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2023 Weekly Challenge 47/52 ~ Useful
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Brazos Bend has several big, dead trees. In life and death, these trees served generations of ducks, ibis, herons, anhingas, woodpeckers, and many other species. This morning two whistling ducks made this tree their lookout tower. I was thinking B&W as I shot this. Hope it works. Brazos Bend State Park in SE Texas - 9/2022
N/NC: Coccoloba Uvifera, Polygonaceae Family
It is sometimes cultivated for its edible fruits and is often grown as an ornamental one, being particularly useful as a hedge in maritime areas. Commonly known as sea-grape and its fruit is delicious and used to prepare juices specially in the beach areas.
Plants can withstand occasional light, short-lived frosts but will be killed if the temperature falls to -1°c or lower for any period of time. Prefers a moist but well-drained fertile soil in a sunny position. Succeeds in poor sandy soils close to the sea. Tolerates a variety of soil conditions, including salinity. Plants are tolerant of maritime exposure. Established plants are drought tolerant.
Best not grown close to buildings since the plant can harbour dry-wood termites which might damage the wood in the building.
Coccoloba uvifera (L.) L., conhecida pelo nome comum de uva-da-praia, é uma espécie de planta com flor da família Polygonaceae, nativa das regiões costeiras da América tropical e das Caraíbas. Forma arbustos lenhosos e pequenas árvores, sendo utilizada como arbusto ornamental, uso que aproveita a sua tendência para crescer na horizontal. O seu habitat natural são as praias da região intertropical das Américas, mas incluindo a Flórida, e as ilhas das Caraíbas. Com o nome de uva-de-playa é considerada uma das árvores emblemáticas da Venezuela.
Coccoloba uvifera (L.), es conocida comúnmente como uva de playa y su fruto es delicioso y se usa para preparar jugos especialmente en las zonas de playa. A veces se cultiva por esos frutos comestibles, pero también se cultiva a menudo como ornamental, siendo particularmente útil como seto en áreas marítimas.
Las plantas pueden soportar heladas ocasionales ligeras y de corta duración, pero morirán si la temperatura cae a -1 °C o menos durante un período de tiempo. Prefiere un suelo fértil húmedo pero bien drenado en una posición soleada. Tiene éxito en suelos arenosos pobres cerca del mar. Tolera una variedad de condiciones del suelo, incluida la salinidad. Las plantas son tolerantes a la exposición marítima. Las plantas establecidas son tolerantes a la sequía.
Coccoloba uvifera (L.), is algemeen bekend als zeedruif en de vrucht is heerlijk en wordt gebruikt om sappen te bereiden, speciaal in de strand gebieden. Het wordt soms gekweekt voor die eet bare vruchten, maar wordt ook vaak gekweekt als sierplant, en is vooral nuttig als haag in maritieme gebieden.
Planten kunnen af en toe lichte, kortstondige vorst verdragen, maar gaan dood als de temperatuur gedurende een bepaalde periode daalt tot -1°c of lager. Houdt van een vochtige maar goed doorlatende vruchtbare grond op een zonnige standplaats. Gedijt goed op arme zandgronden dicht bij zee. Verdraagt een verscheidenheid aan bodemgesteldheid, inclusief zoutgehalte. Planten zijn tolerant ten opzichte van maritieme blootstelling. Gevestigde planten zijn droogte tolerant.
Coccoloba uvifera (L.), est communément appelé raisin de mer et son fruit est délicieux et utilisé pour préparer des jus spécialement dans les zones de plage. Il est parfois cultivé pour ces fruits comestibles mais aussi souvent cultivé comme ornemental, étant particulièrement utile comme haie dans les zones maritimes.
Les plantes peuvent supporter des gelées occasionnelles légères et de courte durée, mais elles seront tuées si la température tombe à -1 °C ou moins pendant une période quelconque. Préfère un sol fertile humide mais bien drainé dans une position ensoleillée. Réussit dans les sols sableux pauvres proches de la mer. Tolère une variété de conditions de sol, y compris la salinité. Les plantes tolèrent l'exposition maritime. Les plantes établies sont tolérantes à la sécheresse.
Coccoloba uvifera (L.) ist allgemein als Seetraube bekannt und ihre Früchte sind köstlich und werden vor allem an den Stränden zur Herstellung von Säften verwendet. Manchmal wird sie wegen ihrer essbaren Früchte angebaut, oft wird sie aber auch als Zierpflanze angebaut und eignet sich besonders gut als Hecke in Meeresgebieten.
Pflanzen können gelegentlichen leichten, kurzzeitigen Frösten standhalten, sterben jedoch ab, wenn die Temperatur über einen längeren Zeitraum auf -1 °C oder weniger fällt. Bevorzugt einen feuchten, aber gut durchlässigen, fruchtbaren Boden an einem sonnigen Standort. Gedeiht auf kargen Sandböden in der Nähe des Meeres. Verträgt eine Vielzahl von Bodenbedingungen, einschließlich Salzgehalt. Pflanzen vertragen die Exposition gegenüber dem Meer. Etablierte Pflanzen sind dürretolerant.
Coccoloba uvifera (L.), è comunemente nota come uva di mare e il suo frutto è delizioso e utilizzato per preparare succhi soprattutto nelle zone balneari. A volte viene coltivato per quei frutti commestibili ma spesso viene coltivato anche come ornamentale, essendo particolarmente utile come siepe nelle zone marittime.
Le piante possono sopportare occasionali gelate leggere e di breve durata, ma moriranno se la temperatura scende a -1°c o meno per un qualsiasi periodo di tempo. Predilige un terreno fertile umido ma ben drenato in posizione soleggiata. Succede in terreni sabbiosi poveri vicino al mare. Tollera una varietà di condizioni del suolo, inclusa la salinità. Le piante tollerano l'esposizione marittima. Le piante stabilite sono resistenti alla siccità.
Coccoloba uvifera (L.) は一般に海ぶどうとして知られており、その果実は美味しく、特にビーチエリアでジュースを作るのに使用されます。 食用の果実を目的として栽培されることもありますが、観賞用として栽培されることも多く、特に沿岸地域の生け垣として役立ちます。
植物は時折起こる短時間の軽い霜には耐えることができますが、気温が一定期間-1°c以下に下がると枯れてしまいます。 日当たりの良い、湿り気のある水はけの良い肥沃な土壌を好みます。 海に近い痩せた砂地でも生育します。 塩分を含むさまざまな土壌条件に耐えます。 植物は海洋暴露に耐性があります。 確立された植物は乾燥に耐えます。
يُعرف Coccoloba uvifera (L.) باسم العنب البحري وثماره لذيذة ويستخدم لتحضير العصائر خاصة في مناطق الشاطئ. يُزرع أحيانًا لتلك الفاكهة الصالحة للأكل ولكن غالبًا ما يُزرع كنوع من الزينة ، وهو مفيد بشكل خاص كتحوط في المناطق البحرية.
يمكن للنباتات أن تتحمل الصقيع الخفيف قصير العمر ، ولكنها ستقتل إذا انخفضت درجة الحرارة إلى -1 درجة مئوية أو أقل في أي فترة زمنية. يفضل تربة خصبة رطبة ولكن جيدة التصريف في وضع مشمس. ينجح في تربة رملية فقيرة قريبة من البحر. يتحمل مجموعة متنوعة من ظروف التربة ، بما في ذلك الملوحة. النباتات تتحمل التعرض البحري. النباتات القائمة تتحمل الجفاف.
Throughout the years, some of you have been willing to support my adventures and since I wanted to offer extra content to show my appreciation for this support, I started my Patreon page at the end of last year. I'm already so grateful to everyone who has stopped by there.. some of you are from here on Flickr! 😊
In recent weeks, people have been asking me if I'd like to be gifted a Flickr Pro account, but I don't think a Pro account would be useful (I won't cross that 1000 photo limit for years). So, if you're thinking about that.. or otherwise want to support me, why not check out my Patreon page. ↕️
Here's a quick compilation video of some of the stuff I post there and later this week I'll post a photo collage.
After these two posts, normal posting will resume! 👍
Quality prints, greeting cards, puzzles and many useful products can be purchased at >> kaye-menner.pixels.com/featured/warragamba-dam-2-nsw-aust... OR www.lens2print.co.uk/imageview.asp?imageID=69712
Our beautiful Warragamba Dam, New South Wales, Australia. (Greater Sydney catchment).
I visited the dam just a few days ago. It is set in such a natural and beautiful bush land environment. It was around 1.3 hrs drive from the north of Sydney.
This image is a panorama of three of my photographic images I stitched together in Photoshop to make this Panoramic image. This one shows the rock wall on the side of the dam which show part of the Visitor Center above.
It was a hot day, and as we've had lots of rain recently, the colors or the bush land were magnificent. The greens were very green and even the water was a beautiful blue. Did lots of walking and just enjoyed the views.
The body of water for collection is called Lake Burragorang.
As at Wednesday 13th January 2021, the dam was at 97.2% capacity level.
www.waternsw.com.au/supply/visit/warragamba-dam
Look out at Warragamba Dam and see the past and future of Sydney's water supply. Marvel at this engineering masterpiece as it nestles quietly in native bushland. Delve into the history of the dam builders who laboured to create one of the world's largest domestic water supply dams. Look into the future at the interactive 'Water for Life' exhibition. Just a 30 minute drive from Penrith, or one hour from Sydney's CBD, bring the family and escape the everyday at Warragamba Dam.
View at the Visitor Centre
There are three viewing platforms at the Warragamba Dam Visitor Centre which offer excellent vistas of the upstream dam wall and Lake Burragorang.
Warragamba Dam Wall
Pedestrian access to parts of Warragamba Dam wall is available on weekends and public holidays ONLY between 10am and 4pm , except Christmas Day and Good Friday.
[Wikipedia] Wikipedia] Warragamba Dam is a heritage-listed dam in the outer South Western Sydney suburb of Warragamba, Wollondilly Shire in New South Wales, Australia. It is a concrete gravity dam, which creates Lake Burragorang, the primary reservoir for water supply for the city of Sydney.
Look out at Warragamba Dam and see the past and future of Sydney's water supply. Marvel at this engineering masterpiece as it nestles quietly in native bushland. Delve into the history of the dam builders who laboured to create one of the world's largest domestic water supply dams. Look into the future at the interactive 'Water for Life' exhibition. Just a 30 minute drive from Penrith, or one hour from Sydney's CBD, bring the family and escape the everyday at Warragamba Dam.
A new POV in an old location. One of my Flickr followers did a beautiful umbrella pic and that reminded me the next time I was out to revisit this site in Uptown.
The last time I was here, was two years ago when I did an all umbrela abstract that turned out better than I expected. It's in my photostream somewhere.
This time, there were folks below me looking with awe at the arrangement of umbrellas. I know I always find that arrangement mesmerizing and often sit on the balcony bench just studying them. I never realized how a herd of umbrellas could provide such a tranquil letting.
As an artifact of human ingenuity, I think they are one of the most benign, useful, and can be altered to bring joy and laughter to life. They also are a great prop for so many artistic enterprises.
I chose to equalize the colors with contrast and saturation . . . limiting the highlights. The reason I did this was the new blue seats installed down the middle of the hallway were brighter than even the umbrellas. They fairly glowed.
As I studied the scene, I saw that there was a LOT of different colors separated by differing values. So, I decided to make the whole setting about vivid colors. I canted the whole perspective, after I paintakingly
took an inordinate amount of time centering and leveling . . . it looked too rigid and museum-like.
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The rear container wagons of 4S43, the Daventry to Mossend Tescoliner pass through Carlisle station on 19th May 2015.
This is the last photo taken by my Pentax before it gave up the ghost, coughed and spluttered. It was a useful engine.
Peter took a lot of pictures on the Birmingham City Sewage & Waterworks Railway around Minworth. this one shows the train rattling away from the road crossing near Minworth. The cab of the diminutive loco was not built for 2 big blokes therefore one rode 'shotgun' next to the power unit.
The railway took sludge from the vast sewage farm at Minworth to Coleshill incineration plant. It used Motor Rail petrol locomotives as early as June 1919. This picture is of a Motor Rail 40S loco with a raft of Allen's side tippers*
The 3 pictures in this set were scanned because I was sorting an envelope (of Peter's) marked "Ind Fil" which means he had an Industrial filing packet where he shoved negatives he had used, he intended to file them back in their correct packet later but of course, he never did.
*A picture of this system is in Industrial Narrow Gauge Album by Andrew Neale, a book that I picked up in Ian Allan's Birmingham shop closing down sale (You never know when it might come in useful).
Peter Shoesmith December 1967
Copyright Geoff Dowling & John Whitehouse; all rights reserved
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Useful Beauty / Castelo Mendo, Portugal.
Una hermosa pieza de metal para sujetar una contraventana.
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A beautiful piece of metal to retain a window shutter.
Imagine if this was where you caught up on all the latest gossip?
Sometimes I wish life was this simple.
Another shot from the roof of a van; turns out those things are quite useful!
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
A tobacco barn in decline in Charlotte County, Virginia. 2018 update: this barn is barely standing, but it's still there.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
“I will have no man in my boat,” said Starbuck, “who is not afraid of a whale.” By this, he seemed to mean, not only that the most reliable and useful courage was that which arises from the fair estimation of the encountered peril, but that an utterly fearless man is a far more dangerous comrade than a coward.”
― Herman Melville, MOBY-DICK, OR, THE WHALE
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are south of the Thames in the middle-class London suburb of Putney in the front room of a red brick Edwardian villa in Hazelwood Road, where Lettice has come to collect a hat from her childhood chum Gerald’s friend, Harriet Milford. The orphaned daughter of a solicitor with little formal education, Harriet has taken in lodgers to earn a living, but more importantly for Lettice, has taken up millinery semi-professionally to give her some pin money*. As Lettice’s mother, Lady Sadie, has forbidden Lettice to wear a shop bought hat to Leslie, Lettice’s brother’s, wedding in November and Lettice has quarrelled with her own milliner, Madame Gwendolyn, Gerald thought that Harriet might benefit as much from Lettice’s patronage as Lettice will by purchasing one of Harriet’s hats to resolve her fashion conundrum. Today is judgement day as Harriet presents Lettice with her millinery creation.
Lettice’s critical eye again glances around the front parlour of the Putney villa, which doubles as Harriet’s sewing room and show room for her hats. She crinkles her nose in distaste. She finds the room’s middle-class chintzy décor an affront to her up-to-date interior design sensitivities, with its flouncy floral Edwardian sofa and roomy armchair by the fire, a pouffe hand embroidered by Harriet’s deceased mother and the busy Edwardian floral wallpaper covered with a mixture of cheap botanical prints and quaint English country scenes, all in gaudy gilded plaster frames. Yet what makes it even worse is that no attempt has been made to tidy the room since her last visit a month ago. Harriet’s concertina sewing box on casters still stands cascaded open next to the armchair, threads, embroidery silks, buttons and ribbons pouring from its compartments like entrails. Hats in different stages of being made up and decorated lie about on furniture or on the floor in a haphazard way. The brightly patterned rug is littered with spools of cotton, scissors, ribbon, artificial flowers and dogeared copies of Weldon’s** magazines. A cardboard hatbox spewing forth a froth of white tissue paper perches precariously on the arm of the sofa, whilst in an equally hazardous position on the right arm of the armchair, a sewing tin threatens to spill its content of threads, thimbles and a black velvet pincushion all over the chair’s seat and the floor.
“Sorry, Miss Chetwynd,” Harriet mutters apologetically as she ushers Lettice into the front parlour. “I still haven’t had an opportunity to tidy up in here yet.”
“It’s of no consequence, Miss Milford.” Lettice lies as she sweeps into the room swathed in a powder blue coat trimmed with sable that Gerald has made for her. She perches on the sofa in the same place where she sat on her last visit and deposits her crocodile skin handbag against its overstuffed pink and floral arm.
“Your censorious gaze and the reproving way you pass that remark tell me otherwise, Miss Chetwynd.”
“Are you always so observant, Miss Milford?”
“Just like my father,” Harriet replies, glancing up at a very Edwardian photographic portrait of a dour bespectacled man in a large oval frame on the mantelpiece.
“I’m sorry Miss Milford,” Lettice acknowledges her criticality politely. “But I must confess I am used to visiting tidier establishments.”
“Yes, I suppose Madame Gwendolyn’s shop is far tidier than my front parlour is.” Harriet admits. “But then again, I would imagine that she also has a retinue of staff to keep it so for her.”
“Perhaps,” Lettice agrees with a half-smile. “I’m only concerned that if you wish for your little enterprise to be taken seriously, you need to present a professional front. I myself use my own drawing room as a showroom for my clients, so I make sure to keep it tidy when I have clients or prospective clients visiting.”
“Or you maid does, Miss Chetwynd: the same one who bakes biscuits for you.”
“Touché, Miss Milford.” Lettice replies, cocking her eyebrows in amused surprise at Harriet’s quick, yet adroit remark. “I think your father should have taken more interest in your education. You might have made a very fine lawyer, had you been given the opportunity.”
“Thank you, Miss Chetwynd.” Harriet replies, blushing at the compliment.
“The lack of education afforded to women in our country, just because we are women, is a scandal. Yet our patriarchal society is what will ensure that we remain the fairer and less educated sex.”
“You sound like you might have made a fine lawyer too, Miss Chetwynd.” Harriet acknowledges. “I’m sure had you been born a few decades earlier you would have made a fine suffragette.”
“Or a radical.”
“However, that isn’t why you’ve come here today. You’ve come about a far more appropriately feminine pursuit, the acquisition of the hat for your brother’s wedding.”
“Indeed, Miss Milford. My mother would be suitably gratified to see me passing my time thus rather than in radical discussion, even if she would prefer it was at Madame Gwendolyn’s establishment.”
“Then I do hope I shan’t disappoint Lady Sadie, or you, Miss Chetwynd.”
Harriet walks over to a corner of the parlour and withdraws a yellow straw hat on a hatstand that she has kept concealed behind a brass firebox. She reverently carries it across the room and deposits it on the tilt chess table sitting empty between the seats of the two women s that Lettice might inspect it closely.
“Considering your colourings, the shape of your face and the soft chignon you wear at the nape of your neck, I’ve opted for a rather romantic picture hat rather like that featured on the cover of Weldon’s Spring Fashions.” Harriet explains as she holds up the magazine’s cover next to the hat for Lettice to make comparisons. “I know it’s autumn now, but it has been remarkably mind, and,” she adds. “This is for a wedding after all.”
Lettice examines the hat before her. The shape of the wide brimmed hat that sits low on its stand immediately appeals to Lettice, and she can easily see herself wearing it very comfortably. “Very observant again, Miss Milford.” she says approvingly.
“As you can see, I’m acknowledging the season and once again trying to compliment your own colourings with the trimmings.” Harriet says proudly as she carefully turns the hat on its stand. “A russet and golden brown satin rose and some ornamental autumnal fruits in golds and vermillion. I hope you will agree.”
Lettice reaches out and touches the satin rose, rubbing the luxuriant fabric between her thumb and forefinger with satisfaction. “Agree? Why my dear Miss Milford, you have managed to do something Madame Gwendolyn has never done for me.” She beams with delight. “You have made a hat that suits my personality beautifully. How could I fail but to be pleased? I must confess that I am more impressed with what you have created than I even dared hope for.”
“Then may I take it that you won’t quibble over my price of seven guineas, nine and sixpence?” Harriet asks, trying to keep the nerves out of her well modulated voice. She has never charged such an exorbitant price for one of her creations before, but Gerald told her that seven guineas, nine and sixpence should be the price she should ask Lettice for it. Thinking quickly she adds, “It is quite comparable to the cost of a mode from Selfridges.”
“You sell your skills to cheaply, Miss Milford.”
“I may possibly increase my fees if my ‘little enterprise’ as you continue to call it, really takes off, Miss Chetwynd.”
“I shouldn’t speak so disparagingly of your enterprise, Miss Milford. I must sound unspeakably rude and patronising. Please forgive me.”
“Rude, no Miss Chetwynd.” Harriet acknowledges.
“As amends for my snobby behaviour,” Lettice proffers hopefully. “I shall happily promote your name to anyone at the wedding who asks me who made my hat.”
“I’d be grateful, Miss Chetwynd.” Harriet replies with a grateful smile. “And I’ll try and get this place tided up should any of your friends come knocking. I did at least keep the telephone connected after father died, so I am in the book. I found it useful to have a telephone for enquiries about rooms to let initially, but now also for queries about hats.”
“Most prudent, Miss Milford.”
Harriet stands up, reaches past Lettice’s shoulder and takes up the plain cardboard hatbox stuffed with white tissue paper and places it on the seat of her armchair. She proceeds to pick up Lettice’s new hat, and like a mother tucking its child into bed, she lovingly places her creation into the box, nestling it amongst the nosily crumpling paper.
“Miss Chetwynd, do you mind if I make another frank observation?” she asks.
“My dear Miss Milford, you have made several so far,” Lettice laughs. “Why should I stop you now?”
Harriet snatches up the box and resumes her seat, placing the open hatbox on her lap.
“I’m glad you said yes Miss Chetwynd, for you see, something has been bothering me since your first visit here.”
“And what is that, Miss Milford.”
“Well, I couldn’t help but notice how ill at ease you seemed. Could it be because Gerry didn’t tell you about our friendship?”
Lettice looks across at Harriet whose mousy brown hair cut into a soft bob frames her pretty face, free of makeup. Her brown eyes have an earnest look in them. Lettice acknowledges Harriet’s question with a quick and curt nod, before casting her eyes down, ashamed that her feelings have been so easily perceived by someone she barely knows.
“I thought so.”
“I didn’t know you existed until Gerald pulled his motor up outside the front of your house.”
“I must confess I’m surprised, as Gerry talks about you all the time. You two are obviously the greatest of friends, and have been since you were children.” Harriet licks her lips a little awkwardly before continuing. “Perhaps he is a little embarrassed by our friendship, after all, I’m not an aristocrat’s daughter like you and some of your other friends he tells me about.”
“I’m sure that isn’t true, Miss Milford.” Lettice assures her hostess. “Gerald can be a frightful snob. I’ve pulled him up on it enough in recent times, and,” she admits a little begrudgingly. “He’s done the same with me. If Gerald really was ashamed of you, he wouldn’t have introduced us. That I do know.”
“He’s been wonderful to me since we met. I’m not sure if he told you, but I’m guessing not if he didn’t really tell you about me prior to our first meeting, but we met at the haberdashers we share in Fulham.”
“That Gerald did tell me.”
“Well, he’s given me encouragement and guidance as I try to get this millinery business up and running, and, well after my difficulties with the handsy General when I first started letting rooms, I feel more comfortable with gentlemen friends who don’t want to paw me.”
“Like Gerald and your Cyril, you mean.”
“Yes.” Harriet acknowledges with a blush.
“Where is Cyril, by the way? I haven’t heard his oboe playing today.”
“He’s in Norfolk, visiting his mother.” Harriet explains. She hesitates for a moment before carrying on. “I’ve never had many friends, you see. I was always the shy one at school, and not at all popular. What few friends I have had up until recently have been rather bookish and shy like me, so it was like a breath of fresh air when Gerry took an interest in plain and shy little me.”
“Hardly plain, Miss Milford.” Lettice counters kindly.
“You do know that I’d never want to intrude on your friendship with Gerry, don’t you? You’re his oldest and best friend, and he’s so proud of you and how you’ve set up your own business all by yourself. You inspire him you know.” Lettice blushes and glances back down into her lap at Harriet’s admission. “And you’re such a chum to him. He says you use the word ‘brick’ to describe your good friends, so you are his ‘brick’ then. Now that I know that he didn’t tell you about me, I must have come across as an interloper: a middle-class girl of no particular note trying to usurp you in Gerry’s affections. However, I can assure you that I’m not. Your friendship with him is perfectly safe. I’m just happy to bask in Gerry’s minor attentions for as long as he wishes to bestow them upon me.”
“Well, I must confess that I did suffer a few pangs of jealously when I first saw the two of you being so familiar together, but I realised after we left you, that you are no threat. Gerald and I had a frank conversation of our own on the way home.” Lettice admits. “Not that Gerald is bound to me by any means. He can be friends with whomever he likes, and so long as his dalliances with gentlemen are discreet, I’m happy. He just needs to be careful in that respect.”
“I tell Cyril the same thing.”
“So, if Gerald wants to be friends with you, who am I to argue? All the same, I am pleased to hear from you that you are no threat, Miss Milford.”
“Not at all, Miss Chetwynd.” She sighs with relief and places the lid on the hatbox on her lap before putting it aside. “Well, now that we have that awkward little conversation out of the way, might I interest you in some tea?”
“Some tea would be splendid, Miss Milford. Thank you.”
Harriet gets up and walks across the room. As she reaches the threshold of the parlour door she turns back and says, “You know we really do have quite a lot in common, you know, Miss Chetwynd?”
“How so, Miss Milford?” Lettice looks up from smoothing down the hem of her frock over her knees.
“Well, we both have Gerry as our friend, and we are both forward thinking women in a patriarchal world.”
“That’s true, Miss Milford.”
“We both are trying to establish names for ourselves, albeit in different areas. And we both have progressed ourselves in spite of our parents’ lack of interest in furthering our education. We could almost form a sisterhood.”
Lettice doesn’t necessarily agree with Harriet’s point about her education, which is quite presumptuous. Her father, the Viscount Wrexham, unlike Lady Sadie, was quite indulgent with Lettice’s education, giving her far more opportunities than were afforded to her elder sister Lally. Harriet realises that she has overstepped the mark by being overly familiar when she sees a cool steeliness darken Lettice’s sparkling blue eyes and harden her features slightly, but it is too late for her to retract her words.
“I wouldn’t go so far as to presume that we will ever be bosom friends***, Miss Milford. However, let me get used to your existence,” Lettice concedes with all the good grace of a Viscount’s daughter. “And I’m sure that we can be friends of a sort that goes beyond a passing acquaintance or an agreeable business arrangement.”
“Very well, Miss Chetwynd.” Harriet replies with a half-smile. “I’ll be satisfied with that. Better that we be friends of a sort than enemies for no reason. I think as women wanting to forward ourselves in this male dominated world, we probably have enough of them as it is.”
“Perhaps, Miss Milford. Let us see.”
*Originating in Seventeenth Century England, the term pin money first meant “an allowance of money given by a husband to his wife for her personal expenditures. Married women, who typically lacked other sources of spending money, tended to view an allowance as something quite desirable. By the Twentieth Century, the term had come to mean a small sum of money, whether an allowance or earned, for spending on inessentials, separate and in addition to the housekeeping money a wife might have to spend.
**Created by British industrial chemist and journalist Walter Weldon Weldon’s Ladies’ Journal was the first ‘home weeklies’ magazine which supplied dressmaking patterns. Weldon’s Ladies’ Journal was first published in 1875 and continued until 1954 when it ceased publication.
***The term bosom friend is recorded as far back as the late Sixteenth Century. In those days, the bosom referred to the chest as the seat of deep emotions, though now the word usually means a woman's “chest.” A bosom friend, then, is one you might share these deep feelings with or have deep feelings for.
Contrary to popular belief, fashion at the beginning of the Roaring 20s did not feature the iconic cloche hat as a commonly worn head covering. Although invented by French milliner Caroline Reboux in 1908, the cloche hat did not start to gain popularity until 1922, so even though this story is set in that year, picture hats, a hangover from the pre-war years, were still de rigueur in fashionable society and whilst Lettice is fashionable, she and many other fashionable women still wore the more romantic picture hat. Although nowhere near as wide, heavy, voluminous or as ornate as the hats worn by women between the turn of the Twentieth Century and the Great War, the picture hats of the 1920s were still wide brimmed, although they were generally made of straw or some lightweight fabric and were decorated with a more restrained touch.
This rather cluttered and chaotic scene of a drawing room cum workroom may look real to you, but believe it or not, it is made up entirely with pieces from my 1:12 miniatures collection, including pieces from my teenage years.
Fun things to look for in this tableau include:
At the centre of our story is Lettice’s yellow straw hat decorated with ornamental flowers, fruit and organza. 1:12 size miniature hats made to such exacting standards of quality and realism such as these are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The maker of this hat is unknown, but it is part of a larger collection I bought from an American miniature collector Marilyn Bickel. The hat stand the hat rests on is also part of Marilyn Bickel’s collection.
The copy of Weldon’s Dressmaker Spring Fashions edition on the tabletop is a 1:12 size miniature made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, the magazine is non-opening, however what might amaze you is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The spools of ribbon, the tape measure, the silver sewing scissors in the shape of a stork and the box of embroidery threads and the box of cottons I acquired from Kathleen Knight’s Dolls’ House in the United Kingdom.
The tilt chess table on which these items stand I bought from Mick and Marie’s Miniatures in the United Kingdom.
The concertina sewing box on casters to the left of the photograph which you can see spilling forth its contents is an artisan miniature made by an unknown artist in England. It comes from Kathleen Knight’s Doll House Shop in the in the United Kingdom. All the box’s contents including spools of ribbons, threads scissors and buttons on cards came with the work box. The box can completely expand or contract, just like its life-sized equivalent.
The round white metal sewing tin on the armchair is another artisan piece I have had since I was a young teenager. If you look closely you will see it contains a black velvet pin cushion, a pair of sewing scissors, needles, threads and two thimbles. Considering this is a 1:12 artisan miniature, imagine how minute the thimbles are! This I bought from a high street shop that specialised in dolls and doll house furnishings. It does have a lid which features artificial flowers and is trimmed with braid, but I wanted to show off the contents of the tin in this image, so it does not feature.
The spools of yellow, purple and blue cottons come from various online shops who sell dollhouse miniatures.
The bookshelf in the background comes from Babette’s Miniatures, who have been making miniature dolls’ furnishings since the late eighteenth century.
Harriet’s family photos seen cluttering the bookshelf in the background are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each. The castle shaped cottage orneé (pastille burner) on the bookshelf has been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. The bowl decorated with fruit on the bookshelf was hand decorated by British artisan Rachael Maundy.
Lettice’s snakeskin handbag with its gold clasp and chain comes from Doreen Jeffries’ Small Wonders Miniature Shop in the United Kingdom.
The parlour palm in its striped ceramic pot I acquired from Kathleen Knight’s Doll House Shop in the United Kingdom.
The floral chintz settee and chair and the Art Nouveau china cabinet are made by J.B.M. miniatures who specialise in well made pieces of miniature furniture made to exacting standards.
The paintings and prints on the walls all come from Kathleen Knight’s Doll’s House in the United Kingdom.
Canon R100 | Sigma 8-16mm
Early morning explore. Decided to test out an EF lens I bought a while back, the Sigma 8-16mm. I opted to bring my dusty barely used Canon R100, the only mirrorless camera I own. It's already a slightly awkward lens to handle and the EF to RF adapter didn't help. Nonetheless, was easy to crank out usable shots.
I chose the R100 to save a little weight versus the 7D Mark II. I was also packing the Canon 1N & 16-35L, and a Canon 60D (infrared). Already too heavy!
My impressions of the 8-16mm - 8mm is so useful on APSC. Makes a huge difference from my Canon EF-S 10-18mm. Colors render well on the Sigma. Tack sharp with the R100, as to be expected being mirrorless. Lens does suffer in the corners even at f/8 and is SO prone to flares, I lost a number of shots due to it.
my most interesting work on flickr - 2007-2019
Vorab-Version
Latest Edition
Canons PowerShot SX70 HS, der Nachfolger der in die Jahre gekommenen SX60 HS ist mittlerweile (seit 4. Dezember 2018) bei Amazon bestellbar.
Mit der Auslieferung des Superzooms ist unseren Informationen zufolge voraussichtlich ab der dritten Novemberwoche zu rechnen, konkret ab dem 22.11.2018.
Real ab 4. Dezember 2018.
Ultra Weitwinkel und Ultra Superzoom:
Power Zoomer with IBIS
IBIS - In Body Image Stabilisation - a Image Stabilizer (IS) with a 5-axis stabilizer for stills and Video
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
The SX70 HS also gets a handy eye sensor to automatically activate the EVF when you raise the camera to your eye, while there's now a useful zoom Switch on the barrel of the lens.
Canon PowerShot SX70 HS is an ideal all-in-one camera.
: • New Features:
: • Zoomwippe Zoom button -
Bedienelement am Griff von Zoomobjektiven zur Wahl des Bildausschnitts. Die Zoomwippe steuert das Objektiv über einen Elektromotor, den so genannten Servomotor, und lässt eine Beeinflussung von Richtung und Geschwindigkeit der Zoomfahrt zu.
zoom lever - zoom rocker - zoom switch - Zoom-Wippe
-
: • Zoom Frame Assist Lock function - d.h. Ausschnitt frei wählen nachdem der Fokus mit einem Objekt (z.b. Bergsteiger) verbunden ( Lock function ) wurde.
Framing Assist Lock button
CanonAsia
Introducing the PowerShot SX70 HS
Zoom Framing Assist - Helfer (Assistenz-system) bei der Bildkomposition, inklusive Autofokus Steuerung
Die Zoom-Assistent-Funktion unterstützt während der Aufnahme mit hohem Zoom die Beibehaltung des Bildausschnitts, was ideal für die Aufnahme von schnellen Sportarten oder Wildtieren ist.
A Zoom Framing Assist button on the side of the lens barrel enables quick adjustments of the view angle, which is especially useful during telephoto shooting.
The Zoom Frame Assist Lock function
helps maintain framing when taking super-telephoto images, suitable for capturing fast-moving sports or wildlife.
Featuring cutting-edge technology to produce high-resolution images and 4K Ultra HD Video.
: • smaller and lighter Body and lens System:
Abmessungen und Gewicht :
127 x 90,9 x 116,6 mm; - 608 g
capable of handling all types of shooting scenario, without the need to carry multiple lenses.
- equivalent to a 21-1365mm focal length - Ultra-Wide-Lens
21-1365mm - 2730mm
a wide-angle to super-telephoto focal length range
- The PowerShot SX70 HS’s 65x zoom extends to an impressive 2730mm equivalent focal length with Canon’s ZoomPlus functionality (2.0x converter built in), ideal for capturing distant scenes from afar.
-
„Organic Light Emitting Diode“ = OLED
a high-res OLED electronic viewfinder
with high-resolution 2.36-million dot electronic viewfinder
(EVF).
With the addition of a new eye sensor, the camera automatically switches to the EVF display simply by bringing the camera up to the eye.
Organische LEDs (OLED) bieten Ihnen helleres Leuchten, ein wirklich schwarzes Schwarz und geringere Response-Zeiten als herkömmliche LEDs.
Check out our extensive hands-on gallery of photos of the Canon Powershot SX70 HS super-zoom camera.
www.photographyblog.com/reviews/canon_powershot_sx70_hs_r...
: • THE SX70 is the first Canon point-and-shoot camera compatible with the latest RAW format (.CR3).
: • The DIGIC 8 processor enables the PowerShot SX70 HS camera to achieve five stops of IS with dual-sensing image stabilization (IS).
: • The DIGIC 8 processor also powers the cameras 4K Ultra HD Video capabilities, including 4K time-lapse and 4K frame grabs,
so stunning landscapes or special memories can be captured and preserved in the highest of resolutions.
: • 4K frame grabs = • 4K-Videoaufnahmen mit Einzelbild-Extraktion (8MB)
PS - a high speed 120 fps mode is available at Full HD Resolution
: • The autofocus is highly responsive and adaptive, even in low-light.
: • - The camera’s enhanced 20.3MP 1/2.3-type CMOS sensor delivers a 25 per cent increase in resolution,
compared to the Canon PowerShot SX70 HS predecessor, the SX60 HS at 16.1MP, bringing a new level of detail and vividness to images.
: • Together, the sensor and processor
also produce clean image quality and enhanced sensitivity with minimal noise for working in difficult lighting conditions.
: • This sensor upgrade also means that large photo prints look beautiful when taken on the camera, doing justice to precious family memories as they take pride-of-place on the wall.
Ranking
Piaggio, the company that makes the Ape three-wheeler commercial vehicle, also makes the Vespa scooter. 'Ape' is the Italian for 'bee', Vespa the Italian for 'wasp'. The Ape started off life in 1947 as a Vespa scooter with two rear wheels rather than one. Despite its small size, it can carry considerable loads and is particularly useful in the small streets of some Italian towns. Like the bee after which it is named, the Ape earns its keep by working hard and producing (m)honey! This photo was taken in the night streets of Pisa, Tuscany, Italy.
Coachpoint of Aldershot had fleetnames, dots and logos added to three of their vehicles today (02/07/2020). Two recent repaints, Scania L94UB / Wright Solar B43F B4CPX (previously NK55OLH) and Kassbohrer Setra S315GT-HD C49FT KIG5141, became the 4th and 5th vehicles in full fleet livery. Receiving logos was recently acquired Volkswagen Transporter service van G207OHR, a useful addition to the fleet.
This is 'work in progress' but makes a useful (for me!) comparison with the LRGB image I posted a couple of days ago. Also it has some nice detail and effects already. Here I have used my 130mm scope with the wider formatted Atik 460EX CCD compared to the ZWO ASI174MM CMOS camera used with the 80mm scope. The image time is considerably longer than needed with the ZWO but by using specific narrowband filters I have been able to restrict the dominance of Alnitak, which in LRGB sequences will always be extremely bright. For this image I have combined H Alpha (used as luminance and red), H Beta (used as blue) and Oxygen III (used as green). For all three the colour chosen is nearest to their actual frequency transmitted.
It is 'work in progress' as I intend to leave my set-up oriented to allow me to capture further data in narrowband next time we have clear skies to combine with the data in this image to date.
Peter
Quality prints, greeting cards and many useful products can be purchased at >> kaye-menner.pixels.com/featured/easter-cactus-autumn-boke... OR www.lens2print.co.uk/imageview.asp?imageID=32472
I just love this pretty and delicate cactus flower and look forward to its beautiful blooms each year. I have several in my garden in Sydney, Australia. They flower in Sydney around Easter or a bit later, hence the common name Easter Cactus and the colorful Autumn or Fall bokeh.
For those in the Northern Hemisphere, I believe some flower also in Easter which of course is Spring up there.
[Some more info from Wikipedia]
Hatiora gaertneri:
Hatiora gaertneri is a species of epiphytic cactus which belongs to the tribe Rhipsalideae within the subfamily Cactoideae of the Cactaceae. Together with the hybrid with H. rosea, Hatiora ×graeseri, it is known as Easter cactus or Whitsun cactus and is a widely cultivated ornamental plant.
Scientific classification:-
Family: Cactaceae
Subfamily: Cactoideae
Genus: Hatiora
Species: H. gaertneri
Binomial name: Hatiora gaertneri
The Battle of Durrough: The Black Swan
A story of rebellion against tyranny, from Lands of Roawia Castle Builders Game. Global Challenge 7, Unrestricted Entry.
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Commentary: GC7 was all the reason I needed to build the Black Swan, but what a build it turned into...one of the most challenging and largest of all my builds. The studs-not-on-top half-timber technique alone was a handful, not to mention that gabled roof. It all comes apart in levels too, including the roof.
Please read the story; I know it's long but it's action-packed and my best writing yet, I believe. Cheers!
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The Black Swan Tavern was known for its dark ale brew, catering to sea captains, high prices and outstanding hot food served using fresh ingredients. It benefited from its location next to Angus Square, which hosted an excellent market every weekend, with fresh fish from the Aines River and wares from all over the Provinces. On this day however, reputations would change forever, and what was once a peaceful cobbled square would soon be known by all as The Bloody Market.
Lord Oslet moved his men as silently as possible through the misty morning streets of Durrough, determined to catch his prey, one Baron Munro and his lackey of an archer captain, Tavish. Oslet had ensured everything was ready; he had chosen the best shots in the entire garrison, all armed with deadly crossbows. He carried one himself—except his had a little extra potency to it. His 100 hand-picked troops had soft boots and no armor or shields to cause noise, and they moved carefully in the pre-dawn shadows toward the meeting place, the tavern the traitorous Duke Cartney had referred to as The Black Swan.
Oslet had seen to everything, sending a troop of 50 more men farther east to circle back around and approach Angus Square from the opposite end of the city. He even had his best tactical commander, Captain Bladari, standing by with another 200 men in the Bastion on call in case there was trouble.
There wouldn’t be, of course. The Aines River was flowing swiftly, and no boats were in the immediate vicinity, leaving no avenue of escape for this Caelan Munro. Lord Oslet’s anticipation of ridding himself of a thorn in his side, the leaders of those deadly Scout Snipers, grew with every step, and by the time they reached the Swan he was in high spirits. His men approached cautiously, but all appeared well in the mist as they were well ahead of the reported meeting time between Munro and his disreputable spy-traitor to the Queen.
His vanguard moved silently along the wharf and up to the riverside door of the Swan, trying to open it quietly. It wouldn’t budge, and several of them set about trying to force it while the rest moved past the Swan and peaked around the corner into Angus Square. The mist obscured much, but what they saw made them pause, and then motion for their lord to see.
Oslet came forward and peaked himself. The square was heavily cluttered with barrels, wagons, and stands from the three Factions of Roawia, but no movement. It smelled heavily of fish, but there was nothing strange about that. Oslet looked at his men to see what they meant, and one of them whispered, “Too much here.”
“It’s Market Day, you dolt, what did you exp….” he trailed off, for approaching from the other end of the wharf were two cloaked figures moving cautiously in the shadows. As they drew closer it was clear the two forms had bows strapped over their backs and wore green cloaks.
“Early, are we?” Oslet mumbled, and motioned for his men to spread out in reception, as the two unwary men were headed straight for the Black Swan. Oslet smiled at the sight of his prey, and when the moment was right he called out, “It’s to be the gallows for you, Sir Caelan!”
His two targets froze, but as his mind registered this he heard a calm but firm voice call from only thirty feet to his left, “It’s arrows for you stupid.”
And then all chaos broke out. The fly of arrows filled the air, and all around him his men fell like stalks of wheat before a scythe. Windows opened above him, and he caught sight out of the corner of his eye forms leaning out and raining deadly shots upon his troops from the top floors of the Swan. Oslet felt a pain in his thigh, and instinctively rounded behind one of his men, who immediately caught in the chest an arrow meant for him. He made his way back behind his guards one at a time, and only called for a retreat after he had passed them to ensure he had human shields to absorb the shots meant for him. By the time he rallied what men he had left, well out of arrow range, he had less than half of what he came with to that bloody tavern. Without their armor, they were easy pickings.
“Did you get him?” Sir Caelan looked up at Captain Tavish, perched atop the Angus Fountain to improve his shot advantage.
“Nah, I missed the blighter I think…perhaps grazed him.” Tavish shrugged, “Hard to tell in this mist.”
“Mist?” Munro pretended to object, “You’re slipping.”
Tavish frowned. “He kept duckin’ behind his men, the coward!”
“It’s not manly to complain, you know.” This received Tavish’s most undignified look yet.
Caelan moved forward to see better and to wave congratulations at his 25 men in the Swan. Behind him were 75 more, all having hidden amongst the “clutter” and buildings surrounding Angus Square. The remaining 25 Scout Snipers under his command were farther to the east, serving as rear guard to oppose the encircling Queen’s troops no doubt trying to cut their path of retreat off. They would soon be getting the same brutal treatment Caelan had just given Oslet. Before him lay numerous bodies and wounded crawling away to anywhere they could. Some of his men were sniping those still able to aim their crossbows. They just couldn’t resist one of their primary roles they had been trained for: counter-archer fire.
One hundred yards west, Oslet cursed furiously, mostly for his lost dignity and little for the loss of his men. He had suffered only a flesh wound in his thigh, but had suffered greatly in the eyes of his command. When he learned however that Caelan was neither pursuing nor retreating, he brightened and immediately sent for Bladari and his 200 men, including his best unit, the Silver Spears. They were fully armored, and that alone ensured victory, so long as Caelan stood his ground.
And he did. As Bladari came up and saluted his master, Lord Oslet stated, “I have to admit they surprised us and we lost most of our crossbowmen, but the great fool has decided to stay and fight—pride, no doubt. Now we get them all—how stupid, a major threat in the countryside but now hopelessly outnumbered and outclassed in street fighting. Either way, I must ask the Silver Spears to storm that tavern and square. Kill them all.”
Captain Bladari indeed tried valiantly. His men moved in like a landslide, charging forward into a hail of arrows. The sun had come up, burning the mist off, and now the Spears were charging toward the east with the sun directly in their eyes. Their armor did help tremendously, until close range was reached. Then the Scout Snipers’ accuracy made any opening in their armor fair game.
Much worse waited for them in the square however. The Snipers had stacked the deck, for in the time in between attacks they had slammed open the many barrels they had brought, and out poured fish oil, the stuff of slippery nightmares on cobblestones. Just at the point where the Silver Spears should have made contact with the Snipers, the soldiers slipped perilously instead, and blood now mixed freely with the fish oil.
Up on the fountain, Tavish had a field day. He took particular delight in shooting whoever carried the Silver Spears’ banner, and after four fell in succession as they picked it up to lead forward, the spear-tipped signal remained on the ground for the rest of the fight.
The Snipers inside the Swan however had no such fish oil barrier to help them. Bladari’s men were able to withstand enough shots to approach and break through the windows, and the ones that lived to see the other side made it to the door to move the blockade keeping it closed. In addition, Lord Oslet was carefully taking those Snipers shooting from the windows out with shots from his poisoned quarrel bolts. The ten Snipers who held the bottom floor were overwhelmed as the Queen’s troops poured into the Swan, only happy to avoid the meat grinder in the square. Only two Scouts made it up the stairs before the others blocked it off with tables, but now their attention had to be on survival, and Bladari’s men were able to storm the wharf almost unopposed.
Sir Caelan only had a handful of pikemen to hold the attackers off for the Snipers to have shooting room, and they paid heavily for their bravery. Caelan’s squire, Sholto, was standing off to the side, taking an occasional shot with his short bow when he could, but to him it looked like they would soon be overwhelmed. Then he watched his knight charge forward into the fray in Lenfald armor, fighting two-handed as was his method, and swiftly four more of the attackers fell.
One who caught sight of this action was Captain Bladari, who immediately recognized that he could end this madness if he could down Caelan. He moved carefully forward as to not slip on the oil while relying on his full plate armor to deflect every arrow. The two exchanged quick glances and then went right to work without any words. Bladari’s broadsword made brutal impact with Caelan’s armor, but with such a heavy weapon he couldn’t keep up with his opponent’s longsword with long dagger follow-up. Caelan eventually gave him a deep slash to his right thigh, then his left knee, and Bladari went down fighting. He continued swinging until Caelan slashed his sword hand and that was it. Expecting a death blow, he stared up at the young Baron defiant, but was surprised when Munro charged forward instead, leaving him wounded but alive. What he missed was the arrival of Duke Cartney at the head of his own Durrough men-at-arms, who swept all before them.
Lord Oslet was quite pleased with himself now that he was clearly winning the fight, when a runner arrived and announced that the North Gate of the city had fallen to Sir Haymar Glen, and an armed horde of Lenfel troops was storming down High Street. “Who the deuce is Haymar?!?” he yelled in surprise. “How can this…” and his eyes suddenly set in the distance upon Bladari’s men scrambling in full rout toward him. Right behind them were Lenfels in full charge, and leading them was Duke Cartney himself. All came clear to him; the entire engagement was a trap set by Duke Cartney himself with his lies of an easy ambush on Caelan, and he now knew full well that the entire city was in rebellion against the Queen.
“To the Bastion!” he screamed as loud as possible, holding up his crossbow for all to recognize him, and cries of retreat echoed his command. But he did not turn with the others immediately. Instead he lowered his weapon with poisoned quarrel loaded, and aimed it straight at the approaching Duke Cartney…
…To be continued in the next build, Battle of Durrough: Cobblestone Bridge
____________________
Previous Caelan stories:
on US50
Useful, Missouri, USA
I haven't been able to find anything out about the curious name of this town. If anyone knows anything, I'd be happy to hear about it.
UPDATE: janwalkerimages rocks. See her information on the town and its name origin below.
Key to a house we don't own anymore, but useful as a photo prop I guess. The plastic tag is 53 mm long. HMM and Happy New Year!
Here's a useful & straightforward introduction to the subject for anyone not in the UK:
www.ucu.org.uk/counterterrorismact
and here are the links included in the image:
www.theguardian.com/politics/2016/mar/28/teachers-nut-bac...
www.independent.co.uk/voices/letters/prevent-will-have-a-...
www.vice.com/en_uk/read/is-prevent-being-used-to-hassle-s...
www.independent.co.uk/news/uk/home-news/muslim-students-t...
www.theguardian.com/uk-news/2016/feb/03/prevent-strategy-...
www.theguardian.com/politics/2016/apr/21/government-preve...
The Bromeliads planted around a fig tree have come into flower and the Noisy Miners have found them a useful source of nectar during the Winter.
I absolutely love trees. They are truly living monuments, they catalyse my feelings of nature’s strength, they help me feel humble in their majesty, they remind me of childhood and they encapsulate all the very best feelings I have towards nature. But, they are so ‘very’ hard to photograph! Not the solitary one in a field, that’s moderately straightforward, or the one growing out of something that it shouldn’t, that generates interest, but the ones sounded by others. Well that’s a real pain to make work photographically. So to be fair I should change my opening statement to, ‘I absolutely love trees, but when their hanging out together, I find them hard to photograph!’
Now forests are wonderful places that generate such strong emotions for me. It’s a mixture of child hood fun, nature’s majesty, even an evolutionary resource and security. But can I tap into those feelings and transpose them into a photograph, can I buggery! The problem is composition.
Good composition tends to balance the viewing process, placing subjects, often strong graphical shapes in equal proximity around the frame, to offer an overall balance that is pleasing to the mind’s eye. This then is useful at guide the viewers eye around the image and if done well securing their attention, keeping it there as long as possible. (On a momentary side note truly ‘great composition’, for me, tends to have overall balance and good control over the viewers eye movements, but deliberately leaves elements of tension, to challenge the viewer. But I shall probably explore this in a further post.)
Anyway to my point, trees (or should I say the ones in forests) don’t fall into this formula, as they are unordered. It’s incredibly hard and often frustrating to find order in such a complicated environment, and balancing the viewer’s eye is near impossible. Now conceptually speaking this is wonderful, why should we find order in kayos, why should a composition formula make nature fit to our artistic desires? But our photographic desire to seek out and capture order, to simplify nature into component elements that balance the viewers eye is contradictory to how most forests actually are. They are unorganised, tangled, complex gnarled, wonderful, joyous, protective, natural places! Photographic paradoxes.
Note: this shot is the result of a 45 second exposure in heavy wind. The wonderful thing about the silver birch trees here is that they move evenly down the trunk (unlike more solid trees) and this gives a surreal feeling to the movement as some trees are protected by others and don’t move much, and others get gusts and move allot.