Transbus International Alexander Dennis Enviro 300
View allAll Photos Tagged weight,
Fuerte Bulnes, Punta Arenas, Chile
You'll be on my mind
Don't give yourself away
To the weight of love
You'll be on your side
Don't give yourself away
The weight of, weight of love
.
In the evening sun and after the rain: Großer Brachvogel (Numenius arquata) - (eurasion) curlew
My "explored" album is here:
www.flickr.com/gp/jenslpz/LzXVPNJ098
My 2019-2023 tours album is here:
www.flickr.com/gp/jenslpz/SKf0o8040w
My bird album is here:
www.flickr.com/gp/jenslpz/1240SmAXK4
My nature album is here:
www.flickr.com/gp/jenslpz/27PwYUERX2
My Canon EOS R / R5 / R6 album is here:
www.flickr.com/gp/jenslpz/bgkttsBw35
.
Großer Brachvogel (Numenius arquata) - (eurasion) curlew
de.wikipedia.org/wiki/Gro%C3%9Fer_Brachvogel
Der Große Brachvogel (Numenius arquata) ist eine Vogelart aus der Familie der Schnepfenvögel (Scolopacidae). Es werden zwei Unterarten unterschieden. Die Nominatform ist in Mitteleuropa ein zunehmend seltener Brut- und Sommervogel. Die Rote Liste der Brutvögel Deutschlands von 2015 führt die Art in der Kategorie 1 als vom Aussterben bedroht.[1] Er ist während der Zugzeiten ein regelmäßiger Durchzügler und Rastvogel, der gebietsweise auch überwintert.[2]
In Deutschland war der Große Brachvogel im Jahre 1982 Vogel des Jahres.
Beschreibung
Der Große Brachvogel ist etwa 50 bis 60 cm lang und wiegt zwischen 600 und 1000 Gramm. Die Flügelspannweite beträgt 80 bis 100 cm. Die Vögel sind die größten Watvögel, und sie sind in Europa die häufigsten Vertreter der Brachvögel. Charakteristisches Kennzeichen des Großen Brachvogels ist der lange und stark nach unten gekrümmte Schnabel. Das Weibchen ist etwas größer als das Männchen und hat einen deutlich stärker gebogenen und längeren Schnabel. Ansonsten sehen die Geschlechter gleich aus.
Große Brachvögel sind eher unscheinbar gefärbt. Der Kopf, der Hals, die Brust die Körperoberseite sind fahl beigebraun mit dunklen Streifen und Flecken. Die Wangen sind dunkel gestrichelt und kontrastieren dadurch mit dem hellen Kinn- und Kehlfleck. Die Brust ist etwas kräftiger gestreift und wird zum Bauch hin heller. Im Flug wird der weiße Bürzel sichtbar, der mit dem weißen Rücken einen weißen Keil bildet.
Eurasian curlew
en.wikipedia.org/wiki/Eurasian_curlew
The Eurasian curlew or common curlew (Numenius arquata) is a wader in the large family Scolopacidae. It is one of the most widespread of the curlews, breeding across temperate Europe and Asia. In Europe, this species is often referred to just as the "curlew", and in Scotland known as the "whaup" in Scots.
This is the largest wader in its range, at 50–60 cm (20–24 in) in length, with an 89–106 cm (35–42 in) wingspan and a body weight of 410–1,360 g (0.90–3.00 lb).[2] It is mainly greyish brown, with a white back, greyish-blue legs and a very long curved bill. Males and females look identical, but the bill is longest in the adult female. It is generally not possible to recognize the sex of a single Eurasian curlew, or even several ones, as there is much variation; telling male and female of a mated pair apart is usually possible however.
The familiar call is a loud curloo-oo.
The only similar species over most of the curlew's range is the whimbrel (N. phaeopus). The whimbrel is smaller and has a shorter bill with a kink rather than a smooth curve. Flying curlews may also resemble bar-tailed godwits (Limosa lapponica) in their winter plumages; however, the latter have a smaller body, a slightly upturned beak, and legs that do not reach far beyond their tail tips. The Eurasian curlew's feet are longer, forming a conspicuous "point".
The curlew exists as a migratory species over most of its range, wintering in Africa, southern Europe and south Asia. Occasionally a vagrant individual reaches places far from its normal range, such as Nova Scotia[3] and the Marianas.[4][5] It is present all year in the milder climates of Ireland and the United Kingdom and its adjacent European coasts.
www.youtube.com/watch?v=vl9GhMdJ3RM
Sad Eyes
You wear the burden
World on your shoulders, babe
So let me hold the weight
I know you're hurting
Deep as the coldest pain
But this is the order sayin'
I'm gonna show you everything's alright
End of the tunnel, there is always light
You're in the middle of the darkest night
I know you're hurting, baby
Whenever you look at me with those
Those sad eyes
I'm gonna dry your sad eyes
I'll make it right, so don't cry
I'm gonna dry those sad eyes
I'll make it right
Under the streetlights
You turned and said to me
That you're no good for me
That was the first lie
You've ever said to me
Oh baby, honestly
I'm gonna show you everything's alright
End of the tunnel, there is always light
You're in the middle of the darkest night
I know you're hurting, baby
Whenever you look at me with those
Those sad eyes
I'm gonna dry your sad eyes
I'll make it right, so don't cry
I'm gonna dry those sad eyes
And baby, even when your troubled tears are falling
Darling, you should know you still look beautiful
Sad eyes
I'm gonna dry those sad eyes
I'll make it right
Mmm
Everything will be alright, I swear
Everything will be alright, I swear
Everything will be alright, I swear
Oh-oh
Those sad eyes
I'm gonna dry those sad eyes
I'll make it right, so don't cry (So don't cry, baby)
I'm gonna dry those sad eyes
And baby, even when your troubled tears are falling
Darling, you should know you still look beautiful (You still look beautiful)
Sad eyes (Oh, sad eyes)
I'm gonna dry those sad eyes
I'll make it right
I'll make it, I'll make it right
I'll make it right, I'll make it right
I'll make it right
A single blade of grass frozen by the iced surface of a pond, and weighed down by the weight if ice and frost crystals that cover its entire surface.
Credits:
░░▒▓██████▓▒░░SPONSORED░░▒▓██████▓▒░░░
Shoes: cinphul // jkyx [stilettos]
Horns & epaulettes: cinphul // jkyx [horns+epaulettes]
check these Items at the mainstore: maps.secondlife.com/secondlife/Barzakh/142/127/34
Dress:+Psycho Barbie+ [Emerald Dress - Fatpack] Reborn
Check this and much more at The Mainstore maps.secondlife.com/secondlife/Saint%20Denis%203/131/124/884
MP: marketplace.secondlife.com/stores/17057
░▒▓██████▓▒░░OTHERS░░▒▓██████▓▒░░░
Hair: [Yomi] Amaris Hair - Sm Head
Head: lel EvoX AVALON 3.1
Body: REBORN by eBODY v1.69.6
Tattoo: CHINGON. JIJI Tattoo Medium.
Ears: ^^Swallow^^ Gauged S Ears (f)
Earrings: UNHOLY CENTAURI EARRINGS & WEIGHT - [F] (S)
Nails: + Demonic Touch - bom/fingers (Ebody Reborn) + {Aii}
Void - Flutter Lashes (Avalon)
With this colorful photo, which was deliberately taken with this motion blur, I wish you all a wonderful Poppy-Monday and of course the rest of the week.
We can see a lot of ourselves by looking at the poppy flowers and grasses moving back and forth in the summer wind.
As a rule, we too are firmly anchored to the earth, even if only because of our personal values. Each of us has something within us that is immovable. No matter what is happening around and no matter how much the wind of life pulls and shakes us. We shape these values ourselves. Based on the experiences we have in our lives. The strongest of them usually come from our childhood.
Most of the time, these roots serve our protection and stability. With them we are able to withstand even the harshest storms, to stand against the wind or, if necessary, to bend to it at times. Thanks to the anchor, we always stay where and who we are despite everything and are able to pick ourselves up again and again.
But sometimes we realize that our values, or rather the way we weight them, prevent us from developing ourselves. That we are trying to bloom in the wrong place, so to speak. Then it is up to us (because no one else can do this for us) to change our anchor point.
The key is always to be aware or make ourselves aware of what makes us flourish and what makes us wither.
And so I wish you all a stable and at the same time dynamic week. With lots of sun and fresh wind.
Mit diesem farbenfrohen Foto, welches bewusst mit dieser Bewegungsunschärfe fotografiert wurde, wünsche ich Euch allen einen wunderschönen Mo(h)ntag und natürlich auch eine ebensolche Restwoche.
Durch den Anblick die Mohnblüten und Gräser, die sich im Sommerwind hin und her bewegen, können wir viel von uns selbst erkennen.
Auch wir stehen, in der Regel, fest verankert auf der Erde und sei es auch nur auf Grund unserer persönlichen Werte. Jeder von uns trägt etwas in sich, was unverrrückbar ist. Ganz gleich was um und herum geschieht und ganz gleich wie sehr der Wind des Lebens an uns zieht und rüttelt. Diese Werte prägen wir selbst. Und zwar auf Grund der Erfahrungen, die wir in unserem Leben machen. Wobei die stärksten davon meist aus unserer Kindheit stammen.
Meist dienen diese Wurzeln unserem Schutz und unserer Stabilität. Mit Ihnen sind wir in der Lage auch härtesten Stürmen zu trotzden, uns dem Wind entgegen zu stellen oder uns ihm, wenn erforderlich, auch zeitweise beugen. Durch den Anker bleiben wir trotz Allem immer wo und wer wir sind und sind in der Lage uns immer wieder aufzurichten.
Doch manchmal stellen wir fest, das unsere Werte oder besser gesagt die Art, wie wir sie gewichten, uns an der eigenen Entfaltung hindern. Das wir sozusagen am falschen Ort versuchen zu blühen. Dann liegt es an uns (denn kein anderer kann dies für uns tun) unseren Ankerpunkt zu verändern.
Das Entscheidende dabei ist immer, sich bewusst zu sein oder sich bewusst zu machen, was uns blühen und was uns welken lässt.
Und so wünsche ich Euch allen eine stabile und gleichzeitig dynamische Woche. Mit viel Sonne und frischen Wind.
more of this on my website at: www.shoot-to-catch.de
In Denmark, during 2nd World War, people got rationing tickets (at the background) that you could use to buy 20 g white bread (FRANSKBRØD) or 40 g rye bread (RUGBRØD)... you could also try to forget misery if you had a music box like this... and you'd rather had a standard weight unit (like the one to the right) to ensure you got the right amounts of flour... it is difficult to imagine how much people wanted to escape from that time... I am happy that we kept these coupons, music box and weight to remind us about how good life is these days in spite of everything :-)
GB: In 1977 ASEA delivered 6 class Rm locomotives to SJ. They are much like the Rc4 locomotives but have additional weight to have more adhesion. they were meant to succeed the Dm3 locomotives on the ore line and for some time they actually hauled ore trains, but this was not succesfull. In the 198ties they wandered to other freight traffic. in 2023 the 6 locomotives Rm 1257-1262 were sold to TAGAB.
On the picture is an empty ore train Narvik - Kiruna approaching Vassijaure with two Rm-locos hauling, the first of which Rm 1259. the loco in the middle is an Rc4. The weather was freezing cold, worsened by strong winds. To take the picture I took cross country ski's and skied my way to this photo spot.
DE: im Jahr 1977 lieferte ASEA 6 Ellok Baureihe Rm an SJ. Diese Loks waren der Baureihe Rc4 sehr ähnlich. Es waren aber zusätzliche Gewichte montiert damit die Loks mehr Adhesion hatten. Die Reihe Rm war als Nachfolger für die dreiteiligen Loks der Baureihe Dm3 gedacht und einige Jahre wurden sie im Erzverkehrs Kiruna - Narvik eingesetzt. Erfolgreich war dies aber nicht. In den 80er Jahren wanderten die Loks in anderen Güteverkehre. In 2023 wurde die sachs Loks (Rm 1257-1262) an TAGAB verkauft.
Auf dem Foto ist ein leerer Erzzug Narvik - Kiruna zu sehen, bespannt mit zwei Loks der Baureihe Rm, die erste die Rm 1259. die mittlere Lok ist eine Rc4. an jenem 24. März 1994 war es bitterlich kalt, was noch verschlimmert wurde durch starken Windböen. Ich hatte in Riksgränsen Langlaufskis gemietet und bin skifahrend zum Fotopunkt gekommen.
Back in the fifties it seemed that everyone who used a pickup for agriculture or commercial purposes listed their name, town, and the weight of the vehicle minus all fluids and passengers on the door or side panel of the truck. Sign painters must have enjoyed a heyday. Perhaps this was a state department of motor vehicles requirement but in some cases I think it was merely a personal vanity. My dad did it on trucks he owned that were only used for personal transportation. Who could possibly care what the truck weighed with absolutely nothing in it including gas and oil?
Macro Mondays: Photographic equipment
My husband has recently started to work on his old HO train set ... new figures, lights, etc. including this tiny tripod ... couldn't resist putting it on top of mine for this challenge ... 'tho it meant I couldn't use my tripod :))
It's another changeable day today, we're hoping to do some butterfly transects this afternoon but we need a bit of sun . We'll see. I had a lovely meal last night with June, and had some orchids potted by her, so my collection is growing. Weights and measures is by Dry The River.
Many thanks for your visits, faves and comments. Cheers.
There is a large herd of about 50 or more deer on the Lagoon Creek reserve.
Deer – Chital
Scientific name - Cervus axis
Other common names - Chital deer, Axis deer, Indian spotted deer.
Origin - India, Nepal and Sri Lanka
Distinctive characteristics - White throat patch and white spots. Dark dorsal stripe and band over muzzle. Noticeably long tail compared with other deer species.
Identification - Feral chital deer are a small-medium sized species. Their coat colour is variable, but is often dark to rusty red with uniformly marked white spots in lines along the body. They have a distinctive white throat patch and a dark muzzle. The coat colour of the inner legs and underside of the belly is white-beige. This species is often found in medium to large groups. Mature males have antlers that are smooth and slender with usually three tines on each, though the number of tines is influenced by animal condition. Antlers may be 70-89 cm in length. Males are larger in size and weight (90 cm and 85 kg) than females (80cm and 60 kg). Chital have a distinctive high-pitch alarm call when disturbed. Scats are small cylindrical pellets sometimes with an indentation at one end.
History and Biology - Chital deer were initially introduced to Australia from Sri Lanka and India in 1802 but did not survive. They were later successfully released into Queensland in the 1860's. Chital deer are herbivores that browse on a variety of grasses, fruit and leaves. They are gregarious and can form groups of more than 100 individuals. They do not have a defined breeding season, and are capable of producing three offspring in two years. Chital deer will eat their shed antlers if their diet is lacking the vitamins and minerals. Females will separate from the herd during birthing and rearing of young.
Distribution - Feral chital deer occur in many areas throughout Queensland, small areas in NSW, Victoria and the south-east of South Australia. They are absent from other regions.
Habitat - They can be found in a variety of habitats, including open grasslands, open and closed woodlands, thick forests and heavily timbered farmland.
Damage - Feral chital deer are a growing pest threat. They can cause significant browsing damage to native vegetation, damage sensitive habitats and compete with livestock for pasture. They can damage forestry plantations and ornamental gardens. They are not often found in close proximity to humans but they do present a serious motorway hazard. Feral chital deer may carry and spread livestock diseases that can cause production losses and increased management costs.
(Source: www.feralscan.org.au/deerscan/pagecontent.aspx?page=deer_...)
__________________________________________
© Chris Burns 2025
All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any form or by any means, including electronic, mechanical, photocopying and recording without my written consent.
This is a close up view of the railroad lift bridge. I needed permission to get access to these views.
On the left is a view of the bridge across the Mississippi at Burlington, IA and if you look at yesterday’s image you can see the barge approaching and the one section of the bridge lifted up.
The right photo shows the lifting gear – the upper portion contains weights and the two front black stripes are chains that shift as it lifts. You can also see it blocks the tracks as well – not sure if it would stop the train with 2 engines and 100 cars.
One day I counted a train about every 17 minutes hauling coal and other items eastward.
I last photographed the Thames Barrier a little over a year ago, but became inspired to revisit the location after coming across an article about the 1953 North Sea Flood, which overwhelmed British sea defences in the Thames Estuary and led to the deaths of more than 300 people across several counties. It was remarkable to read that the gates protect not only the immediate East London borough against tidal surges, but also the infratructure, underground network and power supplies stretching beyond the O2 Arena, the Docklands and Tower Bridge and all the way to Westminster. In addition to this, the barrier now also needs to contend with the impact of climate change and rising sea levels.
With all of this in mind, my aim with this image was a darker, moodier and altogether more sinister alternative to my last take on the location, capturing the formidable size and scale of the barrier's piers at dusk, but also contrasting the peaceful flow of the Thames and the reassuring glow of the piers' evening lights with the foreboding tones of the evening sky.
The final image is a blend of a dozen exposures captured over two hours, starting with a 90-second exposure as the sun was setting and continuing into the evening, at which point the shutter speed had extended to 12 minutes. My intention all along had been to weight the emphasis on the later exposures, but I knew I would also be using the earlier and brighter exposures to enhance the lighting across the roof of the piers and the tones along the Thames. Having created Pen Tool selections in Photoshop for the barrier's piers, the sky and the river, I blended in portions of each of these exposures using a combination of Soft Light, Lighten, Luminosity, Linear Dodge, Colour Dodge and Screen blend modes. The goal at this stage was to bring out the reflective finish and dimensionality along the tip of the piers, to emphasise the glow of the lights inside the barrier, to produce a clean finish in the concrete at the base of each pier, and to brighten the water and darken the sky. After blending the exposures,
I applied a gentle radial blur to the sky and used Silver Efex Pro to lower its midtone structure and soften its texture, creating a subtle contrast between the piers and their surroundings. I then used Colour Efex Pro to add some minor tonal contrast adjustments, with a gentle Detail Extractor to bring out the gritty nuance in the piers. The final touches were a combination of a Gradient Map to emphasise the chilly evening tones and a Colour Lookup set to Bleach Bypass to desaturate the tip of the piers, which helped to bring out their metallic texture and to add some definition to their background.
The end result involved more planning and attention to detail at both the shooting and editing stages than my previous take, but it hopefully brings out the immense feat of engineering behind the barrier's design, as well as the rock-steady industrial strength of the barrier against a sometimes menacing force of nature, which was the aspect that inspired me to revisit the location in the first place.
You can also connect with me on Facebook, 500px, Google+ and Instagram.
Macro Mondays 'back in the day' theme.
Small brass weights from vintage scales which I hope fit the theme - anyway they do for me as I've used digital scales for many years.
Total width measurement of all the weights is 4.5 cm
Brightly colored American Copper butterfly resting for a moment on a wild grape leaf.
Uncommon and not particularly abundant.
There is some major bidness happening here...
Length 139' 8'' - Height 13' 9"
Weight 348,500 lb
Engine Power Diesel 598HP
Tamping machine
Power and stabilisation car
Uniform quality of work due to 4-tie tamping
Travel Speed 60 mph ....!!!
A solitary figure in a vivid red coat walks through a quiet alleyway in Kyoto, carrying the weight of routine in one hand and the unknown in the other. The contrast of modern movement against the backdrop of timeless wooden architecture evokes both presence and stillness — a fleeting moment where the city breathes in silence.