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Studying. Notice how they conveniently put "DYING" at the end of this word
So I have Exams starting friday, I have them also on Monday and Tuesday. Tomorrow I have my History and Musical Theater class exam.
Right now I SHOULD be studying for my History exam. But Studying is so boring.
Oh and I found this picture online and just edited the Bokeh in...so its not mine(:
Schoepfle Garden back pond, 26 March 2006. Fronds and submerged branch. slight breeze. 80-400 lens on tripod.
Quick value study sketch. I think this may become one of my next watercolors. This was a bright, sunny day and the shapes of these barns creates a scene that caught my eye immediately.
Hopefully coming soon . . .
Ever since I was a kid, I always loved reading and studying airlines timetables.
YES, THE RUMOUR IS TRUE. I WAS A CRAZY KI:D!
In any case, since I didn't have a camera, and film and photo development was expensive, it was many years before I took a photo of the old Hong Kong Kai Tak Airport's departures board.
Sigh! Alas, it's the end of the roll of the film and half the photo was cut off. The photo-finishing shop didn't even print this photo. Fast forward 30 years and I discovered the negative again! Now with a scanner, for the first time I'm seeing this photo!!
:D
CA = Civil Aviation Administraion of China (CAAC), now known as Air China.
CI = China Air Lines of Taiwan.
SQ = Singapore Airlines
TG = Thai Airways International
QF = Qantas (Australia's Queensland And Northern Territorial Aerial Service)
CX = Cathay Pacific
BR = British Caledonian Airways (now defunct)
AI = Air India
Last month, on my way to the coast, I stopped in Clatskanie, Oregon, to stretch my legs and have a look around.
Almost immediately I came upon an extraordinary survivor from an earlier chapter in the former timber town’s economic life: a large, heavily weathered structure of wood and corrugated metal that bore every mark of an old manufacturing facility. Its siding was sun-checked and silvered, its sliding doors warped and ribbed with age, its windows clouded but still defiant. It stood not as a ruin, but as something that had simply endured.
It was raining that day, and I could do little more than take note of it. The wet boards darkened to charcoal and the details blurred. I promised myself I would return.
This week, under clear winter light, I did. With dry footing and blue sky above, I was able to examine and photograph the building in detail — the scalloped trim, the massive sliding doors, the layered accretions of paint, rust, and lichen, the improvised repairs that spoke of decades of practical use. It would have made a compelling architectural study even if its history had remained unknown.
But high on one wall, almost erased by time, I noticed the ghost of a signboard. The lettering was faint, barely legible, but enough remained to make out a company name. That discovery transformed the building from texture into testimony. Armed with those fading words, I was able to trace newspaper clippings spanning sixty-five years — fragments that, taken together, told not only the story of a business but something larger: the intertwined histories of timber, river, machinery, and the men who built and operated them.
What follows is that story.
Hydraulic Marine Equipment Co., Inc.
Clatskanie, Oregon
On the banks of the Clatskanie River, where timber and tide meet, stands an enterprise born of industry, ingenuity, and Northwest determination, Hydraulic Marine Equipment Co., Inc.
From Machine Shop to Modern Manufacturer
The story begins in the years immediately following the war. In 1948, L. E. Hoy and associates operated under the name Clatskanie Machine Works, providing repair, fabrication, and mechanical services to loggers, mill operators, and river men throughout the lower Columbia region.
In December 1948, L. E. Hoy and Wilfred Elliott, doing business as Clatskanie Machine Works, appeared in Columbia County Circuit Court seeking foreclosure of a lien on machinery and equipment—an early glimpse into the realities of operating a rural fabrication shop in the postwar years
These were years of rebuilding and expansion across Oregon. Timber was moving, mills were humming, and river commerce was strong. A capable machine shop was indispensable.
By 1949 the shop was advertising the sale of ten rebuilt Cadillac engines, guaranteed “A-1,” suggesting both mechanical expertise and a willingness to trade in surplus powerplants common in the immediate post-World War II economy. Such engines were frequently repurposed for industrial use—yarders, boats, pumps, or mill equipment—illustrating the adaptive, practical nature of small Northwest machine shops.
In 1952 Clatskanie Machine Works faced a labor relations challenge when Machinists Local 63 sought to place the firm on the “unfair list.” A formal hearing was held, and the employers indicated willingness to negotiate
The episode situates the company squarely within the structured union culture of mid-century Oregon industry. Even small-town shops were not isolated from organized labor dynamics that shaped industrial life in the Pacific Northwest.
In September 1953, articles of incorporation were filed in Salem for Hydraulic Marine Equipment Co., Inc., capitalized at 100,000 dollars. The incorporators, Leland E. Hoy, Anton J. Haas Jr., William R. Mathews, and Rolland R. Mains, signaled by this step their intention to move beyond repair work into full scale equipment manufacture.
By 1955, the firm publicly declared its evolution:
We are the former Clatskanie Machine Works.
The name had changed, and so had the scope.
Serving the Timber Industry
During the mid 1950s, Hydraulic Marine Equipment advertised new logging yarders for all sizes of timber, automatic hydraulic electric sawmills, and custom logging and sawmill equipment built to order.
This was no idle boast. The postwar timber industry demanded modernization. Hydraulic controls replaced cumbersome cable systems. Electric drive systems provided smoother, more reliable power than steam or belt driven gasoline units. Efficiency meant safety, and safety meant productivity.
The company’s automatic hydraulic electric sawmills represented the progressive spirit of the era, machinery designed to reduce physical strain, increase output, and adapt to the growing importance of second growth timber.
From its Clatskanie location, the firm supplied equipment to operators across Oregon and beyond.
The Haas Influence
At the center of the company’s growth stood Anton Tony Joseph Haas Jr.
A Marine veteran of World War II, wounded in the South Pacific and decorated with the Purple Heart, Haas returned home in 1946 and entered the logging trade. By 1948 he had gained an interest in Clatskanie Machine Works and would later guide its transformation into Hydraulic Marine Equipment Company.
In the early 1950s, Haas and his partners developed what would become the firm’s most enduring contribution, the hydraulic powered gillnet roller.
For generations, gillnet fishermen hauled their nets by hand, grueling work under difficult conditions. The hydraulic roller changed that practice. Nets could be retrieved more efficiently and with far less physical strain. The device quickly found use on the Columbia River and as far north as Bristol Bay, Alaska, a testament to its practicality and rugged construction.
It was a Northwest solution to a Northwest problem.
Expanding Lines and Regional Service
By the 1960s, Hydraulic Marine Equipment had broadened its offerings. Advertisements in 1966 promoted Poulan Mustang chain saws alongside other models, reflecting the company’s continuing service to loggers and small operators. The firm had become not only a manufacturer but also a trusted regional equipment supplier.
Corporate officers such as Rolland R. Mains continued to serve in business and civic roles into the 1970s, indicating stability and community standing.
The Gillnet Legacy
By the late 1980s, as the timber industry underwent consolidation and the Columbia River fishery faced new regulatory pressures, Hydraulic Marine Equipment had refined its identity around its most distinctive product:
We build all sizes of famous Columbia Gillnet Rollers.
Advertisements in the Columbia River Gillnetter continued for decades. Stuart Haas, representing the next generation, carried forward the company name and reputation.
Through changing economic climates, fluctuating salmon runs, and shifting industrial patterns, the firm maintained its commitment to custom built hydraulic equipment tailored to working fishermen.
A Community Enterprise
Tony Haas retired in 1988, having served not only as owner and operator but also as a civic leader and long time member of local organizations. His career embodied the spirit of mid century Columbia County, military service, hard work, mechanical ingenuity, and public commitment.
Hydraulic Marine Equipment Co., Inc. was never a large corporation in the metropolitan sense. It was something more enduring, a regional industrial house built on craftsmanship and practical engineering.
> Its yarders served the forests.
> Its sawmills processed second growth.
> Its rollers worked the nets of the Columbia and the waters of Alaska.
In the story of Clatskanie, it stands as a reminder that innovation does not belong only to cities. Sometimes it is forged in a small shop near a river, by men who understand both timber and tide.
A black Bear comes with it's own public health warning (And ladies that's carry Bear Spray not Hair Spray!!) ;0)
Taken in a hurry in a slight snow flurry :0)
Classical by inspiration, but in fact some kitsch decorating a cheap restaurant. And 'study' implies some preparation, arrangement - this was a momentous snap of detail that caught my eye. But BW makes everything look 'classic', doesn't it? :)
Photo taken for Our Daily Challenge: Knees
Photo recycled for Our Daily Topic: Self Portrait
I hope that everyone realizes that the middle photo has been squashed and my thighs aren't really that fat nor my feet that long! The two end photo are unaltered. And yes, my calfs really are that big. That's from years of racewalking.
British postcard by GoCard. Dennis Hopper in Der amerikanische Freund/The American Friend (Wim Wenders, 1977).
Dennis Hopper (1936-2010) was a multi-talented American actor, director, and visual artist, but also one of the true "enfants terribles" of Hollywood. In 1970, he won a Golden Palm for Easy Rider (1969) and Hopper was also Oscar-nominated for writing this groundbreaking anthem to freedom and rebellion. In 1987, he received a second nomination for his supporting role in Hoosiers (1986).
Dennis Lee Hopper was born in Dodge City, Kansas, in 1936. When he was 13, Hopper and his family moved to San Diego. Hopper was voted most likely to succeed at Helix High School, where he was active in the drama club, speech, and choir. It was there that he developed an interest in acting, studying at the Old Globe Theatre in San Diego. He attended the Actors Studio and made his first television appearance in the TV series Medic (1954). He debuted on the big screen in 1955 with a supporting role in the film that would make James Dean famous: Rebel Without a Cause (Nicholas Ray, 1955). Dean was both his friend and mentor. They also appeared together in Giant (George Stevens, 1956), with Rock Hudson and Elizabeth Taylor. Dean's death in a car accident in September 1955 affected the young Hopper deeply. Jason Ankeny at AllMovie: "After Dean's tragic death, it was often remarked that Hopper attempted to fill his friend's shoes by borrowing much of his persona, absorbing the late icon's famously defiant attitude and becoming so temperamental that his once-bright career quickly began to wane." Hopper appeared in the Western Gunfight at the O.K. Corral (John Sturges, 1957), starring Burt Lancaster and Kirk Douglas. After a run-in with director Henry Hathaway on the set of From Hell to Texas (1958), Hopper was reportedly blackballed from major Hollywood feature film roles until 1965, during which time he was working on television. In 1961, Hopper played his first lead role in Night Tide, an atmospheric supernatural thriller involving a mermaid in an amusement park. He returned in The Sons of Katie Elder (Henry Hathaway, 1965), featuring John Wayne. Hopper also acted in another John Wayne film, True Grit (Henry Hathaway, 1969), and during its production, he became well acquainted with Wayne. He appeared in a number of psychedelic films, including The Trip (1967) and the Monkees feature Head (Bob Rafelson, 1968), but Hopper really became the symbol of the sex'n'drugs'n'rock'n'pop generation with Easy Rider (1969). He wrote the script together with co-star Peter Fonda and Terry Southern and it was also his directorial debut. Fonda, Hopper, and a young Jack Nicholson were the stars. They had less than half a million dollars in the budget and an idea about motorbikes, a drug deal, and an LSD trip. Besides showing drug use on film, it was one of the first films to portray the hippie lifestyle. Their long hair became a point of contention in various scenes during the film. Initially rejected by producer Roger Corman, the film became a countercultural touchstone. As the director, Hopper won wide acclaim for his improvisational methods and innovative editing. Easy Rider earned Hopper a Cannes Film Festival Award for "Best First Work" and he shared with Fonda and Southern a nomination for the Academy Award for Best Original Screenplay. The film grossed forty million dollars worldwide and broke open the Hollywood bastion, benefiting a new generation of filmmakers from Martin Scorsese to Steven Spielberg.
Dennis Hopper's star faded considerably after the critical and commercial failure of his second film as director, The Last Movie (Dennis Hopper, 1971). Jason Ankeny calls it "an excessive, self-indulgent mess that, while acclaimed by jurors at the Venice Film Festival, was otherwise savaged by critics and snubbed by audiences." Hopper later admitted, he was seriously abusing various substances during the 1970s, both legal and illegal, which led to a downturn in the quality of his work. He acted in such interesting European films as Der amerikanische Freund/The American Friend (Wim Wenders, 1977) opposite Bruno Ganz. He returned to the Hollywood A-list thanks to his role as a pot-smoking, hyper-manic photojournalist in the Vietnam War epic and blockbuster Apocalypse Now (Francis Ford Coppola, 1979), alongside Marlon Brando and Martin Sheen. Hopper traveled to Canada to appear in a small film titled Out of the Blue. At the outset of the production, he was also asked to take over as director, and to the surprise of many, the picture appeared on schedule and to decent reviews and honours at the Cannes Film Festival. In 1983, Hopper entered a drug rehabilitation program, and that year he played critically acclaimed roles in Rumble Fish (Francis Ford Coppola, 1983) and the spy thriller The Osterman Weekend (Sam Peckinpah, 1983). He created a sensation as the aggressive, gas-huffing villain Frank Booth in the eerie and erotic Blue Velvet (David Lynch, 1986). For this role, he won critical acclaim and several awards. That same year he received an Oscar nomination for Best Supporting Actor for his role as an alcoholic assistant of basketball coach Gene Hackman in Hoosiers (David Anspaugh, 1986). Hopper's fourth directorial outing came about through the controversial gang film Colors (1988), starring Sean Penn and Robert Duvall. It was followed by an Emmy-nominated lead performance in Paris Trout (1991). In 1990, Dennis Hopper directed The Hot Spot, which was not a box-office hit. Hopper had more success portraying the villain of Speed (Jan de Bont, 1994), starring Keanu Reeves and Sandra Bullock. Hopper received a Razzie Award for his supporting role in Waterworld (Kevin Reynolds, 1997), starring Kevin Costner. In 2001, Hopper had a role in the television series 24. His life story counted five marriages, seven directions, and over 130 film and television appearances. He also collaborated on the Gorillaz song 'Fire Coming Out Of The Monkeys Head'. He recorded the lyrics for it. In addition to his film work, Hopper was also active as a visual artist; he worked as a photographer, painter, and sculptor. Among other things, he made the cover of the album River Deep - Mountain High by Ike & Tina Turner. In 2001, his work was exhibited in the Stedelijk Museum Amsterdam. In 2009, Hopper's manager announced that Dennis Hopper had prostate cancer. He underwent several treatments. Future film plans were postponed. In January 2010, it was announced that Hopper was beyond treatment. On 26 March of the same year, Hopper was honoured with a star on the famous Hollywood Walk of Fame. Dennis Hopper died in 2010, at the age of 74, at his home in Venice, California. Jason Ankeny at AllMovie: "The odyssey of Dennis Hopper was one of Hollywood's longest, strangest trips. A onetime teen performer, he went through a series of career metamorphoses -- studio pariah, rebel filmmaker, drug casualty, and comeback kid -- before finally settling comfortably into the role of character actor par excellence, with a rogues' gallery of killers and freaks unmatched in psychotic intensity and demented glee. " In 1971, Hopper had filmed scenes for Orson Welles' The Other Side of the Wind appearing as himself. After decades of legal, financial, and technical delays, the film was finally released on Netflix in 2018
Sources: Jason Ankeny (AllMovie), Wikipedia (Dutch and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Utrecht University Library. Two years since I last visited it, it still is a great place for studying and working.
A novice Buddhist monk attens school at the Govt. Dubdi Monastic School in Yuksam, Sikkim, India October 12, 2009. Photo by Tim Chong
this was taken in the round mirror in my room during a study break the other day. i liked how old school it feels. the mirror is dirty though, which really sucks.
Butterfly Study: A few weeks ago I took a photographer height. On this height I stumble up on some butterflies. The old expression say chasing butterflies, that is what I did with no success. From no where come this beautiful butterfly. She lit on a twig right in front of me. With so much patient she pose for me and gave me a chance to get a shot. She made my height worth while. She gave me a reward. I like this shot very much and I hope that you would like it as well.