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THE PRESS, FRIDAY, AUGUST 28, 1959. P. 9
N.Z. ANTARCTIC PILOTS PRACTISE SKI LANDINGS
The temperature was nearing freezing point on the Tasman glacier. The sun had just disappeared behind Mt. Cook and its neighbouring mountain range, leaving the orange-painted Beaver aircraft in a cold shadow.
From the tops of the mountains whisps of snow blew out in long feathery streamers showing plainly that the wind was strengthening and that the ski-plane's flight back to the Mount Cook airstrip was likely to be bumpy.
Flying Officer P. W. Tremayne of Auckland, had already made four or five practice ski landings on the glacier - as the other four pilots in the Royal New Zealand Air Force Antarctic Flight were to do in the next few days - and he and Flight Lieutenant W. J. Cranfield of Christchurch decided that the shadow creeping past the plane meant that it was time to take off.
They and their passengers made themselves comfortable in the Beaver. The two pilots put on their bulbous helmets - each decorated with a sketch of a small cheerful penguin - and turned around for thumbs-up sign from the others.
Flying Officer Tremayne made the necessary cheeks, checked that the retractable skis were down, and started the engine. The propeller whirled, the engine warmed up, and the pilot increased the throttle to start the Beaver sliding down the glacier.
Nothing happened. However much throttle he gave the engine it just served to increase the vibration in the fuselage and lift the tail of the ice. It was 3.30 pm, and in the shade on the mountains the Beaver's skis had frozen fast to the glacier.
Flight Lieutenant Cranfield jumped down to the snow and tried to free the skis with a few mighty kicks from his boots. He was in Antarctica last year and is not unfamiliar with the effect cold temperatures can have on aircraft.
When those measures failed to move the skis at all he took an ice-pick from a compartment in the Beaver and began to hack away at the frozen snow around the skis. Back in the plane, helmeted again, he muttered something about people who manage to stay warm inside Beaver ski-planes and waited while the pilot revved the engine.
When it was obvious that the skis were still frozen to the glacier Flight Lieutenant Cranfield suggested to Flying Officer Tremayne that he should give the Beaver full rudder when it lifted its tail off the ice.
That failed to work, too, and some people had visions of hacking out an igloo and spending the night on the Tasman glacier - at 5600ft and several degrees below freezing point.
On about the fifth attack with the ice-pick, however, Flight Lieutenant Cranfield managed to free the skis sufficiently to allow the force of the straining propeller to prize them from the ice.
The Beaver broke the glacier's hold and skidded forward down the long white slope. It was not before time. The wind had grown stronger and gustier - as the bumpy flight back to the Mt. Cool airstrip proved.
This is the final aspect of the Antarctic flight's training at Mt. Cook. All five pilots had already had experience of ski landings on the glacier in Mr Harry Wigley's dual control Auster, but in these last few days they are making solo ski landings on the ice.
Three of the pilots will be flying ski-planes in Antarctica. If the weather holds all five pilots will have done their two or three hours' ski-landing practice on the glacier by Sunday and the flight will have completed its programme.
Supply Dropping
The other important part of their flying training was supply dropping. Squadron Leader L. C. Jeffs, who is in charge of the flight, said all the pilots had to be familiar with dropping techniques and patterns because that was the usual way for getting food to the sno-cats and dog teams. So on Tuesday they provisioned the Haast Hut, 7100ft up the slopes of Mt. Cook. They dropped in 35 gallons of kerosene and 300lb of foodstuffs. The pilots made 11 runs, just dropping the fuel containers into the snow, but parachuting the foodstuffs from 100ft.
"It is not the best dropping zone," said Squadron Leader Jeffs, "but there's a reasonable plateau 300yds from the hut. All the supplies landed within 360yds of the centre of the plateau - a saucer measuring about 100yds by 50 yds."
The men were flying in bumpy north-west conditions and any supplies which did not land in the right spot would have fallen 5000ft down ice falls.
The next day they provisioned the Malte Brun Hut, at 5600ft and half-way up the Tasman glacier. They dropped 96 gallons of fuel and 3 cwt of tinned food on a 200yd by 100yd plateau immediately behind the hut. Only one fuel can burst in the entire operation.
Courtesy of the Peter Tremayne Collection.
Click image to enlarge.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
"Clad only in youthful innocence, a whisp of tropical grasses, leaf of the fig and beads for adornment--Flashing flesh, shining eyes, flying feet, fluanting the youths who would win her, worshipping her devil-devil god with sinuous dances apart from the eyes of men--This is Mary, 'White Almond Flower,' 'The Idol Dancer.'
"Spirte of the sands, plaything of the waves, covted and fought for by the regegades of the exotic South Sea Isles. Heroine of the strangest tale of love and adventure--a tale of strange lands and rebellious men, a tale of heartthrobs, of fighting, but withal, a tale of redemption and beauty most thrilling--"
“The picture departs from the grand Hawaiian model in that the girl who causes a large part of the tropical atmosphere and who dances in worship of a heathen idol does not die in the end, though she has enough excitement to cause her nervous prostration. Instead death comes to the puritanical, tubercular nephew of the missionary, who is one of her lovers, the other being of those reckless young beachcombers with whom the strands of Waikiki, judging by the plays and movies, are positively littered. The first lover falls defending his home and the girl from the attacking natives, and this fight gives to the derelict an opportunity to show how the regenerating power of love is always good for the last reel in the films.”
“‘The Idol Dancer’ Picturesque Film of Hawaiian Life”
The Sun and the New York herald., March 22, 1920, Page 9, Image 9
chroniclingamerica.loc.gov/lccn/sn83030273/1920-03-22/ed-...
Idol Dancer
Arizona republican, Oct. 3, 1920, Section 2, Image 20
chroniclingamerica.loc.gov/lccn/sn84020558/1920-10-03/ed-...
Hawaii Digital Newspaper Project
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Whisp #1:
From my exhibition at the Alden B. Dow Museum in Midland, Michigan, on now through January 3, 2010
in Görlitz, Untermarkt nr 22. "Whisper arch" "breathing bow" or perhaps "susurrate curve" ..for the optimal translation of this architectural phenomenon, their are several options...
Über den Flüsterbogen:
Der Flüsterbogen befindet sich auf dem Untermarkt 22 und wurde in den Jahren 1500, 1525 sowie 1726 gebaut. Das bekannte und beliebte spätgotische Portal besteht aus Krabben, mittigen Kreuzblumen und jeweils einer seitlichen Maskenkonsole. Durch die Kielbogenarchivolte werden Schallwellen besonders gut weitergeleitet. Wer an einem Ende seinem Gegenüber etwas in Ohr flüstert, wird am anderen Ende verstanden.1945 wurde der hofseitige Teil des Gebäudes stark beschädigt und im Jahre 1964 bei der Sanierung beseitigt.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photo avec Nikon D700 FX avec Nikkor 500mm F4 IF ED P.
www.flickr.com/photos/75468899@N05/14851471274/in/photoli...
Las noches se vuelven día
Y aún no tengo respuestas...
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Las noches se vuelven día
Y aún no tengo respuestas...
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.
Original version belongs to Flickr member, annikaleigh. I have modified with my faux glass border and allowed the setting to create a natural "frame" outside that border. A self-contained framing that requires no other conventional framing. Complete with lurching image flaws to compliment a beveled glass theme.
My finishing touch would be a nice custom-size print mated to a custom-size, heavy, clear beveled glass mount. Use your imagination to visually fill in this last step. The end product is a gem.
Whisp #2:
From my exhibition at the Alden B. Dow Museum in Midland, Michigan, on now through January 3, 2010
This is another DVD cover for the DVD of my collection my husband puts together every Halloween. This one was designed using my favourite cat in a candle glow Dennison centre piece. It was designed by a very talented Art Director, Heidi Lau, who works for me. I love what she did with the stars in the sky and how she created a whisp of candle smoke behind the actual piece.
Photographing smoke art is one of the most rewarding aspects of home photography. We've all seen the wispy strands that float and glide through the air, but it's not until these trails are frozen in time do we see the true beauty and elegance of their construction.
In many images it's possible to see a subject within the smoke.
The advantage of smoke art photography is that - compared to water droplets - the patterns take longer to form so it's easier to judge when to take the shot. It's when the scene is viewed on the screen that the true diversity and uniqueness of the patterns is realised.
This was processed in Photoshop to highlight the patterns that exist within the formations.