naujųjų Metų!
Luganda - Mbagaliza Christmass Enungi Nomwaka Omugya Gubaberere Gwamirembe!
Luxembourgish - E schéine Chrëschtdag an e glécklecht neit Joer!
Schéi Feierdeeg an e glécklecht neit Joer! Schéi Chrëschtdeeg an e gudde Rutsch an d'neit Joer!
Macedonian - Христос се роди! (Hristoc se rodi!) Среќен Божик и среќна Нова година! (Sreken Božik i srekna Nova godina)
Malagasy - Mirary noely sambatra! Arahabaina tratrin'ny taona vaovao!
Malay - Selamat Hari Natal! Selamat Tahun Baru!
Malayalam - പുഥുവല്സര ആശംസകല് (puthuvalsara aashamsakal) ക്രിസ്തുമസ് ആശംസകല് (kariistumasu aashamsakal) നവവല്സര ആശംസകല് (nava-valsara aashamsakal)
MalteseI - l-Milied Ħieni u s-Sena t-Tajba! Awguri għas-sena l-ġdid!
Manx - Nollick Ghennal as Blein Vie Noa!
Māori - Meri Kirihimete me ngā mihi o te tau hou ki a koutou katoa!
Marathi - शुभ नाताळ (Śubh Nātāḷ) नवीन वर्षच्या हार्दिक शुभेच्छा (Navīn varṣacyā hārdik śubhecchā)
Mongolian - Танд зул сарын баярын болон шинэ жилийн мэндийг хүргэе (Tand zul sariin bayriin bolon shine jiliin mendiig hurgey)
Navajo - Ya'at'eeh Keshmish!
Nepali - क्रस्मसको शुभकामना तथा नयाँ वर्षको शुभकामना
(krismas ko subhakamana tatha nayabarsha ko subhakamana)
Norwegian - God jul og godt nytt år! God jol og godt nyttår!
Occitan - Polit Nadal e bona annada!
Ogoni - Eenyie Mea Krist Ne Eenyie Aagbaa!
Old English - Glæd Geol and Gesælig Niw Gear!
Pangasinan - Maabig ya Pasko! Maaligwas ya Balon Taon ed sikayon amin!
Papiamentu - Bon Pasku i Felis Anja Nobo!
Persian - (kerismas mobārak) كریسمس مبارک
(sale no mobārak) سال نو مبارک
Polish - Wesołych świąt i szczęśliwego nowego roku!
Portuguese - Feliz Natal e próspero ano novo! Feliz Ano Novo!
Boas Festas e Feliz Ano Novo! Um Santo e Feliz Natal!
Punjab - iਕਰਿਸਮ ਤੇ ਨਵਾੰ ਸਾਲ ਖੁਸ਼ਿਯਾੰਵਾਲਾ ਹੋਵੇ (karisama te nawāṃ sāla khušayāṃwālā hewe)
Quenya - Alassëa Hristomerendë! Alassëa Vinyarië!
Rarotongan - Kia orana e kia manuia rava i teia Kiritimeti e te Mataiti Ou!
Romansh (Sursilvan dialect) - Legreivlas fiastas da Nadal ed in bien niev onn!
Romanian - Crăciun fericit şi un An Nou Fericit!
Russian - С наступающим Новым Годом! (S nastupayuščim Novym Godom) С Рождеством Христовым! (S Roždestvom Khristovym)
Samoan - Manuia le Kerisimasi, ma le Tausaga Fou!
Scots - A Blythe Yule an a Guid Hogmanay! Merry Christmas an a Guid Hogmanay!
Scottish - GaelicNollaig chridheil agus bliadhna mhath ùr!
Serbian (Orthodox) Христос се роди и срећна Нова година!
Serbian (Non-Orthodox) Срећан Божић и срећна Нова година!
Sesotho - Keresemese e monate le mahlohonolo a selemo se setjha!
Sicilian - Bon Natali e filici annu novu!
Sindarin - Mereth Veren e-Doled Eruion! Garo Idhrinn Eden Veren!
Slovak - Veselé vianoce a Štastný nový rok!
Slovenian - Vesel božič in Srečno novo leto!
Somali - Ciid wanaagsan iyo sanad cusub oo fiican!
Spanish - ¡Feliz Navidad y próspero año nuevo!
Swahili - Krismasi Njema! Heri ya krismas! Heri ya mwaka mpya!
Swedish - God jul och gott nytt år!
Tagalog - Maligayang Pasko, Manigong bagong taon!
Tamil - Nathar Puthu Varuda Valthukkal
Tahitian - Ia orana no te noere! Ia orana i te matahiti api!
Telugu - సంతోషకరమైన క్రిస్ఠ్మస్ ! (saṅthoashakaramaina kristmas) మరియు నూతన సంవత్సర శుభాకాంక్షలు (mariyu noothana saṅvathsara shubhaakaaṅkshalu)
Thai - สุขสันต์วันคริสต์มาส และสวัสดีปีใหม (souksaan wan Christmas sawatdii pimaï)
Tibetan - Iosalazashidele
Tigrinya - rHus beˋal ldet (ygberelka) rHus əwed ˋamet (ygberelka)
Tongan - Kilisimasi fiefia mo ha ta'u fo'ou monū'ia!
Tsotsil - Xmuyubajuk ti avo'one ti ta k'ine xchu'uk ti ta ach' jabile!
Turkish - İyi Noeller ve Mutlu Yıllar! İyi seneler / Yeni yılınız kutlu olsun! Yeni yılınızı kutlar, sağlık ve başarılar dileriz!
Ukrainian - Веселого Різдва і з Новим Роком!
Urdu - کرسمَس مبارک
نايا سال مبارک هو
بڑدا دنمبارک هو
Uzbek - Yangi yilingiz bilan!
Vietnamese - Chúc Giáng Sinh Vui Vẻ và Chúc Năm Mới Tốt Lành!
Volapük - Lemotöfazäli yofik e nulayeli läbik!
Võro - Hüvvä joulu ja õnnõlikku vahtsõt aastakka!
Waray-Waray - Maupay nga Pasko! Mainuswagon nga Bag-ong Tuig ha iyo ngatanan!
Welsh - Nadolig llawen a blwyddyn newydd dda!
West Inuktitun - Quvianaq Qitchirvik/Quviahugitsi Quviahugvingmi amma Quvianaq Ukiuaq Nutaaq Tikingmivuq!
Xhosa - Siniqwenelela Ikrisimesi Emnandi Nonyaka Omtsha Ozele Iintsikelelo!
Yorùbá - Ẹ ku Ayọ Keresimesi ati Ọdun Tuntun!
Zulu - Sinifesela uKhisimusi oMuhle noNyaka oMusha oNempumelelo!
Bahasa Malaysia - Selamat Hari Natal!
Bengali - Shuvo Baro Din - Shuvo Nabo Barsho!
Corsican - Bon Natale e Bon capu d' annu!
Crazanian - Rot Yikji Dol La Roo!
Duri - Christmas-e- Shoma Mobarak!
Eskimo - Jutdlime pivdluarit ukiortame pivdluaritlo!
Indonesian -Selamat Hari Natal!
Karelian - Rastawanke Sinun, Uvven Vuvenke Sinun!
Lappic - Buorit Juovllat ja Buorre Oddajahki!
Lausitzian - Wjesole hody a strowe nowe leto!
Livian - Riiemlizi Talspividi ja pagin vonno udaigastos!
Low Saxon - Heughliche Winachten un 'n moi Nijaar!
Marathi - Shub Naya Varsh!
Maori - Meri Kirihimete!
Monogasque - Festusu Natale e Bona ana noeva!
Oriya -Sukhamaya christmass ebang khusibhara naba barsa!
Papua New Guinea - Bikpela hamamas blong dispela Krismas na Nupela yia i go long yu!
Philippines Maligayang - Pasco at Manigong Bagong Taon!
Pashto - De Christmas akhtar de bakhtawar au newai kal de mubarak sha!
Punjabi - Nave sal di mubaraka!
Pushto - Christmas Aao Ne-way Kaal Mo Mobarak Sha!
Raeto-Ramance - Bella Festas da zNadal ed in Ventiravel Onn Nov!
Rhetian - Bellas festas da nadal e bun onn!
Romanche - Legreivlas fiastas da Nadal e bien niev onn!
Romani (GYPSY) - Bachtalo krecunu Thaj Bachtalo Nevo Bers!
Sami - Buorrit Juovllat!
Samoan - Manuia le Kerisimasi ma le Tausaga Fou!
Sardian - Felize Nadale e Bonu Cabuannu!
Sardinian -Bonu nadale e prosperu annu nou!
Surinamese (SRANANTONGO) - Wan Santa Bedaki!
Singhalese - Subha nath thalak Vewa. Subha Aluth Awrudhak Vewa!
Sorbian - Wjesole hody a strowe Nowe leto!
Somali - Ciid wanaagsan iyo sanad cusub oo fiican!
Sudanese - Wilujeng Natal Sareng Warsa Enggal!
Tagalog - Maligayang Pasko at Manigong Bagong Taon!
Tamil - Nathar Puthu Varuda Valthukkal!
Tok Pisin - Meri Krismas & Hepi Nu Yia!
Tongan - Kilisimasi Fiefia & Ta'u fo'ou monu ia!
Tswana - Keresemose o monate le masego a ngwaga o montsha!
Urdu - Naya Saal Mubarak Ho!
Vanina - Bon Natale a Tutti!
Vepsi - Rastvoidenke i Udenke Vodenke!
Yayeya - Krisema!
Afrikander - Een Plesierige Kerfees!
Tigrinja - Rehus-Beal-Ledeats!
Assyrian - Eidokhon Avee Brikha!
Azari - Bayramez Mobarak Olsen!
Bicolano - Maugmang Capascuhan asin Masaganang Ba-gong Taon!
Iban - Selamat Ari Krismas enggau Taun Baru!
Kadazan -Kotobian Tadau Do Krimas om Toun Vagu!
Trukeese - Neekirissimas annim oo iyer seefe feyiyeech!
Sobota - Dobro dedek!
Udmurt - Shuldyr Ymuśton!
Iroquois - Ojenyunyat Sungwiyadeson honungradon nagwutut. Ojenyunyat osrasay!
This photograph is copyrighted and may not be used anywhere, including blogs, without my express permission.
It's Freight Car Friday but instead of a specific car this week is just a simple view of the classic all American mixed freight train. It's heavy with boxcars including older Plate C cars and modern high cube Plate Fs along with a nice mix of gondolas, tank cars, covered hoppers, coiled steel cars, and center beam flat cars....a true modelers delight.
This is Norfolk Southern train 14Z, a Knoxville to Allentown manifest that came off the Pulaski District from Bristol and points south at Walton just a couple miles behind them.
They are approaching the Switchback Road grade crossing on Main 1 of modern day NS' Christianburg District at about MP N295.5 as they pass beneath the famous Vicker coal tower. This imposing structure was built in 1951 as a further example of the N&W's commitment to steam far longer than many other Class 1s. Alas it only served a short nine years before the last fire was dropped in May 1960. Prior to this being built there was a fascinating balloon loop trestle and loaded coal hoppers were spotted atop it to load coal directly from the railcar into the tender of a steam locomotive below.
Montgomery County, Virginia
Saturday March 30, 2024
The first act I saw at the Maybower Stage was the Clan MacColin Celtic Dance troupe. In fact, they were just getting started when I arrived. Too bad I couldn't shoot video. I suppose I could have snuck some video in and made it look like I was getting off some stills, but I was in a hurry to check out some of the other acts before settling in for anything specific. Their music was good.