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Lake Street #5 Near Engine Property at Crawford

Image by cta web
Before electrification, the very first two ‘L’ roads ran trains with wooden cars pulled by steam locomotives like this one right here. These locomotives burned coal to heat water and generate pressurized steam like any steam engine would, but had been considerably smaller sized than what you may well have noticed in old film footage of intercity railways. ‘L’ trains had been light and the locomotives needed to be, too, so they could choose up speed and stop quickly, considering the close spacing of fast transit stations.

The locomotive style is referred to as a &quotForney,&quot soon after steam locomotive designer Matthias Forney, which could operate in either path, assisting to make it simpler to attach a locomotive to the back side of a train at the end of a line, and adjust path and run a reverse trip without obtaining to turn a locomotive about.

The Lake Street ‘L’ really named its locomotives in addition to numbering them. Observed right here is #five, named &quotLizzie A.&quot (regrettably, we’re not certain who Lizzie was, but she possibly was a person who had a relation to the ‘L’ firm or an individual else who did). The Lake Street ‘L’ ran steam locomotives till 1896, converting to electric energy a little ahead of its slightly older peer serving the South Side, a separate company at the time.

The station in the background is Crawford, later renamed Pulaski.

Image from web page 247 of “Locomotive engineering : a sensible journal of railway motive energy and rolling stock” (1892)

Image by Internet Archive Book Images
Identifier: locomotiveengine10hill
Title: Locomotive engineering : a sensible journal of railway motive power and rolling stock
Year: 1892 (1890s)
Authors: Hill, John A. (John Alexander), 1858-1916 Sinclair, Angus, 1841-1919
Subjects: Railroads Locomotives
Publisher: New York : A. Sinclair, J.A. Hill [and so forth.]
Contributing Library: Carnegie Library of Pittsburgh
Digitizing Sponsor: Lyrasis Members and Sloan Foundation

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Photos: All Photos From Book

Click right here to view book online to see this illustration in context in a browseable on-line version of this book.

Text Appearing Prior to Image:
ighboring road, andwhen, for the convenience of passengers,the train in query was started, it wasrun precisely on the same time as the trainon the other road, and it may well be effectively to the smoke. This was also a lot for thefeelings of not only the passengers, butengineer and conductor, and the former,in his eagerness to make much better time,occasionally did not cease just at the station,even with the engine reversed, and thelatter, with a lot of apologies, would assistthe passengers to alight at the road-side.The brakes on the vehicles were in goodorder and completely equal in energy to ninetyper cent, of weight of car the tenderbrake was equally great but the driverbrake was of the pull-up sort, with theusual gland leakage. To preserve the pistonpacking tight, the engineer was accus-tomed, when oiling, to carry an oil canin 1 hand and a water can in the other.This brake was produced to do very good workby turning the cylinders upside down,altering the pistons on the rods, puttingon a lengthy crosshead, and creating it push

Text Appearing Following Image:
CANADIAN PACIFIC ENGINE, WITH FIKST FORWARD TUUCK BRAKE APPLIED. mention that these roads ran side by sidefor the entire distance, and the stationson every single were directly opposite to eachother. The train consisted of two 50,000-poundcars and a four-wheel coupled Manchesterengine, with 16-inch cylinder and 62-inchwheels. The tank was sloped to the back,and a pilot put on the back of the tender,as thete was no indicates of turning engineat a single finish of the run. A couple of passengers patronized the newtrain but when it was discovered that the littleengine could not get there on time, andmake all the stops, which had been thirteen ina distance of 23 miles, they made verybroad hints of going back to the otherline. The engine on the other road was a re-markably excellent one, and was built tor thatparticular service, with the water tank onthe boiler, and it utilized to get out of thestation with such surprising speed that thelittle Manchester could have a excellent viewof the rear of that train when it did not get up rather

Note About Pictures
Please note that these images are extracted from scanned web page pictures that may have been digitally enhanced for readability – coloration and look of these illustrations may not perfectly resemble the original operate.

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Willy + snow = Entertaining!

Image by ucumari photography
Received a telephone contact final night from a buddy to inform me that they were going to turn on the snow-generating machine for Willy overnight!
I hear kudos are in order for Jeff who went in late and got it operating. It looked stunning this morning and Willy couldn’t have enjoyed it far more!
(Hope you are not tired of Willy photographs because I have some far more for subsequent week!)

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William T. Sherman

Image by dbking
William Tecumseh Sherman Monument
Place: 15th Street at Pennsylvania Ave. NW
Sculptor: Carl Rohl-Smith
Date: 1903
Medium: Bronze

Despite the fact that the Grant Memorial may possibly be the grandest, the Sherman Monument behind the U.S. Treasury is the largest and most complicated of all the Civil War memorials.

Just before the Civil War, Sherman had floundered in life. He graduated from West Point in 1840 and went on to serve in the Mexican War, but resigned his commission in 1853 to enter the banking company. But as banks failed, so did his banking career. When he tried to return to the military he was rebuffed and turned to law but lost the only case he attempted. In 1861, at the outbreak of the Civil War, Sherman was serving as superintendent of a new military college in Louisiana but turned down a commission in the Confederate Army. At age 41, he was reappointed as colonel of the 13th infantry as the standard U.S. army expanded. His memoirs note that he “felt as even though there was now a goal in his life” at this commission. Achieving the rank of commander of the Army of the Tennessee in 1863, Sherman’s “March to the Sea” in the course of the winter of 1864-1865 captured the imagination of the North. This event led the press, who Sherman mistrusted and who disliked him in return, to turn out to be an immensely appealing hero. As a lieutenant basic and then common and commander of the complete army from 1869-1883, Sherman was well-liked among veterans, whose welfare he looked soon after. He was active in veterans’ organizations, in continual demand as a speaker at reunions, dedications, and encampments, and he hardly ever turned down an invitation to “mix with the boys.” When word of his death in February 1891 reached the Society of the Army of the Tennessee, its officers started to plan for a memorial honoring his memory.

Selection of the Sculptor

As with the Grant Memorial (although several years later), members at the society’s summer time encampment voted to erect a memorial to honor him “in the nation’s capitol, the heart of Union he had fought to save.” Congress was asked for and appropriated ,000 to establish the Sherman Monument Commission. The Society speedily established committees in every single state to raise funds, writing solicitation letters to many military organizations of the day, as properly as encouraging each and every Union veteran to contribute to the statue fund “so that when the statue is erected in Washington, each soldier who sees it will really feel that it is a component of his work.” With the plea for funds was an emotional circular to remind veterans of Sherman’s concern for them. In spite of the appeals, only ,469.91 was raised, requiring Congress to double its contribution. By 1895, confident that they would be profitable in raising the final funds needed, the Society announced a competitors to choose a style for the monument. The Society wanted only equestrian models from American artists and asked the National Sculpture Society to help in the selection of the artist.

By April 1896, twenty-3 sculptors had submitted models. Many of the sculptors had submitted models for earlier monumental commissions but had lost. The models were displayed in the basement of the War Department exactly where the public could view them and supply opinions. In mid-Might, the commission announced 4 finalists and the National Sculpture Society sent a delegation of the nation’s most prominent sculptors to evaluate the finalist’s models. The public had favored the most elaborate model, submitted by Danish born Carl Rohl-Smith, but the National Sculpture Society’s judges relegated Rohl-Smith’s design to the bottom, discovering “it is ill conceived and overdone.” Two weeks following the National Sculpture Society’s delegation opined, the Sherman Monument commission announced Rohl-Smith as the winner. The losers had been outraged and cried foul, claiming that the Sherman Monument Commission completely disregarded the opinion of the professionals. The National Sculpture Society also protested the decision. The “Washington Star” newspaper referred to as the competitors a “bunko game.” In June, at the urging of the National Sculpture Society, Sen. Wolcott (CO), who had said the nation’s capital was currently disgraced by adequate poor sculpture, provided a resolution for an inquiry into the award of the Sherman commission. What ensued was a debate that intensified the excellent divide among the “artistic experts” who disliked Rohl-Smith’s model and the public’s need for Rohl-Smith’s style. The wrangling continued until July, with Rohl-Smith possessing to deny that he had any influence in Washington, only the very best style. Lastly, the opposition surrendered and Rohl-Smith went to work on his sculpture.

The Place

Although the choice procedure was contentious at ideal, the choice of the location for Rohl-Smith’s statue, which was going on simultaneously, was significantly easier. A slight incline on the south side of the Treasury creating was identified, given that it was exactly where Sherman had watched the two-day Grand Review of the Union Army in Might 1865. On the first day of the review, Sherman stood silently watching the Army of the Potomac march by in precision. Sherman’s personal guys (the Army of the Tennessee) would pass in overview the second day, and worried they would not measure up to the Army of the Potomac, he rode across the river to their camp and called together all his commanding officers. He described in detail the precision marching of the Army of the Potomac, hoping that the officers would relay this to his guys and inspire them to appear as sharp as the Army of the Potomac. On the second day of the overview, Sherman led the Army of the Tennessee up Pennsylvania Avenue with the military bands playing “Marching Via Georgia,” a new tune in their honor. As he and his band of males neared the rise at the Treasury constructing, Sherman pulled aside, turned facing eastward in his saddle, and with President Johnson and other dignitaries watched his men march down Pennsylvania Avenue toward him and the reviewing dignitaries.
Commenting on the second day of the Grand Assessment, the Washington Star reported that “this day’s men were taller, lankier, more sun beaten that those who had marched the day prior to. Their strides had been longer, more confident. They swung along with an easy grace and their spirits high. They were magnificent.” Crowds along Pennsylvania Avenue cheered them, throwing flowers and Sherman was practically overcome with emotion. In his memoirs he recalls this to be “one of the happiest, most satisfying moments of his life.” For that reason, this spot was selected as the place for the Sherman monument, and the pride Sherman felt watching his males would be captured by Rohl-Smith in the statue itself.

The Sculpture Requires Shape

In 1897, Rohl-Smith set up his studio in a massive barn-like structure that the Secretary of the Treasury constructed for him close to the internet site. The developing integrated an apartment where he and his wife Sara lived whilst he worked. In 1900, obtaining completed models for the equestrian statue and three of the 4 soldiers that would stand guard at the monument’s corners, Rohl-Smith sailed to Denmark for a check out. Although there, he died unexpectedly at age of 52 in Copenhagen. His wife, Sara, asked the Sherman Monument Commission to allow her to arrange the artist who would full the statue and the commission agreed. Sara, along with some of the young Scandinavians who had been working with her husband, effectively directed the completion of the monument making use of her late husband’s original drawings. In August 1903, the Washington Star reported that the initial cast sections of the 14’ tall equestrian statue were arriving at the internet site. Sherman’s torso, hands, arms, shoulders, neck and head comprised the biggest piece.

Design Components

On each and every corner of the tiered platform, facing outward, were placed 4 life size soldiers representing infantry, cavalry, artillery, and engineers. A relief on the north side of the pedestal shows males marching through Georgia as slaves step from their quarters to watch them pass. The relief on the south side depicts the Battle of Atlanta with Sherman and his employees at headquarters as smoke rises from the burning city in the distance. The reliefs on the west and east sides of the pedestal show Sherman walking among his men sleeping about a campfire and the common with his officers on horseback before the Battle of Missionary Ridge. Pairs of medallions bearing bas-reliefs of Sherman’s army and corps commanders (James Birdseye McPherson and Oliver O Howard, John A Logan and Francis Preston Blair, Greenville M. Dodge and Edward G. Ransom, and Benjamin Grierson and Andrew J. Smith) flank the larger reliefs on the east and west sides. Big bronze groups installed halfway up the monument’s east and west sides depict “Peace” and “War”. “Peace,” on the east side, depicts a graceful woman holding an olive branch accompanied by 3 youngsters, one feeding a dove. “War,” on the west side, is a horrible fury, seething with rage and hatred, who tramples humanity in the form of a dead young soldier at her feet. Huge bronze vultures perch on the body about to feast on its flesh, graphically driving home Sherman’s renowned observation that “war is hell.” Inscribed on the north façade is one more Sherman quote: “war’s legitimate object is far more best peace.” Lastly, inscribed in the wide mosaic band around the base of the monument are the a lot of battles in which Sherman participated.

The Dedication Ceremony

The Society of the Army of the Tennessee produced the plans for the dedication of the Sherman Monument. They arranged specific excursion trains to bring veterans to Washington, special hotel rates, and activities for veterans’ wives. As the date of dedication arrived, October 15, 1903, thousands arrived in Washington and filled all hotels, forcing a lot of to keep in hotels as far away as Baltimore and Annapolis. In Washington, miles of bunting and acres of flags decorated firms, properties, and government buildings. The base of the monument itself was entwined with 400’ of garland and at each and every corner stood wreaths 7’ in diameter. On each and every side of the base was a 6’ high shield of red, white, and blue flowers—one for every of the 4 armies. The statue of Sherman was enfolded amongst two enormous American flags suspended on wires whilst far more flags covered the bronze soldiers at the corners. On the reviewing stand for the parade that preceded the ceremonies Turkish carpets have been laid. Overstuffed armchairs for President Theodore Roosevelt and other dignitaries lined the freshly painted railings of the reviewing stand. A lot more than a thousand folding chairs had been arranged in a semi-circle in front for the actual unveiling, with two hundred specific chairs for the “veterans who had left limbs to rot on the battlefield” right at the base of the statue. Specific tables were set aside for the press and the Western Union operators. The parade, which stretched for miles, started at 2:00pm. President Roosevelt could barely include his enthusiasm and kept leaping out of his chair to wave and shout to passing units. The last tune played ahead of the ceremony was “Marching Through Georgia.” Basic Greenville Dodge, president of the Society of the Army of the Tennessee, presided. At Dodge’s signal, the late general’s young grandson, William Tecumseh Sherman Thorndike, pulled the cord that parted the flags to show Sherman astride his horse.

The ceremony was unusual among dedications for the eloquence of its speakers. Dedication speeches had previously been patriotic and sentimental, but the speakers at this one particular, particularly President Roosevelt, rose above the standard nostalgia. President Roosevelt’s speech was filled with moving, challenging imagery, since Roosevelt had an agenda and he relished the pulpit afforded to at this dedication ceremony (the nation had only recently completed the Spanish-American War), but his words express thoughts still valid today.

President Roosevelt stated that, as an emerging international power, the nation have to be ever vigilant and often powerful and veterans in the audience roared in agreement. Roosevelt also employed this chance to get in touch with for a strong national defense, chiding opponents by saying, “No man is warranted in feeling pride in the deeds of the Army and Navy of the past if he does not back up the Army and Navy of the present.” Roosevelt wanted no one to rest on previous laurels, calling for Americans to be vigorous, rigorous, up and undertaking noble deeds, and pursuing lofty objectives, stating that heroes like Sherman ought to spur citizens to similar acts. The President named for new patriotism, honesty and vigilance – all qualities exhibited by Sherman and other “great dead.” Roosevelt continued: “The triumphs of the previous must be lessons that, if discovered, would lead to victory in challenges however to come. It is a wonderful and glorious thing for a nation to be stirred to present triumph by the splendid triumphs of the past. But it is a shameful factor for a nation if those memories stir it only to empty boastings…We of the present, if we are correct to the past, need to show by our lives that we have discovered aright the lessons taught by the guys who did the mighty deeds of the previous.” As Roosevelt spoke, the thousands of veterans sitting in front of him, who had done the “mighty deeds” of the past, have been stirred to know that this man wasn’t seeking back in time but forward. He told these assembled that their hard won victories would guide the nation into a glorious future that they would not reside to see but whose destiny they had assured. Through Roosevelt’s guarantee of a sort of immortality, the guys of the armies of the Tennessee, Cumberland, Ohio and the Potomac rose and gave him one particular ovation after another.

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Machine Turned Gauge

Image by jonnyfixedgear

Up side down

Image by jurvetson
You’re turning me…

Green Goo

Image by www.louisdallaraphotography.com
Green goo is a hypothetical finish-of-the-world situation involving molecular nanotechnology in which out-of-control self-replicating robots consume all living matter on Earth even though building a lot more of themselves (a situation recognized as ecophagy).

The term &quotgreen goo&quot is normally used in a science fiction or popular-press context. In the worst postulated scenarios (requiring big, space-capable machines), matter beyond Earth would also be turned into goo (with &quotgoo&quot which means a massive mass of replicating nanomachines lacking large-scale structure, which might or may not really seem goo-like). The disaster is posited to result from a deliberate doomsday device, or from an accidental mutation in a self-replicating nanomachine utilized for other purposes, but designed to operate in a natural environment.

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Jantar Mantar observatory, sundial, built by Maharaja Jai Singh II of Jaipur in 1724 – buses, automobiles, individuals, palms, trees, photo from hotel, atmospheric distance steamy hot morning, downtown New Delhi, on pilgrimage, 1993, India

Image by Wonderlane
The Jantar Mantar is situated in the modern day city of New Delhi. It consists of 13 architectural astronomy instruments. The site is one particular of five built by Maharaja Jai Singh II of Jaipur, from 1724 onwards, as he was provided by Mughal emperor Muhammad Shah the process of revising the calendar and astronomical tables.

The primary goal of the observatory was to compile astronomical tables, and to predict the instances and movements of the sun, moon and planets. Some of these purposes today would be classified as astronomy.

Completed in 1724, the Delhi Jantar Mantar had decayed considerably by 1867.

There are three instruments inside the observatory of Jantar Mantar in New Delhi: the Samrat Yantra, the Jayaprakash, and the Misra Yantra.

Samrat Yantra: The Samrat Yantra, or Supreme Instrument, is a giant triangle that is essentially an equal hour sundial. It is 70 feet higher, 114 feet long at the base, and 10 feet thick. It has a 128-foot-lengthy (39 m) hypotenuse that is parallel to the Earth’s axis and points toward the North Pole. On either side of the triangle is a quadrant with graduations indicating hours, minutes, and seconds.

At the time of the Samrat Yantra’s building, sundials already existed, but the Samrat Yantra turned the standard sundial into a precision tool for measuring declination and other associated coordinates of numerous heavenly bodies.

Jayaprakash Yantra: The Jayaprakash consists of hollowed out hemispheres with markings on their concave surfaces. Crosswires have been stretched amongst points on their rim. From inside the Ram, an observer could align the position of a star with different markings or a window’s edge.

Misra Yantra: The Misra Yantra was developed as a tool to decide the shortest and longest days of the year. It could also be utilised to indicate the precise moment of noon in different cities and places regardless of their distance from Delhi – very remarkable!

The Mishra yantras have been in a position to indicate when it was noon in a variety of cities all over the planet and was the only structure in the observatory not invented by Jai Singh II.

en.wikipedia.org/wiki/Jantar_Mantar,_Delhi

Their view #hotwinterlight #essay #lastintheset

Image by ocDeluxe
Exhaustion. Fibrillation, noise, competing frequencies. My rhythm is off and I need to find my personal heartbeat once again. It is been foggy right here all week–I typically really like fog–but the final few months have left me feeling like a zombie, all hollow and empty and inhuman, and I haven’t been capable to take pleasure in it. I wake up every morning and go about my routine, which is about all I can say. I shared this with my wife and she suggested that I take the entire day off from what I normally do. (Thanks for the viewpoint and help, honey!) This morning I opened to exactly where I left off in the Bible and read Lev. 23, the Lord is establishing rules for days of rest. Huh, interesting… so possibly I make myself a guarantee to rest today, which ironically is even a Saturday, the classic Sabbath day. And by rest I mean avoiding all factors that really feel like work, like photography in most instances. I couldn’t think about wanting to perform anyway, feeling like a zombie and all, so mostly, I’d just concentrate on becoming and paying attention–but should the temptation arise I promised myself I would not work.

Friendship drew me out of the home this morning, got my proverbial feet moving, with the guarantee of a uncommon art show downtown. A myriad of booths promoting old prints from woodcuts, etchings, monotypes, linocuts, and some I’ve heard of, like mezzotints. Input. The 1 I liked most was 00. Pass, for now.

But I also necessary space, to be in space, by myself for a whilst. Someplace a handful of blocks away, on a library hold shelf, a Philippe Halsman retrospective sat with my name on it. So I let my pal Mike know I was going to duck out for a few minutes to fetch it. The hot winter light, living, alive, impossible to ignore caught my eye. It shaped, defined, every thing about me brick and stone brought to life. I created a handful of snaps on my phone as I walked, reflex, which didn’t feel like operate and I didn’t have to perform at it, although it did little to ease my weary spirit.

Sustenance. Mike and I headed northeast for lunch, to that one hundred-year-old schoolhouse turned restaurant that serves regional microbrews. Burger and a beer and, ahh, the bliss of unhurried conversation. My burger was overcooked, like me, but the copper ale, delicious. It is often wonderful to connect with buddies more than a great meal, and the conversation welcome and prompting of reflection.

The a single aspect I really feel is at the moment missing in my life: Solitude. There’s a vacancy in time to wander and stare. And now that I truly have the day cost-free I needed to figure out exactly where to devote the rest of it. Soon after I mentioned goodbye to Mike I drove to Cathedral Park. Despite the fact that I’ve spent most of my life in Portland and in no way observed it. Pity. It’s a lengthy drive, but seemed as good of location as any and so there I went. I wavered when although crossing the Freemont Bridge, seeing how beautifully hazy the extended views have been, but expertise tells me that if I changed my mind now I’d end up nowhere. The female GPS with a foot fetish (in 1000 feet, turn left…) guided me with disturbing precision into the parking lot. Craving simplicity I slung my manual film camera more than my shoulder and left the DSLR in the vehicle.

Temptation. A crowd had formed on the primary lawn, about a group of performers with soap buckets and roped sticks. Giant morphing bubbles emerging like dragons out of thin air. The halos and reflections… stunning against the textured sky. Youngsters were running and jumping, giggling, as they popped the bubbles. Photographers everywhere, I counted at least fifty if you consist of camera phones, and excellent photographs could have/would have come easy, though it would have felt like operate to me. My shoulders drooping, held back, I moved along to wander and stare and discover: following that intuitive thread beyond my comprehension. I wandered on the dock, along the bank, by way of the trees, back to the auto, back to the park, up along the bridge pillars, down and around. I was fairly thorough in my wandering. I hurried only once, when mud disguised as grass tried to swallow my shoes.

Withdrawal. I made my way to the prime of the park in line with the bridge pillars with the hope of sitting quietly by myself for a while. A number of photographers showed shortly right after and setup tripods around me–apparently I had picked a excellent photo spot–and went about their company quietly. I listened to the sound of clacking shutters for a while and then fled back toward the river in silence.

Train tracks cut through the park I guess I had seen them on my way in, but they never really registered. Had I been a tiny more quickly I may have beaten the train, but as it had been I was cutoff. I waited patiently and then not so patiently as every freight auto lumbered passed, eventually realizing I would be there for the longer I had patience for. So I walked along the graveled tracks toward the opposite finish of the park, often reaching out with my fingers and tracing the corrugated ribs on the passing automobiles, iron fence boards. How curious to be so close to such a massive moving object with out any sense of worry or awe. And I listened, deeply, to the higher-pitch groans and screams of the metal on metal as the tracks traveled up and down like slow-moving pistons flexing around every wheel. I believed about cutting amongst the vehicles, maybe using the access stairs, or possibly hopping on a vehicle, but knew it was a bad concept for a lot of motives, and, besides, I was here to be patient and stare. By way of the gaps I noticed other folks waiting on the other side. Apparently none of us were happy with exactly where we have been. Waiting was mandatory.

We uncover our own beat in silence. Stillness and quiet are essential to sound, or rather music. It is the rests in among that support shape the rest of time. And often, maybe, we can locate stillness amongst the noise.

Right after the train passed I settled into a bench for a whilst, close to the major activity. Three guys in blue jeans, black tees, baseball caps, circling a pull wagon overloaded with buckets and bags and discarded coats. A single of the guys handed his bubble sticks more than to young woman who was carrying out a great job. A father with blond curly hair, I’m guessing German by his speech, chassed a giggling small boy with matching features. The boy about my own’s age, produced me miss my family members. A performer with a video camera bolted firmly to a helmet steadily floated by means of the action as if balancing water. Shortly following, he launched an RC helicopter, a huge one, like 650 class, and dispatched some of the bubbles with the rotor blades before moving on to far more sophisticated maneuvers. And there I sat till the last of the sun crept more than the tops of the hills, just before moving down toward the bank to explore further.

I felt a tinge of jealousy for the boulders sitting along the bank, year soon after year and watching the river flow by, the sun rising and setting, the altering light on the beautifully gothic spires of the St. John’s Bridge. But there was also ugliness here too. In another context I may well have thought this river bank a crime scene: scattered discarded clothing, crunchy and brittle, bleached from the sun the purse, riffled and cast aside the empty liquor bottle the lone shoe bobbing face down among the rotting twigs and effluvium. I’m not sure why, but I finally felt compelled to pull out my Pentax and make a couple exposures of the bridge. Practically nothing I will want to keep, likely, but the making was enjoyable nonetheless–and it didn’t really feel like perform. And that prompted me to make a couple of snaps on my telephone, to complete the set from earlier, except my telephone flashed low battery and shut down unexpectedly soon after a couple of–a casualty of the casual GPS use earlier. Or maybe a sign.

In the distance the bubble guys now wielded a smoke machine. Really unusual–the blobs of trapped smoke looked specifically like anything from a lava lamp. They even managed to trap a smoke-filled bubble inside a bigger typical one. Impressive. Still no compulsion to photograph and I moved on.

I sat in the auto for really a whilst and watched the final of the light fade away. This day would never occur once again. I guess the time was excellent for the soul, I needed time to fill the vacancy, even if the encounter wasn’t wholly successful. The essential in the ignition eventually turned, I never bear in mind selecting to do this, the transmission engaged, I backed up, unconsciously headed in a familiar path. When I passed downtown I regarded dropping by operate for a couple hours to address one thing on my backlog I’ve been avoiding for weeks and then remembered my Lev. 23 promise. Near residence I pulled more than into a grocery retailer parking lot, exactly where I am now, and started performing this, journaling. I’m extremely thankful to God for providing me the present of a day like this. My head is nevertheless foggy, but I’m still grateful even if I could not clear my head. And fog requirements time to dissipate, correct? But fog can be great as well. It can support reveal depth to shape what we may otherwise take for granted. It’s the in-between that shapes the light and it’s the in-between that shapes us, which assists us locate our rhythm. And fog increases that in-between. If it tends to make focusing challenging, then perhaps I require to concentrate on what’s close to. My loved ones is near, so I guess it really is time to go home.

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Storytellin’

Image by Viewminder
I gotta admit that I truly take pleasure in meetin’ folks and sharin’ excellent stories with them.

Great story tellers often appreciate every single others firm.

I consider I was born to be a sailor.

Because I enjoy the water and sailor’s inform the best stories.

Long hours of tediousness and boredom at sea punctuated by brief periods of indescribable terror and panic develop the ideal atmosphere for telling stories.

Not only that… but in all of that monotony sailors themselves since time started have sat about in circles and passed the ‘story torch.’

I do it on the street all the time.

It usually goes like this…

I meet a person and they inform an interesting story that I appreciate hearing.

Does not matter if the story is great most of the time…

a good story teller is an artist that can render any tale exciting and pull you appropriate into it.

The thing is… and this is constantly true…

a person who tells a great story appreciates hearing one back.

It is almost an unwritten rule and numerous a time I’ve listened to a guy finish tellin’ a story and then he looks at me like ‘alright… what do you got?’

I’ve dug hearing wonderful stories since I was a kid and my grandfather told me all sorts of stories about Planet War Two in the Pacific.

I couldn’t get adequate of those stories and everytime I saw him it was the very first thing I asked him…

‘tell me one more story grampa.’

I utilized to sit there and visualize the stories he told.

I’d really ‘see’ what he was speaking about in my thoughts and in my memories I can nevertheless ‘see’ his stories today.

I remember the way the sun glinted off the wings of the Japanese Zero Fighter that turned into his position and began firing it is machine guns at him and his buddies…

the muzzle flashes of the guns in the wings of that plane and the seconds later sound of spent brass bullet cartridges hitting the ground with a ‘tinging’ noise.

I could ‘smell’ the sweat of fear as he jumped into a foxhole and stated a few words to God as that plane flew overhead.

Shit like that tends to make a very good story and as Irish as my grandfather was the stories usually improved with a small bit of whiskey so as I grew older and encouraged him to drink more the very same stories just kept obtaining better and better.

They got even greater when he encouraged me to take a handful of sips of the whiskey.

‘How did you Feel when that plane pointed right at you and started shooting’ I asked him when.

Man I actually miss that man and his stories.

I want I’d have recorded them all.

He gave me that and those had been the ideal memories of my childhood.

Stories have gotten me into difficulty and stories have gotten me out of it.

I’d just gotten kicked out of Japan for stabbin’ a guy with a broken beer bottle.

Never be concerned…

I’m not a violent thug…

the dude broke into my residence wearing a mask and I woke up none as well sober following a excellent night at The Pig and The Whistle bar in Osaka.

It was kinda weird because I woke up punching some stranger in the face right over my futon.

He was wearing what looked like a white pillow case with eye holes reduce into it and I’d broken his nose by the time I ‘really’ woke up so my very first recollection of the complete issue was hunting at my proper fist about to hit the guy’s face once more and all kindsa blood on his mask.

I was confused as shit.

‘What was I performing… and who’s face was I pummeling’ I wondered as I took another punch.

‘Why am I doing this’ I asked myself.

I knew I must’ve had a genuinely good purpose even though.

I was actually hoping it wasn’t my roommate playing some sort of a joke.

Which was confirmed when he came around screaming behind me.

He was kinda confused too.

In that split second exactly where I stopped attempting to kill the guy and ask my roommate what the fuck was going on the guy took expert benefit of that distraction and proceeded to try to kill me.

I had no notion what the hell was going on but fairly basically place the guy was attempting to kill me so I figured that if I could stay away from that that maybe I could figure it all out later.

I didn’t know what to do.

I did not actually wanna kill the guy…

I was just tryin’ to get some sleep right after all of these Asahi’s and now appear what I gotta deal with.

Well…

for some purpose I just wanted to throw the guy outta my residence.

Seemed intelligent at the time.

Effectively believed out.

A great strategy even.

The thought of holding him ’til the police came by no means even entered my thoughts.

Possibly since we did not have a phone and I wouldn’t know how to contact the cops in Japan anyway.

I do not even bear in mind how I got the empty Asahi bottle in my hand or how it got broken like that.

I mighta taken it away from him.

My roommate was no support at all…

he was screamin’ like a small girl who just saw a nasty spider and the shock of the entire point just rendered him incapacitated as all get out.

I can realize his gettin’ freaked out.

As crazy as it is wakin’ up findin’ your self tryin’ to kill a guy it really is prolly crazier to wake up watchin’ your roommate tryin’ to kill some masked guy in your property.

Busy as I was tryin’ to kill the guy I didn’t have the luxury of freakin’ out.

Somehow with the jagged beer bottle in my proper hand and the dude with a broken nose in a headlock in my left arm I got to the front door… perhaps he’d left it open when he broke in simply because I never know how I could even have opened it with my hands full of hell like that.

And I know my roommate did not open it.

By this time he’d gone fetal on the floor.

Occasionally I wonder about my reactions that evening.

I didn’t believe about callin’ the police till it was all more than.

Instinct told me that life would be a lot much better if the guy who was tryin’ to kill me wasn’t in my property any longer.

It all occurred so quick.

When I threw him out the door somehow I pulled the guys mask off.

I felt like I hadda see his face.

When I did that he turned back on me in this rage that I’d in no way observed in a person just before.

He was goin’ for me difficult and I just sort of without much considering stabbed him in the stomach with the jagged beer bottle.

I had never ever stabbed any individual prior to and appropriate right after I did it I was tellin’ myself ‘dude… you just stabbed a guy.’

Sort of a weird point to consider.

I guess I believed perhaps he’d just die then.

I don’t know… I in no way killed a guy with a broken beer bottle to the gut ahead of.

The entire thing was a new experience.

I imply… I stuck him pretty good.

Shards of glass stuck in his stomach and some other shards fell onto the tile floor.

He got this genuinely shocked appear on his face for a second…

like ‘why the fuck did you just stab me asshole?’

There wasn’t time to say ‘because I woke up with you tryin’ to kill me dickhead.’

In addition to… I didn’t know how to say that in japanese.

As an alternative he recovered from his initial shock and came at me again.

I couldn’t believe this guy.

And my freakin’ out area mate is freakin’ out even much more ’cause now I just stabbed the guy.

It wasn’t like I was left with a complete lotta options man.

The complete scenario was a lot to deal with and I was beginning to get pissed off.

I was woken up adequate by that time that I ultimately decided to kill the guy with my bare hands.

I’d had adequate of this shit you know?

Didja ever just try to get some sleep and all of the sudden you gotta kill a guy?

A guy who appears hell bent on killin’ you?

I wasn’t angry or mad or filled with hatred… I just wanted some peace in my life and this guy’s fully going apeshit on me and we look to have differing agendas on how the evening need to end.

And I still never know what the complete thing’s all about.

We fought there in the hallway in front of the front door…

It was comedic really in a way when I believe back on it…

there was so much blood on the floor and I am barefoot in my underwear tryin’ to kill the guy but I can’t hold from slipping in the blood.

Could not keep on my feet for all the cash in the world.

Neither could he.

We ended up wrestling on the floor.

Blood on porcelain tile is truly slippery.

I feel losin’ as considerably blood as he did just took the fight out of him.

The last couple of throws from either of us had been weak and exasperating.

I don’t know what told me to let him go but I did.

Anything just told me it was all over.

He stumbled down the hallway and I went back inside.

The hallway was a bloody mess.

It was blood all more than the floor… bloody smeared handprints on the wall…

I sat down on my futon and tried to figure out if any of the blood that covered me was mine.

Did a tiny examination of all my extremities and such.

Nothin’.

A couple of cuts on my feet possibly from walking on the broken glass.

Now is exactly where I started to get angry.

I did not ask for any of that.

I tried asking my space mate what the fuck that was all about but all he could do was talk gibberish.

He couldn’t even get the words out.

I don’t know who known as the cops and they seemed to show up pretty swiftly.

Lots of them.

Now I hadda deal with that shit as well.

I couldn’t even get dressed and go wash the blood off.

They would not let me.

Because they were as well busy taking photographs of me and the blood I was wearing.

The 1st issue the cops asked when they got there and saw the bloody mess in the hallway was ‘where is the physique.’

Come on man.

Some dude just broke into my residence for factors unknown in a mask and tried to kill me and freaked the shit out of my roommate.

And now I gotta be interrogated?

I actually just wanted to take a shower and go back to sleep.

I knew sufficient japanese to score with the ladies but I had no idea how to talk to these guys.

It was crazy mojo all the way about…

and I told them what occurred but they kept treating me like the criminal right here.

Which it turned out they presumed me to be.

Due to the fact I stabbed the guy Outdoors of my house.

And I told them that.

Awwwwww fuck.

It is funny how items go that way.

It all made ideal sense at the time.

I did not believe… ‘don’t stab the guy since he’s outside of your property and it is a whole distinct ballgame if you kill him there versus killin’ him in your bedroom according to the law.’

But it was.

That is where I learned it’s usually far better to get in touch with your lawyer prior to you contact the police.

Lawyers are far better at making up stories in the middle of the night than you or I will ever be.

Not that I thought I necessary a story…

it seemed fairly clear what had occurred.

But the ‘lack of a body’ seemed to get everybody upset.

After lots and lots of interrogation I was just advised by the police the next morning that everything would be much better if I just left Japan proper away.

Like now.

Just before I was charged with something like murder.

If they located that guy’s physique.

So I quickly packed up my backpack and decided to take their guidance.

I cleaned up… shared a coffee with the roomie who could talk now and told him I’d hold in touch.

The very best way out I’d figured was the Port of Osaka.

There’s all types of ships comin’ in and out and I knew I could hitch a ride with a single.

Sailors don’t ask also a lot of concerns.

Australia was soundin’ good and I’d told my space mate that prior to I left.

‘I’ll send you a postcard’ I told him.

I couldn’t discover a ship headed to Australia that day… but there was 1 heading to Shanghai and that was like half way according to my map.

I figured I’d hafta try and jump yet another ship right there in Shanghai.

I’d consider about all that when I got there.

When I approached the ship I asked one of the crew memebers if I may well be capable to difficulty them for a ride to Shanghai.

‘Whaddaya got’ of of the sailors mentioned… starting the negotiations over how significantly the fare was gonna cost me.

‘I’m a great story teller’ I mentioned.

Nature morte (Fernand Léger, 1938)

Image by pedrosimoes7
CAM Collection, Calouste Gulbenkian Foundation, Lisbon, Portugal

Oil on Canvas
Inv. PE 127

From Wikipedia

Joseph Fernand Henri Léger (French: [leʒe] February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early functions he developed a individual form of cubism which he gradually modified into a a lot more figurative, populist style. His boldly simplified remedy of modern day subject matter has caused him to be regarded as a forerunner of pop art.

Biography

Léger was born in Argentan, Orne, Decrease Normandy, exactly where his father raised cattle. Fernand Léger initially educated as an architect from 1897 to 1899, just before moving in 1900 to Paris, exactly where he supported himself as an architectural draftsman. Right after military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts following his application to the École des Beaux-Arts was rejected. He nonetheless attended the Beaux-Arts as a non-enrolled student, spending what he described as &quotthree empty and useless years&quot studying with Gérôme and other individuals, while also studying at the Académie Julian.[1] He started to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother’s Garden) of 1905, 1 of the handful of paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger’s operate right after he saw the Cézanne retrospective at the Salon d’Automne in 1907.[two]

1909–1914

A painting of smokers
Les Fumeurs (The Smokers), 1911-12, oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York
A painting of a woman in blue
La Femme en Bleu (Woman in Blue), 1912, oil on canvas, 193 x 129.9 cm (76 x 51 1/eight inches), Kunstmuseum Basel. Exhibited at the 1912 Salon d’Automne, Paris
Painting of a nude
Nude Model in the Studio (Le modèle nu dans l’atelier), 1912-13, oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York
In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, Joseph Csaky and Robert Delaunay. His significant painting of this period is Nudes in the Forest (1909–10), in which Léger displays a personal form of Cubism that his critics termed &quotTubism&quot for its emphasis on cylindrical forms.[three]

In 1910 he exhibited at the Salon d’Automne in the identical area (salle VIII) with Jean Metzinger and Henri Le Fauconnier. In 1911 the hanging committee of the Salon des Indépendants placed together the painters that would quickly be identified as ‘Cubists’. Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger were accountable for revealing Cubism to the basic public for the initial time as an organized group.

The following year he once more exhibited at the Salon d’Automne and Indépendants with the Cubists, and joined with many artists, which includes Henri Le Fauconnier, Jean Metzinger, Albert Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also known as the Section d’Or (The Golden Section).

Léger’s paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as noticed in the series of paintings with the title Contrasting Types. Léger created no use of the collage method pioneered by Braque and Picasso.[4]

1914–1920

Dans L’Usine, 1918, oil on canvas, 56 x 38 cm (22 x 15 in)

The City, 1919, oil on canvas, The Philadelphia Museum of Art, A. E. Gallatin Collection
Léger’s experiences in World War I had a substantial effect on his operate. Mobilized in August 1914 for service in the French Army, he spent two years at the front in Argonne.[5] He developed a lot of sketches of artillery pieces, airplanes, and fellow soldiers although in the trenches, and painted Soldier with a Pipe (1916) while on furlough. In September 1916 he virtually died following a mustard gas attack by the German troops at Verdun. Throughout a period of convalescence in Villepinte he painted The Card Players (1917), a canvas whose robot-like, monstrous figures reflect the ambivalence of his knowledge of war. As he explained:

…I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal. That’s all it took for me to forget the abstract art of 1912–1913. The crudeness, range, humor, and downright perfection of specific guys about me, their precise sense of utilitarian reality and its application in the midst of the life-and-death drama we were in … created me want to paint in slang with all its colour and mobility.

This perform marked the starting of his &quotmechanical period&quot, for the duration of which the figures and objects he painted were characterized by sleekly rendered tubular and machine-like types. Starting in 1918, he also developed the first paintings in the Disk series, in which disks suggestive of targeted traffic lights figure prominently.[7] In December 1919 he married Jeanne-Augustine Lohy, and in 1920 he met Le Corbusier, who would stay a lifelong friend.

1920

Still Life with a Beer Mug, 1921, oil on canvas, the Tate
The &quotmechanical&quot operates Léger painted in the 1920s, in their formal clarity as effectively as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are common of the postwar &quotreturn to order&quot in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot.[8] In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes created up of streamlined types. The frontal compositions, firm contours, and smoothly blended colors of these paintings frequently recall the operates of Henri Rousseau, an artist Léger greatly admired and whom he had met in 1909.

They also share traits with the perform of Le Corbusier and Amédée Ozenfant who with each other had founded Purism, a style intended as a rational, mathematically based corrective to the impulsiveness of cubism. Combining the classical with the contemporary, Léger’s Nude on a Red Background (1927) depicts a monumental, expressionless lady, machinelike in form and colour. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the popular press for the aperitif Campari, represents the high-water mark of the Purist aesthetic in Léger’s perform.[9] Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle.

As an enthusiast of the modern, Léger was significantly attracted to cinema, and for a time he deemed providing up painting for filmmaking.[ten] In 1923–24 he made the set for the laboratory scene in Marcel L’Herbier’s L’Inhumaine (The Inhuman A single). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger developed and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of pictures of a woman’s lips and teeth, close-up shots of ordinary objects, and repeated photos of human activities and machines in rhythmic movement.[11]

In collaboration with Amédée Ozenfant he established a totally free college exactly where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his &quotmural paintings&quot, influenced by Le Corbusier’s theories, in 1925. Intended to be incorporated into polychrome architecture, they are amongst his most abstract paintings, featuring flat regions of color that seem to advance or recede.[12]

1930s

Starting in 1927, the character of Léger’s perform steadily changed as organic and irregular types assumed greater significance.[13] The figural style that emerged in the 1930s is totally displayed in the Two Sisters of 1935, and in a number of versions of Adam and Eve.[14] With characteristic humor, he portrayed Adam in a striped bathing suit, or sporting a tattoo.

In 1931, Léger produced his 1st pay a visit to to the United States, exactly where he traveled to New York City and Chicago.[15] In 1935, the Museum of Modern Art in New York City presented an exhibition of his operate. In 1938, Léger was commissioned to decorate Nelson Rockefeller’s apartment.[16]

The War years

In the course of Globe War II Léger lived in the United States. He taught at Yale University, and located inspiration for a new series of paintings in the novel sight of industrial refuse in the landscape. The shock of juxtaposed all-natural forms and mechanical components, the &quottons of abandoned machines with flowers cropping up from within, and birds perching on leading of them&quot exemplified what he known as the &quotlaw of contrast&quot.[17] His enthusiasm for such contrasts resulted in such operates as The Tree in the Ladder of 1943–44, and Romantic Landscape of 1946. A significant perform of 1944, 3 Musicians (Museum of Modern day Art, New York), reprises a composition of 1930. A folk-like composition reminiscent of Rousseau, it exploits the law of contrasts in its realistic juxtaposition of the three males and their instruments.

Upon his return to France in 1945, he joined the Communist Party.[18] In the course of this period his perform became less abstract, and he developed numerous monumental figure compositions depicting scenes of well-liked life featuring acrobats, builders, divers, and country outings. Art historian Charlotta Kotik has written that Léger’s &quotdetermination to depict the common man, as properly as to develop for him, was a result of socialist theories widespread amongst the avant-garde each prior to and after Globe War II. Even so, Léger’s social conscience was not that of a fierce Marxist, but of a passionate humanist&quot.[19] His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume styles.

1950

Stained-glass window at the Central University of Venezuela, 1954
Following the death of his wife in 1950, Léger married Nadia Khodossevitch in 1952. In his final years he lectured in Bern, developed mosaics and stained-glass windows for the Central University of Venezuela in Caracas, Venezuela, and painted Country Outing, The Camper, and the series The Big Parade. In 1954 he started a project for a mosaic for the São Paulo Opera, which he would not live to finish. Fernand Léger died at his residence in 1955 and is buried in Gif-sur-Yvette, Essonne.

Legacy

Léger wrote in 1945 that &quotthe object in contemporary painting must become the major character and overthrow the topic. If, in turn, the human type becomes an object, it can considerably liberate possibilities for the contemporary artist.&quot He elaborated on this concept in his 1949 essay, &quotHow I Conceive the Human Figure&quot, where he wrote that &quotabstract art came as a total revelation, and then we have been capable to contemplate the human figure as a plastic worth, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my function&quot.[20] As the 1st painter to take as his idiom the imagery of the machine age, and to make the objects of customer society the subjects of his paintings, Léger has been known as a progenitor of Pop art.[21]

He was active as a teacher for several years. Among his pupils had been Nadir Afonso, Robert Colescott, Paul Georges, Charlotte Gilbertson, Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Victor Reinganum, Marcel Mouly, George L. K. Morris, René Margotton, Erik Olson, Saloua Raouda Choucair and Charlotte Wankel.

In 1952, a pair of Léger murals was installed in the General Assembly Hall of the United Nations headquarters in New York, New York.[22]

In 1960, the Musée Fernand Léger was opened in Biot, Alpes-Maritimes, France.

In May possibly 2008, his painting, Étude pour la femme en bleu (1912-13) sold for ,241,000 (hammer price tag with buyer’s premium) United States dollars.[23]

In August 2008, a single of Léger’s paintings owned by Wellesley College’s Davis Museum and Cultural Center, Mother and Youngster, was reported missing. It is believed to have disappeared some time between April 9, 2007 and November 19, 2007. A ,000 reward is becoming provided for information that leads to the protected return of the painting.[24]

Léger’s function was featured in the exhibition &quotLéger: Modern Art and the Metropolis&quot from October 14, 2013, by way of January 5, 2014, at the Philadelphia Museum of Art.[25]

Square Weave as my new pillow

Image by Monika Hankova
I ultimately had a likelihood to appear into the final German convention book and I discovered out that it is surprisingly effortless to fold from fabric. This weekend I had some time so I tried it and I believe it all turned out quite effectively. It’s all sewed by hand since I didn’t want to wait an additional week to sew it at property where mom has a sewing machine. At least I renewed my sewing skills

Nice Swiss Turning photographs

Nice Swiss Turning photographs

Klarm Machining

Some cool swiss turning pictures:

Gime 5

Image by Adventures with my dogs
It really is been raining for days and I lastly got to take the dogs for a stroll, the problem is they had so a lot stored up energy it turned into uncontrolable running jumping and playfighting.
I have to admit I enjoyed it as significantly as they did 🙂

Paradise Tanager

Image by pixagraphic
This tiny guy turned out to be such a freakin’ fast bird that decided only to move anytime I was not continually taking pictures. Fortunately I was accompanied by a pal of mine who slowly approached the bird so that it would fly away. That worked out quite properly but it nevertheless took us about two hours and much more than thousand pictures only to get two decent shots.

As the lighting had been far from remarkable I had to shoot at ISO12.800. Photoshop did a fairly very good job denoising it anyways. Denoising also was the only processing applied.
Canon EOS 5D Mark II
Canon EF 300mm f/4 L IS

1/5000sec | f/4 | ISO12.800

Trout (at Rhine Falls)

Image by Collin Important
This quiet view was taken from the identical spot as the earlier one – just turning about. Loads of trout are swimming in the green crystal clear water of the river waiting for just as numerous tourists to feed them.

Good Turning Machining pictures

Good Turning Machining pictures

Klarm Machining

Some cool turning machining photos:

Lovecats discover Japan-licious incl. Orientation Island from HELL, REC FollowCam, & Sketch Sky Pens finale on Saturday 70

Image by ▓▒░ TORLEY ░▒▓
Ultra! Ultra! Read all about it!

Lovecats explore Japan-licious incl. Orientation Island from HELL, REC FollowCam, & Sketch Sky Pens finale on Saturday 77

Image by ▓▒░ TORLEY ░▒▓
Ultra! Ultra! Read all about it!

Southwold Pier and Rocks

Image by -RobW-
Em’s household has been going to Southwold on vacation for at least 4 generations. I’ve never ever been, but I genuinely liked it. Beautiful town, quite surrounding villages, immaculate and quirky pier with some great handmade mad slot machines (which includes some designed by Brighton’s personal and awesome Sarah Angliss), a placing green on which I got a hole in a single (BOOYAH) and amazing birdwatching (saw a hobby, my favourite bird as a child, and but one I’d never ever noticed then!).

Of course, with an excitable 3 month old, I didn’t get a lot of a opportunity to strategy any trips just for photography, but I nipped out for an hour 1 windy day to attempt out the complete classic &quotlong exposure of sea&quot shots.

A bloke came up to me while I was setting up a single of these shots to chat about the technique – bloke, if you check Flickr out, the a single I was setting up is this a single here if you want to see how it turned out :o)

You might be asking yourself about the weird effects there is an explanation on this shot.

I posted this very first as it has the very best Southwoldy atmosphere, but I think the under the pier shot is my favourite artistically.

Any Southwoldophiles keep tuned, I also have a few night time shots to place up!

Cool Turning Elements images

Cool Turning Elements images

Klarm Machining

A couple of good turning components photos I found:

“The Companion” By Bulova Model-206 Portable AM Tube Radio

Image by Andrew Pilling
This Teal Blue &quotCompanion&quot by Bulova transportable AM radio, model 206 was a good (curbside) uncover. The physique was in fairly very good condition, so I opened the back of the radio and noticed that the two (ancient) D batteries have been corroded and brought on mild staining with no apparent harm to the interior. I also noticed that one particular of the four vacuum tubes, a (1U5) tube was MIA. Right after a appear-see in the tube bible which informed me that there were comparable tubes with different pin allocations but, there weren’t any identical substitution tubes. I was in a position to locate and replace the (1u5) vacuum tube. Subsequent without having performing any type of tests, I rolled the dice and turned it on. &quotEUREKA&quot as soon as again an additional roadside discover started up and worked, then the inevitably dreaded (par for the course) obligatorily telltale HUM of all HUMS became really apparent. So I turned on and warmed up my favorite and trustworthy VTVM-voltmeter (the Hewlett Packard 410B). With voltmeter probes in hands, I went appropriate to the usual suspect, The infamous electrolytic filter capacitor. It was shot so I left it in place, being that they are a Royal discomfort on my patience to desolder, take away, disassemble and gut out the filter caps fragile cylindrical cardboard housing to be stuffed with three new electrolytic capacitors, then reassemble and solder the component back into location, So I performed a bypass using 3 new e-caps, carefully tucking them inside of the tightly cramped beneath carriage of the chassis. I turned it on and the HUM was no longer noticeable, &quotVOILA&quot it functions. This Bulova &quotCompanion&quot portable radio will be a nice addition to my collection.

Google’s Master Program

Image by jurvetson
The Master Strategy has several paths. Some turn to the dark side of Skynet, and most lead to user happiness…

(Text is a lot more readable at full size, or subsequent frame)

Laboratorium Solaris: back into action

Image by Sergei Golyshev (reloaded 🙂
06.01.2015, 11:45 (UT+3), clear cold winter day, -17&degC, the Sun is eight&deg above horizont and looks like as if being observed by way of the flowing water.

The image looks satifactory at 500 pix size.

WARNING! Sun is hazardous, use suitable filters for observing and imaging!

Canon 60Da by way of BP Hyperion Zoom eight-24 mm eyepiece on Coronado PST more than photo-tripod.
Aperture 40 mm
Native focal length 400 mm
Projection focal length 24 mm
Television = 1/200 s
Av ~f/20
ISO 200
Capturing application: NA
Exposures: 7 out of 28 (poor seeing, extremely poor). RAW pictures were converted into monochrome and adjusted for some more contrast in Canon DPP and exported as 16 bit TIFF. Each and every frame was calibrated with master dark made of median of 10 dark frames and master bias produced in the same way from 20 offset frames.
Master calibration frames, substraction and pre-alignment had been made in ImageJ.
Frames were analysed and stacked in Autostakkert2! 2.3.021alpha (specially for stacking H&alpha photos, ha-ha :), resulting image was subjected to Richardson-Lucy deconvolution (Cauchy type PSF, 3,six units, 7 iterations) and was sent to Photoshop for &quotcreative&quot clean-up, downsampling and coloration.

Note: this is quick exposure image, so the red channel dominates, which is right. But I have followed the effortless way of turning raw images into monochrome in raw converter. This algorithm behaves like as if it makes a sum of all channels and somehow weights the contribution of red and blue in relation to green. But green channel includes largely its personal noise and other junk elements. Perhaps it really is greater to not to do this, but extract red from color image and then down-sample it ,5x to smooth de-Baeyring artifacts? Hmm…

Cool Precision Turning pictures

Cool Precision Turning pictures

Klarm Machining

Some cool precision turning pictures:

Waiting for the “Night Witches”

Image by Neil. Moralee
Candid shot Zell am Ziller, Austria.

&quotNight Witches&quot is the English translation of Nachthexen, a Planet War II German nickname (Russian Ночные ведьмы, Nochnye Vedmy) for the female military aviators of the 588th Evening Bomber Regiment, known later as the 46th &quotTaman&quot Guards Night Bomber Aviation Regiment, of the Soviet Air Forces. The regiment was formed by Colonel Marina Raskova and led by Key Yevdokia Bershanskaya.

The regiment flew harassment bombing and precision bombing missions against the German military from 1942 till the end of the war. At its largest, it had 40 two-individual crews. It flew over 23,000 sorties and is stated to have dropped 3,000 tons of bombs. It was the most very decorated female unit in the Soviet Air Force, every single pilot getting flown over 800 missions by the finish of the war and twenty-three possessing been awarded the Hero of the Soviet Union title. Thirty of its members died in combat.

The regiment flew in wood-and-canvas Polikarpov Po-2 biplanes, a 1928 style intended for use as coaching aircraft and for crop-dusting, and to this day the most-produced biplane in aviation history. The planes could carry only six bombs at a time, so a number of missions per evening were essential. Though the aircraft were obsolete and slow, the pilots created daring use of their exceptional maneuverability they had the benefit of possessing a maximum speed that was lower than the stall speed of each the Messerschmitt Bf 109 and the Focke-Wulf Fw 190, and as a result, German pilots discovered them extremely hard to shoot down. An attack approach of the evening bombers was to idle the engine close to the target and glide to the bomb release point, with only wind noise left to reveal their location. German soldiers likened the sound to broomsticks and named the pilots &quotNight Witches.&quot Due to the weight of the bombs and the low altitude of flight, the pilots carried no parachutes

Brave women !

The athlete and his attendant – I

Image by egisto.sani
The funerary stele shows two figures standing 1 in front of the other. They are an athlete, the deceased young, and his attendant. The bust of the athlete is represented in 3-quarters, his head in profile. The features and the anatomy of the young are rendered with wonderful precision despite the relief is genuinely very low. The correct arm is lowered at the waist while the left arm is raised up to the shoulder and the palm turned towards the observer. The head of the young athlete is bent downward. His melancholy gaze is directed towards the attendant. The youth is standing in front of him, holding two standard tools form athletes: an aryballos containing ointment and a strigil.

Greek funerary stele
Pantelic Marble, H. 205 cm – W. 70.five cm
About 430 BC
From Greece
Vatican City State, Vatican Museums, Museo Gregoriano Profano