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Beautifully structured Storms across northeast WI on May 26 2014. Weak Cold Front triggered some awesome looking storms.
Life is sometimes like this photo. We try to go forward towards our goals and aims. But the world around us can distract us from our target. But together, it makes life worth living and beautiful.
Indiana Harbor Belt took over operation of State Line Tower when Chicago & Western Indiana dissolved. The unusual operator's desk is said to have been the stationmaster's desk at C&WI's Dearborn Station before that station's closing in 1971.
The Adelaide Gaol's construction started in 1840 and was to be built to the design of George Strickland Kingston, Civil Engineer to the Colony. Completion took until 1847–1848.
It was meant to replace the original which was a casual structure of wooden palings which allowed prisoners to escape.
This image showcases the iconic Ferry Building Clock Tower in San Francisco, a timeless landmark symbolizing the city’s rich history and maritime heritage. The architectural style of the tower is inspired by the 12th-century Giralda in Seville, Spain, yet it possesses a distinctly San Francisco character. The structure features classic lines, a muted beige facade, and four prominent clock faces that are a defining feature of the waterfront skyline.
At the very top, the American flag flutters gently, adding a sense of pride and identity to the scene. Below, a white flag bearing a logo and the California state flag flank the base of the tower, further grounding the image in its locale. The overcast sky provides a soft, diffused light that highlights the textures and details of the tower's design, while the faint hints of blue in the clouds contrast subtly with the building’s warm tones.
The clock faces are elegantly designed with Roman numerals and ornate black hands, giving them a classic yet functional aesthetic. The open colonnade near the top of the tower adds depth and a sense of lightness to the otherwise solid structure, creating a balance that draws the eye upward.
Info from National Trust website, a very interesting site.
Construction, heyday and decline
Evidence for the first stone structure at Chedworth Roman Villa dates to the 2nd century AD. This relatively simple structure consisted of three detached buildings, each of a few rooms.
Over the next two centuries the villa was extended and improved, reaching its heyday in the 4th century AD, between 360-380AD. During this time Chedworth Roman Villa was a place of wealth, luxury and comfort. Imagine stunning mosaic floors, extensive bath house rooms and features made of marble so precious it was usually reserved for the imperial family.
Soon after this period of wealth and decadence the villa was abandoned. The Roman Empire officially pulled out of Britain in 410AD. It's around this time that Chedworth Roman Villa fell into disrepair. The roofs fell in, trees grew up through the mosaic floors and soil from the surrounding banks buried the buildings.
Victorian discovery:
It was not until a chance discovery by a gamekeeper in 1864 that Chedworth Roman Villa was unearthed.
One summer in 1864 was all it took for James Farrer, an archaeologst and uncle to the third Lord Eldon, to uncover Chedworth Roman Villa. Having gathered a team of estate workers, James felled the wood and revealed the walls and mosaic floors of one of Britain's largest remaining Roman villas.
After the 1864 excavations, some mosaics were left for visitors to view but the rest were re-buried. The outline of the Villa was reconstructed by placing nearby stone on top of surviving walls. At the same time, a lodge and museum were built on James' excavation spoil heap.
National Trust ownership:
A local archaeologist Welbore St Clair Baddeley raised enough money by public subscription to buy Chedworth Roman Villa and pass it to the National Trust in 1924. Ever since then the Trust has worked hard to understand more about the villa and protect it for the future.
Some background:
]The VF-4 Lightning III began development in 2005 under the initial designation of the VF-X-4. Developed as a successor craft to the VF-1 Valkyrie, the VF-4 Lightning III was designed as a variable fighter that emphasized mobility in outer space.
The VF-4's development began with the prototype VF-X-4 and the VF-X-3. However, when Earth was devastated in Space War I the loss of military facilities also resulted in loss of the VF-X-3. Amongst the airframes under development exist prototype No. 1 craft, VF-X-4V1 and the trial manufactured VF-4A-0 and thus the surviving VF-X-4 was developed and completed as the VF-4 Lightning III. A trial-produced variable fighter, designated the VF-4A-0, was also built using 25% VF-1 Valkyrie parts.
VF-X-4 underwent flight tests, including being test piloted by Space War I veteran Hikaru Ichijo. Once successful operational models were ready, the VF-4 began mass production on February 2012. Initial deployment began on the SDF-2 Megaroad-01 in VF-1 Skull and SVF-184 Iron Chiefs Squadrons on September 2012. When the SDF-2 Megaroad launched in the same month, Hikaru Ichijō flew a VF-4 alongside the new colonization vessel as the ship lifted from Earth and began exploration outside of the Sol system.
As a result of integrating existing Overtechnology and Zentradi-series technology, the VF-4 had a characteristic three-hulled-type airframe structure remarkably different from the conservative VF-1 Valkyrie design. The three-hulled style of the VF-4 increased fuselage volume, propellant capacity and armament load capability that all resulted in a 40% improved combat ability over the VF-1. Fully transformable, the VF-4 could shift into Battroid and Gerwalk modes like previous variable fighters.
However, the VF-4 did suffer minor mobility problems within an atmosphere and the new type was primarily deployed to the Space Air Corps of emigrant fleets to serve as the main fighter craft of the UN Forces in the 2020s. It was because flight performance within the atmosphere was not as good as the VF-1 that the VF-5000 Star Mirage became the main combat craft within atmosphere, while the VF-4 operated mainly in outer space.
Built as a space fighter, the VF-4 primary weapons became two large beam cannons, though the craft was capable of carrying a GU-11 gun pod in Gerwalk and Battroid modes. In addition to the powerful primary beam guns, the Lightning III also featured twelve semi-recessed long-range missiles, as well as underwing pylons for additional missiles and other stores.
The VF-4 was only slightly heavier than the VF-1, but featured considerably more powerful engines, making the craft ideal for operations deeper out in space. The Lightning III was also much faster in the atmosphere than the older VF-1, although the VF-4’s flight mobility performance was not as great.
The VF-4 was also notable as the first production variable fighter to utilize a HOTAS system (Hands On Throttle And Stick) for the cockpit HMI (Human-Machine Interface). Furthermore, the VF-4's cockpit was laid out as a single hexagonal MFD (Multi-Function Display) that proved so successful that it was retrofitted into "Block 6" VF-1 fighters, as well as providing the template for all future variable fighter cockpits.
By the end of 2015, mass production of the VF-1 series at last had come to an end. From 2020 onward, the VF-4 Lightning III officially replaced the VF-1 to become the main variable fighter of U.N. Forces. Production of the VF-4 continued for a decade and ceased in 2022, with a total of 8,245 Lightning III variable fighters produced.
The VF-4 variable fighter remained in active service into the late 2040's but was complemented or substituted in many branches of the UN Forces by the cheaper and more atmospherically maneuverable VF-5000 Star Mirage. The VF-4 Lightning III was eventually replaced as the main variable fighter of U.N. Spacy in the later half of the 2030s by the VF-11 Thunderbolt.
General characteristics:
Manufacturer: Stonewell/Bellcom
Equipment Type: Variable fighter
Government: U.N. Spacy, U.N. Space Marines
Introduction: 2012
Operational Deployment: September 2012
Dimensions:
Accommodation: pilot only
Fighter Mode: wingspan 12.65 meters; height 5.31 meters; length 16.8 meters
Mass: empty 13.95 metric tons
Structure: space metal frame, SWAG energy conversion armor
Powerplant:
2x Shinnakasu/P&W/Roice FF-2011 thermonuclear turbine engines,
rated at 14,000 kg (137.34 kN) each
2x dorsal rocket engines (mounted on top of the main thermonuclear turbine engines)
2x ramjet engines (embedded into the inner wing sections)
P&W HMM-1A high-maneuverability vernier thrusters
Performance:
Fighter Mode: Mach 3.02 at 10,000 m
Mach 5.15 at 30,000+ m
Thrust-to-weight ratio: (empty) 2.01 (rating for turbine engine thrust ONLY)
g limit: unknown
[Armament:
2 x large beam cannons in forward engine nacelles
12x semi-recessed long range missiles (mounted on engine nacelles and ventral fuselage)
8x underwing pylons for missiles, gun pods an/or drop tanks
The kit and its assembly:
Well, this build has been lingering for almost 25 years in the back of my mind. It just took so long that a suitable IP kit (with a reasonable price tag) would materialize!
The original inspiration struck me with a VF-4 profile in the source book "This is animation special: Macross PLUS" from 1994, which accidently fell into my hands in a local Japanese book store. Among others, a side and top view profile of an aggressor VF-4 in an all-brown, Soviet-style paint scheme was featured. At that time I found the idea and the scheme pretty cool, so much that I even built a modified 1:100 VF-1 as a ground attack aircraft in this paint scheme.
However, the original VF-4 profile from the source book had always been present, but for years there had been no affordable kit. There have been garage/resin kits, but prices would start at EUR 250,-, and these things were and are extraordinarily rare.
Things changed for the better when WAVE announced an 1:72 VF-4 kit in late 2016, and it eventually materialized in late 2017. I immediately pre-ordered one from Japan (in a smart move, this even saved money) and it eventually turned up here in Germany in early 2018. Patience pays out, it seems...
I had preferred a 1:100 kit, though, due to space issues and since almost any other Macross variable fighter model in my collection is in this small scale, but I am happy that a decent VF-4 kit at all appeared after so many years!
Concerning the WAVE kit, there’s light and shadow. First of all, you have to know that you get a VF-4A. This is mentioned nowhere on the box, but might be a vital information for hardcore modelers. The early VF-4A is a rather different aircraft than the later VF-4G, with so fundamental differences that it would warrant a completely new kit! On the other side, with a look at the kit’s parts, I could imagine that a VF-4B two-seater could be easily realized in the future, too.
The kit is a solid construction, a snap-fit kit molded in different colors so that it can be built without painting. This sounds toy-like, but - like many small scale Bandai Valkyrie kits - anything you ask for is actually there. When you use glue and put some effort into the kit and some donor parts, you can make a very good model from it.
The kit's box is pretty oversized, though (any sprue is shrink-wrapped, horrendous garbage pile and wasted space!), and the kit offers just a single decal (water-slide decals, not stickers) option for a Skull Squadron VF-4A – AFAIK it’s Hikaru Ichijoe’s machine that appears in one of the Macross Flash Back 2012 music videos, as it escorts the SDF-02 “Megaroad” colonial ship after launch from Earth towards the center of our Galaxy.
The parts are crisply molded, and I actually like the fact that the kit is not as uber-engineered as the Hasegawa Valkyries. You can actually call the WAVE kit simple - but in a positive sense, because the parts number is reduced to a minimum, material strength is solid and the kit's construction is straightforward. Fit is excellent – I just used some putty along the engine gondolas due to their complex shape, but almost anything else would either fit almost perfectly or just call for some sanding. Impressive!
Surface details etc. are rather basic, but very crisp and emphasized enough that anything remains visible after adding some paint. However, after all, this aircraft is just a fictional animation mecha, and from this perspective the kit is really O.K..
After building the kit I most say that it's nothing that leaves you in awe, and for a retail price of currently roundabout EUR 50-70,- (I was lucky to get it for an early bird deal at EUR 40,-, but still pricey for what I got) the kit is pretty expensive and has some weaknesses:
The model comes with a decent (= simple) cockpit and a very nice and large pilot figure, but with no ordnance except for the semi-recessed long-range missiles (see below). The cockpit lacks any side consoles, floor or side wall details. If you put the pilot into the cockpit as intended, this is not a big issue, since the figure blocks any sight into the cockpit’s lower regions. However, the side sticks are molded into the pilot’s hands, so that you have to scratch a lot if you want to present the cockpit open and with an empty seat.
The landing gear is simple, too, and the wells are very shallow (even though they feature interior details). As a special feature, you can switch with some extra parts between an extended or retracted landing gear, and there are extra parts that allow the air intakes and some vectoring nozzles to be closed/extended for orbital operations. However, detail fetishists might replace the OOB parts with the landing gear from an 1:72 F-18 for an overall better look.
Provisions for underwing hardpoints are actually molded into the lower fuselage part (and could be punched/drilled open - another indication that more VF-4 boxings with extra sprues might follow?), but the kit does not come with any pylons or other ordnance than the dozen fuselage-mounted AAMs. Furthermore, the semi-recessed missiles are just that: you only get the visible halves of the only provided ordnance, which are simply stuck into slits on the model’s surface. As a consequence, you have to mount them at any rate – building a VF-4 for a diorama in which the missiles are about to be loaded would require massive scratch-building efforts and modifications.
Another problem indirectly arises when you put some effort into the kit and want to clean and pre-paint the missiles before assembly: every missile is different and has its allocated place on the VF-4 hull. The missiles are numbered – but only on the sprue! Once you cut them out, you either have to keep them painstakingly in order, or you will spend a long evening figuring out where which missile belongs! This could be easily avoided if the part number would be engraved on the missiles’ back sides – and that’s what I actually did (with a water-proof pen, though) in order to avoid trouble.
The clear canopy is another issue. The two parts are crystal-clear, but, being a snap-fit kit, the canopy parts have to be clipped into the fuselage (rear part) and onto a separate canopy frame (front part). In order to fit, the clear parts have cramps molded into their bases – and due to the excellent transparency and a magnifier effect, you can see them easily from the outside – and on the inside, when you leave the cockpit open. It’s not a pretty solution, despite the perfect fit of the parts.
One option I can think of is to carefully sand the cramps and the attachment points away, but I deem this a hazardous stunt. I eventually hid the cramps behind a thin line of paint, which simulates a yellow-ish canopy seal. The extra windscreen framing is not accurate, but the simplest solution that hides this weak point.
The kit itself was built OOB, because it goes together so well. I also refrained from adding pylons and ordnance – even though you can easily hang anything from Hasegawa’s VF-1 weapon set under the VF-4’s wings and fuselage. A final, small addition was a scratched, ventral adapter for a 3.5 mm steel rod, as a display for the flight scene beauty pic.
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
Well, in the end, it’s not a carbon copy of the inspiring illustration, but rather another machine from the same squadron, with more creative freedom. I stayed as true to the benchmark as possible, though, and I like the result. Finally, after almost 25 years, I can tick this project off of my long ideas and inspiration list.
Considering the kit itself, I am really torn. I am happy that there finally is a VF-4 IP kit at all after so many years, but to me it’s a contradictive offer. I am not certain about the target group, because for a toy-like snap-fit kit it’s too detailed and expensive, but for the serious modeler it has some major flaws.
The biggest issue is the kit’s horrendous price – even if it would be more detailed or contained some fine resin or PE parts (which I would not want, just a “good” plastic kit). Sure, you can put some effort into the kit and improve it, e .g. in the cockpit or with a donor landing gear, but weak points like the “flat” missiles and the lack of proper bays for them are IMHO poor. For the relatively huge price tag I’d hoped for a “better” OOB offer. However, the kit is easy to build and a good representation of the Lightning III, and I am curious if there are kit variants in WAVE’s pipeline?
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To finish off the Craigellachie Tunnel set, here's a striking shot of the northern portal, looking through to the retaining wall and bridge at the southern end. In order to capture the tunnel looking as bright as it does here, I did an initial light paint around the portal, followed by taking a walk through, swinging the torch as I went. I kept going in that manner until I'd walked the bridge at the other side. Despite it being quite windy, the ferns haven't suffered as much motion blur as they have in some of the shorter exposures I took at this point.
Just as a quick recap about the UK's most northerly tunnel, it's 68 yards in length and sits on a significant ledge above the River Spey but below the A95. The lining consists of stone along the side walls and brick across the crown and the southern approach is shored up by a substantial brick retaining wall and to bridge the cliff the railway runs half way down, there's a half bridge in place. All in all, there's enough to see here to warrant a visit if you're ever passing by, although it doesn't really justify a 300 mile round trip. With that said, we did spend the day looking at various other bridges and former stations so if you plan this as only being part of your day then it's well worth a look.
Macro picture of commonplace orchid using a lens I had forgotten I owned ... Camera and light hand held. Whole flower is about 100mm wide.
This dendritic structure nucleated on the larger crystal at center bottom. the real intent here was to form hourglass inclusions in Potassium sulfate, however, this structure was quite interesting. Crystallized aqueous 10 % wt. potassium sulfate with 0.01 % wt. acid fuchsine dye viewed under crossed polarizers right after drying. See www.microscopy-uk.org.uk/mag/indexmag.html?http://www.mic...
Photographed using an AO Spencer 42 polarizing microscope (petrographic.) The Sony NEX 5n was connected to the microscope using a Leica MIKAS microscope adapter with a 2/3X reducer, a 10X eyepiece and 3X AO spencer objective.
Dramatic weather with atmospheric clouds over the mountainous Scottish landscape. Rain pours down over a Mountain range and rolling fields of heather in the Scottish Highlands between Glasgow and Glencoe. Dramatic light on through showcasing the golden foliage and ethereal atmosphere in Fall.
Courtyard of Château de Compiègne, Compiègne, Hauts-de-France, France
Some background information:
Château de Compiègne is a French royal residence built for Louis XV and restored by Napoleon Bonaparte. It is located in the town of Compiègne in the department of Oise, about 80 km (50 miles) north of Paris, where the river Aisne flows in the river Oise.
The extensive residence used to be the third most important ruler’s palace in France, after Versailles and Fontainebleau. From the 6th to the 11th century, its predecessor buildings were already the preferred residence of the Merovingian and Carlovingian kings.
However, the first French royal residence was built in 1374 for King Charles V. A long procession of successors both visited it and modified it. In those days Compiègne was the summer residence of French monarchs, primarily for reasons of hunting in the adjoining Compiègne Forest. King Louis XIV, the "Sun King", resided in Compiègne some 75 times and King Louis XV was perhaps even more favorably impressed. The Comte de Chevergny described his proclivity for the château: "Hunting was his main passion... and Compiègne, with its immense forest, with its endless avenues amongst the trees, with its stretches down which you could ride all day and never come to the end, was the ideal place to indulge that passion."
In 1750, prominent architect Ange-Jacques Gabriel proposed a thorough renovation of the chateau. Work began in 1751 and was finished in 1788 by Gabriel's student Le Dreux de La Châtre. The ancient town ramparts dictated the château's triangular plan. The resultant building covers about 20,000 square metres (five acres). It is neoclassical in style, with simplicity and clarity governing both its external and interior features.
During the French Revolution, the palace passed into the jurisdiction of the Minister for the Interior. In 1795, it was essentially gutted: All furniture was sold and its works of art were sent to the Muséum Central in Paris, today known as the Musée du Louvre. Napoleon Bonaparte visited Château de Compiègne in 1799 and again in 1803. In 1804 the château became an imperial domain and in 1807 he ordered it be made habitable again. Architects Berthault, Percier and Fontaine, decorators Dubois and Redouté, and cabinetmakers Jacob-Desmalter and Marcion restored the château. Its layout was altered, a ballroom added, and the garden was replanted and linked directly to the forest.
The result is an example of First French Empire style (1808 to 1810), though some traces of the earlier décor have survived too. The novelist Auguste Luchet wrote that "Compiègne speaks of Napoleon as Versailles does of Louis XIV". From 1856 on, Emperor Napoleon III and his wife Eugénie made it their autumn residence, and redecorated some rooms in the Second Empire style.
Today Château de Compiègne is open to the public. Visitors can find three distinct museums within the chateau: the apartments themselves, the Museum of the Second Empire and the National Car Museum, founded in 1927, with a collection of carriages, bicycles, and automobiles.
With its more than 40,000 residents, Compiègne is the subprefecture of the arrondissement Compiègne. It is a beautiful little town with two main sights: Château de Compiègne and the Glade of the Armistice in the Compiègne Forest. The Glade of the Armistice was the site of the signing of two armistices: the 1918 Armistice with Germany and the 1940 Armistice with France. Hitler specifically chose the location, and had the original signing carriage moved from Paris to Compiègne, as a humiliation for the defeated French.
The site still houses several memorials to the 1918 armistice, including a copy of the original railway carriage. The original was moved to Berlin after use in the 1940 armistice, as a trophy of Nazi triumph. The railway carriage was later taken to Crawinkel in Thuringia in 1945, where it was destroyed by SS troops and the remains buried. A replica now replaces it at the original site in the Compiègne Forest.
Part of a head structure for a pilot mine, Babbitt, Minnesota. While cleaning out some old papers I found a roll of Kodak Tri-X wrapped in a small piece of paper that simply said: "Push to 3200". I had no idea what was on it or if it was even worth processing, but went ahead and had it developed last week. After viewing the images, I realized I exposed this roll 29 years ago! The images are grainy (no surprise at ASA 3200!) and some of the images are quite dark, but I think a couple of good images will come of it.
View large for additional detail.
The structure at the top is Kane's Bridge, a pedestrian bridge across the Yarra River in Melbourne, at Yarra Bend Park. It's a suspension bridge and sways enough when people are crossing that some are scared to! The structures lower centre are spider webs, highlighted against the light in the fog.
Post-processing involved simply using the black pointer on a levels adjustment layer because I was shooting against the light and some sun flare had reached my camera sensor.
Better on black!
OK for ABC-TV Weather
While I'm trying to figure out how to take this thing with me on a plane to afolcon next month, I thought I'd share a quick look at its 'private parts'.
Like the Háifoss, the small valley Gjáin with its small waterfalls, ponds, and volcanic structures is situated in the south of Iceland. It is to be found at about half an hour walking distance from the historical farm Stöng.
This is just one of many photos I took during my drive around Iceland in the summer of 2014. You can read all about the adventure on my blog at www.baldheretic.com/category/travel/drive-across-iceland-...
I climbed this tower to get this shot: www.flickr.com/photos/codeytannerphotography/15824571332/
(Don't worry. I didn't climb very high!)