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Ngl, I'm impressed I actually finished this. It probably didn't help that I used the console unit in two builds, then forgot which one was the main one, then misplaced the one that had promise, but we got there in the end.
And after all that, I don't even like the finished product. If you've got a good memory, you'll recognise the console unit from a WIP I showed off....over a year ago. Here it is for anyone who isn't familiar with it...so everyone probably: flic.kr/p/2jmn8S5
So before I elaborate on why I don't really like it, let's do a virtual walkthrough. The Tardis spans several floors, though only two are populated. The empty space between them is...well empty space. In Universe, you'd access the top layer through a lift, or a magic "enter here, exit there" door. The middle layer is just blank space.
The structure itself isn't too elaborate, it's got all the usual guff, a door, hundreds of round things, pitch blackness cos you can't do lighting in Stud.io, the usual stuff. But the central bit, that's where things get interesting. At first, I was content with just having the gear ball on top of the time rotor but when I put everything together it looked a bit odd. So I did the human thing and made it bigger. It's now got two spinny rings that fill in the space at the top rather nicely. The console too has changed a fair bit since I shared the WIP pic. It's now got a boxy bit at the top, just to help separate the control unit from the timey wimey stuff. And the whole thing is encased in a sort of inner sanctum, with large cut out sections at the bottom. There's also what I'll call "Viewing slits" at the top, so people can sit up there and be mesmerised by the spinny rings.
Now that's out of the way I'll list off what I don't like. I don't like how Stud.io renders copper, so that's gonna have to be changed or gotten rid of. It also seems to have rendered the gunmetal pipes as shiny black, so they're gonna need changed too. I'm also going to have to remove the ceiling of the lower level to let more light in, as the whole lower level's in complete darkness, probably teeming with Vashta Nerada to boot. I should probably also have added a little more to the whole build to make it a bit more interesting, as it's a bit bare bones at the minute. Might also change the floor colour to make it wood instead of...stone, or whatever you interpret the grey as. Should also do multiple renders as well, to show off some of the details that are obscured by darkness, or just plain old bad picture angling.
Think I'd better cut myself off there before I give myself too much crit and wind up demoralising myself. Still, at least now I'll remember what to do next time. Tbh, the only reason this is getting uploaded is cos it took over two hours to render, and I've not got a great deal of other builds to upload.
Right, that's your lot, you can go back to your day now.
Used to work on the unofficial route to some 'dachas'.
[Private] PAZ-672M # A654TZM
Tole bi koshesi, Almaty, KZ
The cold air bites as a man pauses along a sidewalk and inspects used cars for sale. The car, a 1939 Oldsmobile seems to fancy him. Closest to the camera, is a '36 Pontiac, a '38 Studebaker next to the Olds. Beyond the Olds is a '38 Olds.
By '40, these cars have a few miles on them or, maybe not. Only a few years old by this point, they're trade-ins most likely. But, it's interesting to still see cars of this era in used car lots by the 1950s and early 1960s! The saving grace of these machines is, it didn't break the bank to rebuild a motor, transmission or differential. So, keeping these cars on the road was standard practice by most garages. Today, since cars go for far greater miles, they're "done" by 150,000 or more. It's far too expensive to rebuild anything on a contemporary machine, where as in this generation, it was generally expected. The technology had a lot to do with it as well, not nearly as complex as cars made today.
We seldom use the big lenses inside the International Space Station… but it’s still 70m long, so I can play paparazzi from the forward end of the Station and shoot Oleg at the back end of it. I haven't introduced Oleg yet, we already spent six months in space together and many more on Earth training, as he was my Soyuz commander for mission Proxima. A great guy and a perfect commander he has taught me a lot. It is a lucky privilege to be able to return to space with the same people, not many astronaut expeditions align like this. I am lucky to be reunited with Shane in space and also Oleg. With Oleg we are planned to share the full six months again, whereas my path crossed with Shane in space last time for only half an Expedition.
Nous utilisons rarement les grands objectifs à l'intérieur de l'ISS... celui-ci fait tout de même 70 m de long, ce qui m’a permis de jouer les paparazzi : posté à l'extrémité avant de l'ISS, j’ai photographié Oleg à l'arrière de celle-ci ! Je n'ai pas encore (re)présenté Oleg. Nous avons passé six mois ensemble dans l'espace et bien plus encore sur Terre à nous entraîner, puisqu'il était mon commandant de Soyouz pour la mission Proxima. Un type formidable et un commandant parfait, j’ai beaucoup appris avec lui. C'est un privilège de pouvoir retourner dans l'espace avec les mêmes personnes, peu d'expéditions d'astronautes s'alignent comme cela. J'ai même la chance de retrouver 2 anciens co-équipiers pour cette mission : Shane, avec qui j’avais passé la moitié de ma 1re mission, et Oleg avec qui je devrais partager à nouveau les 6 mois complets.
Credits: ESA/NASA–T. Pesquet
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For the last sixty years, car construction has used 'monocoque' principles whereby the chassis and body are built as one strong shell. All the key components such as engine, axles etc are then attached to the shell - the result is a very strong unit with the ability to model exactly how the vehicle's structure will react to an accident or under different handling conditions.
Unfortunately, it's difficult to do this with a bus. Firstly they're far bigger, and secondly their size makes them prone to bumps and scrapes so it needs to be easy to detach external parts and panels for repair. So historically, buses are made as a chassis and then separate bodywork is built on top of it. In the 21st century more car construction techniques are being used, and many buses are built on 'integral' principles, but in general buses are still made on a less hi-tech, robotic basis than cars.
This is a Leyland Olympian for Greater Manchester Transport, at the Northern Counties Motor & Engineering Company factory at Wigan. GMT owned Northern Counties for a while and regarded it as its 'in house' coachbuilder. Most GMT buses were bodied by Northern Counties.
This bus is nearly finished, and the interior is done - you can see the seats through the windows. The next step will be painting into GMT's brown, orange and white colour scheme. The white exterior parts you can see on the bus are fibreglass, while the silver parts are the aluminium panels that are riveted to a strong frame.
One of these buses, GMT bus number 3065, is restored and on display at the Museum of Transport Greater Manchester.If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
© Greater Manchester Transport Society. All rights reserved. Unauthorised reproduction is strictly prohibited and may result in action being taken to protect the intellectual property interests of the Society.
Daffodills using OM 50mm 1.8 lens @ 5.6 with a polaroid x4 49mm lens filter attached to Olympus OMD E-M10 III camera using Urth lens adapter (OM-->OMD)
two shots of tonight's sundown,,,,6.42pm
using a Cokin Filter ...but with different setting
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Using the Christmas tree lights for some bokeh, I am holding the iPhone and the rest of the gang standing behind me.
“He used often to say there was only one Road; that it was like a great river: its springs were at every doorstep, and every path was its tributary. 'It's a dangerous business, Frodo, going out of your door,' he used to say. 'You step into the Road, and if you don't keep your feet, there is no knowing where you might be swept off to.”
― J.R.R. Tolkien, The Fellowship of the Ring
As I walked up towards this little waterfall below High Shoals I could see this as a place in Middle Earth. It so reminds me of Hobbits and Dwarves.
The critical part of me took over at this point and said, the arching tree would look better if it had more leaves, or was not present at all. And, also that whomever designed the boardwalk must have been an Orc, because all the best images were abused by the limitations its creation imposed.
Enough of the critical me (its the better part of me btw. I'm good, very good, at seeing the faults. I work at seeing the good instead. But, my job is such that I am paid to find the bad and fix, so it limits me. btw, I think I'm good at my job too ;) ) But it was such a pretty little scene. I'm not sure how others will see it, but the little arched tree seemed to frame the falls. I did even break the rules and climbed over the railing and tossed leaves into the little maelstrom on the lower right. There was log there that was too large to move or I'd have moved it. It was also snowing, but none of my images shows the flurries as they fell on us.
*Shot taken using a pole*
It got there in the end! Running a mere 230 minutes behind schedule at this point, a tatty looking 60011 is seen nearing its destination atop the 6B13 04:08 Robeston Sidings to Westerleigh train of loaded fuel tanks. With silver 60066 originally on this train, the fun and games began. The inward working 6B33 from Margam to Robeston was delayed for a couple of hours at Clarbeston Road awaiting a Pilotman courtesy of a track circuit failure on the single line. Even so, 6B13 managed to get away from Robeston an impressive 140 minutes early. This upturn in fortune did not last though as the locomotive soon suffered a total loss of power on the approach to Whitland and was subsequently declared a failure. By the time this train was rescued, the errant tug removed at Margam and then being regulated for passenger services at various places for the remainder of the journey, a delay of almost four hours had been accrued.
The train is seen here trundling along the freight only Westerleigh branch line as it passes Nibley Lane on the outskirts of Yate. It is nice to capture something on what is now a railway backwater. This was not always the way however as this was once the Midland Railway main line between Bristol and Gloucester, also linking up at Mangotsfield with their line to Bath. Opened by the Bristol & Gloucester Railway in 1844 and utilising the routes of several existing tramways, it was decided late on in its formation to be opened as a broad-gauge route (Brunel was the company engineer at the time) with an eye to a working relationship with the GWR as it connected with their broad-gauge system at Bristol and Standish. This wasn’t to be though as the initial dealings between the parties proved to be less than harmonious. The Midland Railway were keen to keep the GWR distanced geographically so, backed financially by the London & North Western Railway with a similar motive, they outflanked and outbid the GWR and purchased this route as well as the connecting standard gauge Birmingham & Gloucester Railway. Both became part of the Midland Railway system from February 1845. Standard gauge rails were laid a few years later which removed the awkward arrangements at Gloucester caused by the break of gauge, although the broad gauge was legally required to be maintained in addition to the standard gauge until the GWR finally converted their system.
Following the nationalisation of the railway system, rationalisation and removal of duplicate and unremunerative routes became the order of the day. The section between Bristol and Yate saw its last passenger trains in December 1969, a few weeks ahead of the proposed closure date owing to a landslip at Fishponds. The remaining through trains were diverted to run along the former GWR lines via Filton and Stoke Gifford, crossing over the former Midland route before utilising the 1903-built connection from Westerleigh Junction to Yate South Junction. From there the former Midland Railway lines are still utilised. The line from Mangotsfield to Bath had seen its last passenger trains in March 1966 but coal traffic to Bath gas works continued until July 1971, the line by this stage effectively being reduced to and worked as a long siding. Track lifting then took place between what are now the ‘Gloucester Roads’ in Barton Hill depot and Westerleigh sidings as well as the remains of the line between Mangotsfield and Bath. Buffer stops underneath the M4 now denote the extent of the remaining operational railway. The short section between Westerleigh and Yate South was retained, albeit singled, as the sidings were still in use, later being utilised as a training school by the civil engineering department. Subsequently, a Refuse Transfer Station for containerised household waste for rail movement to landfill was established and was served by the ‘Avon Binliner’ workings, although this is now disused. The oil depot was constructed in 1990 and continues to be served daily.
17/04/21.
Excerpt from Wikipedia: An articulated bus (either a motor bus or trolleybus) is an articulated vehicle used in public transportation. It is usually a single-deck design, and comprises two rigid sections linked by a pivoting joint (articulation) enclosed by protective folding bellows on the in- and outside of the vehicle (usually of gray or black colour) and a cover plate on the inside of the vehicle. This arrangement allows a longer legal overall length than single-decker rigid-bodied buses, and hence a higher passenger capacity, while still allowing the bus to maneuver adequately on the roads of its service route.
Around the English-speaking world, articulated buses have acquired several different synonyms that allude to their articulated design, such as bendy buses, bending buses, tandem buses, stretch buses, double buses, banana buses, slinky buses, wiggle buses, caterpillar buses, accordion buses or vestibule buses. Due to their high passenger capacity, articulated buses are often used as part of bus rapid transit schemes, and can include mechanical guidance.
Used almost exclusively on public transport bus services, articulated buses are approximately 18 metres (59 ft) in length; standard rigid-construction buses are usually 11 to 14 metres (36 to 46 ft). The common arrangement of an articulated bus is to have a forward section with two axles leading a rear section with a single axle, with the driving axle mounted on either the front or the rear section. Some articulated bus models have a steering arrangement on the rearmost axle which turns slightly in opposition to the front steering axle, allowing the vehicle to negotiate turns in a crab-like fashion, similar to hook-and-ladder fire trucks operating in city environments. A less common variant of the articulated bus is the bi-articulated bus, where the vehicle has two trailer sections rather than one. Their capacity is around 200 people, and their length about 25 metres (82 ft).
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Excerpt from www.ttc.ca: The Articulated Low-Floor Diesel Buses manufactured by NovaBus, a Division of Volvo Group-Canada, in Ste. Eustache Quebec, are now on Toronto streets.
In keeping with TTC’s commitment to improved customer service, the new “Artics” are 60 feet long and will replace aging existing buses that are scheduled for retirement due to high mileage and general deterioration.
As part of the TTC’s modernization plan the accessible low-floor bus fleet will increase capacity on our busiest routes. Each bus has a capacity of 46 seated passengers and approximately 31 standing passengers. Features include LED interior and exterior lighting, automatic central air conditioning and heating, and ergonomic seating for passenger comfort.
Buses are designed to accommodate two standard wheelchairs and nine priority passenger seats, identified by bright blue upholstery. To minimize engine exhaust emissions, clean diesel engines are furnished with the latest electronic engine controls and diesel exhaust after treatment systems.
TTC’s new fleet of Articulated Low-Floor Clean Diesel Buses is being solely funded by the City of Toronto to improve customer service and replace some of TTC’s aging 40 foot buses.
What's art about if it isn't about learning something? Well I learnt something. Several things actually. Will I use what I've learnt to grow and become wiser? That seems unlikely. So what did I learn?
1) Ice is very cold.
2) Icy water feels even colder.
3) Even kneeling on ice might not spread your weight enough to prevent it cracking.
4) Don't ever admit to doing something stupid. Especially not on the internet. You'll never know who might read it.
I've resigned myself to the fact that I won't ever feel confident enough in my creativity to know what it is I will make ahead of time, and I won't know how, whatever it is, will turn out. It was never an issue when noone ever saw what I make but now, a little self doubt lurks in the back of my mind, that I must make something interesting otherwise I shouldn't have bothered. Often, as I wander around some wild place somewhere (no not a bar in Blackpool on a Saturday night), I am thinking about future land art projects and the potential of different places. But always lurking there is the thought that it better be good when I get round to doing it.
On the face of it, this voice at the back of the room would seem to be a help, always encouraging me to try harder. But the weird thing is, this voice actually seems to be a hindrance. There is a subtle but important difference between "it better be good" and "I wonder if it'll be any good?"
When I listen to those words it seems to be an extra burden, a burden that makes it harder to tap into any creativity. I have no idea what creativity actually is, where it lives or how it operates. But what I do know is that you can plug into it directly if you would just relax and go with the flow. A sense of expectation of how something should be, how it ought to be, if only you tried hard enough is not where it's at. I think this is what I love about land art. As I start, the distractions, the so called "encouraging" voices just fade away and all that matters is the moment. And when enough moments join together, I often end up exactly where I wanted to be had I been thinking about it in the first place. I've said it before but it seems it is a hard lesson to learn. It's about the doing. The thinking, the planning, the expectations. None of this really helps.
So I set off, the frost crunching under my feet and doubting/encouraging voices in my head struggling to help me think of what I could do. I went to a small pool of dark water and tried to chop out some ice. Fun though that was, it didn't inspire me, so I continued to trudge up the hill. On the slopes either side of me, camo jacketed plonkers with shotguns and dogs attempted to shoot, stupid and inbred pheasants. A fitting challenge for the Saturday shotgun warriors. We haven't quite gone to the lengths of fencing in animals for rich (and fat) obnoxious clients to shoot but it isn't far off.
Now don't get me wrong, I am not hypocritical enough to suggest that shooting is completely wrong. I could only occupy the moral highground if I didn't eat industrially farmed animals and didn't ignore the fact that I couldn't kill, what I eat, myself. But I do wonder at the mentality of people who shoot animals for a hobby, as a way to relax, to let off steam on a Saturday morning. Does it make you feel manly to outwit a pheasant with a bunch of beaters, dogs and high powered weaponry? Is it simply target practice and honing a skill?
I always wonder whether they have something missing in their lives and their neuroses drive them to show off, inaudibly shouting "look at me, look at me, LOOK AT ME! I'm really, really important! I demand your attention!" Because what seems to be common amongst this activities is noise. Lots of it and the seemingly willfull need to pee off as many people as possible. Especially people who like peace and quiet!
How many examples can you think of? Here's a few for starters: riding big, powerful motorbikes around country lanes in the summer, riding jet skis across lakes and off shore, off roading on green lanes and shooting things for fun. Why oh why do all these things have to be so loud? And why do you have to do them in beautiful and quiet places and spoil the peace and quiet for so many others? Are you so lacking in empathy that you have no idea how you are spoiling it for everyone else? Or do you have a pathological need to take over places and claim them as yours to make up for your inadaquecies? I think this is one of the biggest splits in our species. The sensitive and the not sensitive. The noisy and the quiet. The considerate and inconsiderate.
So the soundtrack to my sculpturing went like this "hey, hey, hey, hey, hey!" As the beaters flushed the doomed birds from the undergrowth and "KABOOM! KABOOM!" as another pheasant bit the dust. I expect that if I ever go mad that that will be the soundtrack to my insanity too. I wanted to stand on a rock and shout out "shut the hell up you noisy idiots!" to try and get rid of my frustrated feeling. But I don't think they were going to see the error of their ways so I went back to what I was doing with the frustrated feeling still present.
So what was a I doing I hear you ask?
A bank of fog was sliding in from the south, leaving the tips of the mountains poking through the sea of moisture. Unusually for an inversion, a layer of cloud lay above us too (me and the mountains) and gradually the temperature began to warm.
On another small dark pool I begun to lay out sections of frosted bracken, to make a pattern on the ice. When I leant back I noticed I had left hand prints where my body heat had melted the surface and I liked them and decided to do something along those lines instead. On all fours, I kneeled on the ice, positioning my hands to make prints in the surface, when suddenly cracks spread across the surface like fractured glass and I was about to become more acquainted with this medium than I originally planned. I had one of those Wiley Coyote moments like when he runs over the cliff's edge, only to be found pedalling in mid-air. Just for a split second gravity didn't grab me and then all at once the icey water and me, became intimate. I managed to extricate myself after immersing only one leg and fortunately I was wearing two pairs of trousers for warmth and had some spare socks, so pretty quickly I was dry again. I smirked to myself at being such a fool but soon found that the broken ice was fantastically clear and square edged so my foolishness had served a purpose and revealed to me the beauty of this ice.
I took a section and rounded the edges before trying to melt my hand print into it. I could only manage a little at a time before I had to rewarm my hand, so I challenged myself to count to fifty before I would put on a glove to warm up, only to try and melt some more for another count to fifty.
As the handprint begun to form I started to think about how I would be able to photograph it. The imprint was like a ghost, difficult to pin down, like a fleeting image in the corner of your eye. I put the ice back in the water but the image disappeared so I went searching for another way.
I found a slab with thick frost on it, so I melted another handprint onto it and placed the ice on top, in an effort to put a black background behind the imprint. This didn't work either. I then picked some holly berries thinking that I would squish them up and fill in the mould but that was also a failure. And then it dawned on me, bubbles underwater are very bright, especially against the dark, peaty water!
I went back to the little pool and to its twin with the unbroken ice. I put my handprint on top of it, face down so that air would be trapped and then started to ladle (I didn't actually use a ladle - who carries around a ladle?!) water from the broken pool onto the ice of the intact one. Soon the effect was working and I had learnt something new about contrast and ice.
After taking some more pictures of it set against the sky, I collected my gear and headed off downhill. The cretins were still shooting at anything that moved and the irritation at the noisy buggers still dwelled in the pit of my stomach.
At the bottom of the hill I sat and watched two Buzzards sitting in adjacent trees, one of which kept calling and flying to the other one, perhaps with spring on her mind. For a few minutes I watched transfixed and thought what magnificent creatures they are. As I set off again towards home I noticed that the feeling in my stomach had gone and a few quiet moments observing the wonder of nature had calmed and comforted me. That is all that is required for peace. An open mind and a moment to fill it. Perhaps the Saturday shotgunners should try it one day. They might actually like it and discover that there is another way.
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Sardegna, l'isola dei parchi naturali
Il documentario mostra alcune tra le più suggestive località dell'isola tra meraviglie naturali e antichissime creazioni dell'uomo. Il Parco del Gennargentu, colto durante la stagione primaverile e nel corso del freddo inverno imbiancato dalle abbondanti nevicate, il maestoso canyon di Gorroppu con le sue alte pareti rocciose, e la gola di Tiscali con il suo villaggio nuragico. L'autore esplora i caratteristici tratti costieri tra i più belli del Mediterraneo, le cale e i fondali marini., le grotte sul mare come quelle di Nettuno ad Alghero. Il documentario prosegue alla scoperta del parco del Montiferru-Sinis, dell'antica città di Tharros, del museo della tecnologia contadina a Santulussurgiu, e delle numerose lagune del Sinis, ricchissime di avifauna. Il silenzioso quasi irreale parco della giara di Gesturi, i meravigliosi scenari naturali e gli ultimi cavallini selvatici di tutto il continente Europeo fanno da chiusura al documentario.
Used by railroad workers usually for maintenance, handcars are still in use on railways around the world.
Travel Town Museum in Griffith Park
Los Angeles, California
Using digital manipulation and Filters - Mirage to Create the Reflections
Poem by - Alfred Lord Tennyson
On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And through the field the road runs by
To many-towered Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.
Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.
By the margin, willow-veiled,
Slide the heavy barges trailed
By slow horses; and unhailed
The shallop flitteth silken-sailed
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?
Only reapers, reaping early
In among the bearded barley,
Hear a song that echoes cheerly
From the river winding clearly,
Down to towered Camelot:
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers "'Tis the fairy
Lady of Shalott."
Part II
There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.
And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot:
There the river eddy whirls,
And there the surly village-churls,
And the red cloaks of market girls,
Pass onward from Shalott.
Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd-lad,
Or long-haired page in crimson clad,
Goes by to towered Camelot;
And sometimes through the mirror blue
The knights come riding two and two:
She hath no loyal knight and true,
The Lady of Shalott.
But in her web she still delights
To weave the mirror's magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot:
Or when the moon was overhead,
Came two young lovers lately wed;
"I am half sick of shadows," said
The Lady of Shalott.
Part III
A bow-shot from her bower-eaves,
He rode between the barley-sheaves,
The sun came dazzling through the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneeled
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.
The gemmy bridle glittered free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazoned baldric slung
A mighty silver bugle hung,
And as he rode his armour rung,
Beside remote Shalott.
All in the blue unclouded weather
Thick-jewelled shone the saddle-leather,
The helmet and the helmet-feather
Burned like one burning flame together,
As he rode down to Camelot.
As often through the purple night,
Below the starry clusters bright,
Some bearded meteor, trailing light,
Moves over still Shalott.
His broad clear brow in sunlight glowed;
On burnished hooves his war-horse trode;
From underneath his helmet flowed
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
"Tirra lirra," by the river
Sang Sir Lancelot.
She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She looked down to Camelot.
Out flew the web and floated wide;
The mirror cracked from side to side;
"The curse is come upon me," cried
The Lady of Shalott.
Part IV
In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining,
Heavily the low sky raining
Over towered Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And round about the prow she wrote
The Lady of Shalott.
And down the river's dim expanse,
Like some bold seër in a trance
Seeing all his own mischance--
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.
Lying, robed in snowy white
That loosely flew to left and right--
The leaves upon her falling light--
Through the noises of the night
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.
Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turned to towered Camelot.
For ere she reached upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.
Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and burgher, lord and dame,
And round the prow they read her name,
The Lady of Shalott.
Who is this? and what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the knights at Camelot:
But Lancelot mused a little space;
He said, "She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott."
Used in my blog post on April 15, 2022. dennissylvesterhurd.blogspot.com/2022/04/construction-at-...
This one I dedicate to, Rafael Rodriguez-Vargas. A good photographer is the one that use photography as his artistic media and never dither from his vision. This is my description of Rafael. (Spanish: Esta se la dedico a Rafael Rodriguez-Vargas, Un buen fotógrafo es el que usa la fotografía como su medio artístico, y nunca titubea en su visión, este es Rafael). Technical Info: Canon 40D, Canon EF 20-35mm @35mm, f/11, 1/30, ISO: 100, Mode: Aperture Priority, Manual Focus, WB: Auto, Support: handheld , File: 83-131201EOS 40D2134. Process: Edit in Lightroom 5 for color and contrast, then converted in black and with using Topaz Labs BW Effects. Use a lot of adaptive exposure to increase details in all areas of image. Location: Lake Eola Park, Orlando, Florida.
Camera used Hasselblad 500CM cir:1982 with 80mm f/2.8 Carl Zeiss Planar lens. Film Acros Neopan ISO100...Commercial development...
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Francisco Aragão © 2017. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
Many images are available for license on Getty Images
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Portuguese
No Vale da Ferradura, a convivência harmônica com a natureza é um espetáculo à parte. Curta o vento, o sol, as belas vistas, um banho de cachoeira, os animais!
Aqui você encontra animais como quati, macaco-prego, bugio-ruivo, serelepe, cutia, gambá, mão-pelada, veado-mateiro, graxaim e muitos roedores. E também grande variedade de aves de extrema beleza e raridade.
Muitos deles possuem um contato próximo com os seres humanos, como é o caso, principalmente, dos quatis, e em geral você pode observá-los de perto na área principal do Vale da Ferradura, mesmo sem fazer as trilhas.
Os quatis, em grande quantidade no Vale da Ferradura, são mamíferos que se alimentam de minhocas, insetos e frutas, apreciando também ovos, legumes e especialmente lagartos. Dormem no alto das árvores, enrolados como uma bola, e não descem antes do amanhecer. Seu órgão mais sensível com certeza é seu nariz, que é móvel e muito alongado. Possui dentes e garras fortes.
O parque Vale da Ferradura está localizado ao norte do município de Canela RS, na região correspondente às coordenadas 29°16' S - 50°50' W, compreendendo um total de aproximadamente 200 ha, com altitudes que variam de 400 m a 750 m.
Fica no Planalto das Araucárias, popularmente designado como "Serra Gaúcha". Os elementos que compõem a sua flora são típicos da Floresta Ombrófila Mista Montana e da Floresta Estacional Semidecidual Montana, com áreas de transição entre as mesmas e com diversos estágios de sucessão.
A área do parque faz parte da bacia hidrográfica do rio Caí. Nesta bacia, existem 11 Unidades de Conservação municipais e/ou particulares, duas estaduais - Parque Estadual do Delta do Jacuí e Parque Estadual do Caracol - e uma Federal - Floresta Nacional de Canela.
O clima da região é superúmido, com as curvas ombrométricas das estações meteorológicas sempre positivas. Há ocorrência de três ou mais meses com temperaturas médias compensadas mensais abaixo de 15°C, que ocasionam a chamada seca fisiológica das plantas tropicais, criadora da estacionalidade.
O Vale da Ferradura possui variados micro-habitats, com áreas mais expostas a incidência solar, aos ventos e sujeitas a interferência humana, bem como áreas totalmente protegidas, sombreadas, úmidas e sujeitas a inundações periódicas. A preservação destes remanescentes aliada à atividade de educação ambiental ao mesmo tempo que ao ócio, como forma de lazer recreativo, é extremamente importante.O parque é cortado por quatro trilhas, que apresentam características peculiares: trilha do Rio Caí, trilha do Pórtico, trilha das Cutias e trilha das Pinguelas.
http://www.canelaturismo.com.br/roteiros-e-atrativos/parque-da-ferradura/
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Outras Informações:
O parque Vale da Ferradura, localizado a 13 km do centro de Canela, proporciona ao turista integração com a natureza, com mirantes para o deslumbrante Vale da Ferradura, para a Cascata do Arroio do Caçador e Rio Santa Cruz. Uma área especial para toda família com trilhas e estrutura de churrasqueira, playground e lanchonete.
No alto do canyon de 420 metros de extensão está localizado o Vale da Ferradura - onde o Rio Santa Cruz forma a ferradura que dá nome ao lugar. A vista privilegiada da cascata do Arroio Caçador, o verde e o ar puro são complementos perfeitos para as 4 trilhas, os 3 mirantes e a estrutura de 8 churrasqueiras, playground e lanchonete, numa área total de aproximadamente 200 hectares.
A área do parque faz parte da bacia hidrográfica do rio Caí. Nesta bacia, existem 11 Unidades de Conservação municipais e/ou particulares, duas estaduais - Parque Estadual do Delta do Jacuí e Parque Estadual do Caracol - e uma federal - Floresta Nacional de Canela.
O Vale da Ferradura possui variados micro-habitats, com áreas mais expostas a incidência solar, aos ventos e sujeitas a interferência humana, bem como áreas totalmente protegidas, sombreadas, úmidas e sujeitas a inundações periódicas. A preservação destes remanescentes aliada à atividade de educação ambiental ao mesmo tempo que ao ócio, como forma de lazer recreativo, é extremamente importante.
As árvores de –Araucária, que produzem os delicioso pinhão são a maioria no parque e atraem animais silvestres como o Quati, a Cutia, o Macaco-prego e a Gralha-azul, importante para a multiplicação das árvores.
MIRANTES
• Mirante Vale da Ferradura
É o principal mirante do Vale da Ferradura. Dele você aprecia a vista da Cascata do Arroio Caçador e tem uma visão geral.
• Mirante do Vale do Arroio Caçador
Proporciona uma vista impressionante do vale do Arroio Caçador. O acesso é por uma trilha leve - cerca de 2 minutos.
• Mirante da Cascata do Arroio Caçador
Proporciona uma vista impressionante da cascata do Arroio Caçador. Aqui você desce 50 metros e a trilha é um pouco mais íngreme.
TRILHAS
• Trilha do Rio Caí
São 350 metros de trilha, iniciando a 750 metros altura e terminando a 400 metros altura, no ponto em que o arroio Caçador deságua no Rio Caí. É a principal trilha do parque, com maior nível de dificuldade, pelo declive do terreno. Você vai levar 60 minutos para descer, e 2 horas para subir.
Como a trilha do Rio Caí pode ser dividida em quatro trechos, você não precisa fazê-la inteira. Confira os trechos:
- O primeiro leva a dois mirantes, localizados a 700 metros de altura e de onde se tem uma belíssima vista da cascata do arroio Caçador.
- O segundo trecho vai de 700 até 550 metros de altura e é o de maior extensão e menor dificuldade.
- O terceiro trecho inicia a 550 metros de altura, ponto onde as trilhas do Rio Caí e do Pórtico se encontram, e termina a 450 metros de altura, no leito do arroio Caçador, acima da queda d’água.
- O quarto e último trecho vai de 450 a 400 metros altura e é o de maior dificuldade, pois o declive é acentuado e as condições de umidade são elevadas. Interessante é que parte deste trecho está sujeita a borrifos d’água, porque acompanha a queda da cascata. Ele termina no pé da cascata do arroio Caçador e às margens do Rio Caí, em uma área plana, local para um descanso merecido.
• Trilha do Pórtico
A trilha do Pórtico tem 200 metros, iniciando a 750 metros de altura e terminando a 550 metros de altura, onde se encontra com a trilha do Rio Caí. Nela existe um recanto conhecido como Cascata do Graxaim, e podem ser admiradas araucárias e xaxins.
• Trilha das Cotias
É uma bela trilha, com muita sombra, sem esforço físico, para todas as idades e condicionamentos físicos. Dá para dizer que, mais que uma trilha, é um passeio em meio à natureza. Encontra-se na faixa entre 700 e 750 metros de altura, no platô do parque, acima da trilha do Pórtico. Aprecie a bela paisagem de cactus e bromélias na área mais rochosa.
• Trilha das Pinguelas
Também está entre 700 e 750 metros de altura, porém voltada para a bela vista do Vale da Ferradura. A trilha das Pinguelas acompanha um pequeno arroio e você aproveita a sombra da copa das árvores.
Localização e informações gerais
O parque Vale da Ferradura fica na Serra Gaúcha, em Canela RS, a 13 km do centro, no Km 6 da RS 466, mais conhecida como Estrada do Caracol. Funciona das 8h30 às 17h30. No verão, quando o sol se põe bastante tarde na Região Sul, este horário pode ser estendido.
Para chegar, pegue a Estrada do Caracol, que está localizada logo ao chegar a Canela, vindo de Gramado, e vá sempre por essa via, seguindo as placas. Após o Parque do Caracol, a estrada é de terra, por alguns quilômetros.
http://www.lajedepedra.com.br/o-hotel/vale-da-ferradura.htm
Mike from ASWECRASH from Toledo Ohio. Loved his whole look from the shoot. I plan on using him as a model for a piece im planning in the future
Strobist:
5d mark ii
85mm f1.8
AB1600 w/ beauty dish above
AB800 on background
Using a mobile phone to capture the funky dance moves of a group of street performers in Hongdae, Seoul, Korea
Every once in a while I get lucky. My good results equal about 1 % of the time used experimenting =,99%
I used to visit Holbeck in the days of steam. In fact it became a regular Saturday outing for me and couple of mates when the challenge was always trying to get into the shed without being spotted. We had 4 different "entry points" and looking back our success rate was pretty good, although we were turfed out on several occasions.
In those days the shed would have Jubilees, Scots, Black 5's and the occasional Clan. This was also the period when the first Peaks arrived at Leeds. The weekend would normally also include trips to the sheds at Farnley and Copley Hill and the day would end back home perched on the dining room table entering all the days "Cops" into the Ian Allan Combined.
In July 1991 things looked a whole lot different
From left to right: 47518; 31413 "Severn Valley Railway"; 31442; 47448; 47349; 31184. (Behind 31184 is 31215 and 47552).