@lety hottest as ever 😍 ❤️

You're welcome.

Well that is further north so yes.

It's Seattle, Washington, USA

I'm guessing Spain?

edit: no wait this is further north, isn't it?

@letyLety jsi úžasná. You Are amazing Lety. 😍

@Swede1952 I thought you were reading my mind. The only thing different is I don't root for the Giants and I am not quite 65 yet.

Until 1984, the Santa Fe Railroad moved freight cars across the San Francisco Bay by barge. Railroad cars were decoupled from trains and loaded onto special "carfloat" barges, which were pulled across the bay by a small fleet of tug boats, to be re-attached to trains at the other end. The service ended when a fire destroyed the Point Richmond pier (the East Bay terminal for the operation), and that was that.A handful of rail carfloat operations continue in the US, most notably in NY Harbor.

Captured with a small mirrorless camera and 50mm lens on a lightweight tripod.I normally prefer lower contrast, but the ruined industrial subject worked reasonably well with a high contrast, backlit approach here. The sun was just above and directly in front of the frame,

I have mixed feelings about these cold war relics. On the one hand, they're artifacts of what was perhaps humanity's most dangerous folly to date, locking the world in a deadly game where the stakes only went up with each round. This doesn't seem like something to commemorate or celebrate.On the other hand, these objects, many now destroyed or decayed, serve as visible evidence of just how close to oblivion we are willing to go. And looked at from the right angle, they have stories to tell.

It's unclear if the SAGE system would have actually been effective in tracking incoming bombers, which presumably would have employed radar jammers and other countermeasures. Fortunately, we never found out.The huge rotating antenna (not shown) was removed shortly after the site's decommissioning in 1980, but the building, a prominent local landmark visible from downtown San Jose, has been preserved.

From 1958 through 1980, this incongruous four level (82 foot) monolith was the centerpiece of the "Almaden Air Force Station", a long-range radar site that was part of NORAD's SAGE early warning system. The blast-hardened concrete building served as the platform for an FPS-24 radar system, a massive 120 foot wide reflector that emitted a 5 megawatt VHF pulse, continuously rotating at 5 RPM.Notoriously, the powerful radar signal disrupted TV and radio reception throughout the San Jose area.

This is a stitched imaged made from two shifted side-by-side captures with the Rodenstock 70mm/5.6 HR-Digaron-W lens and a Phase One IQ4-150 digital back (@ ISO 50) on a Cambo WRS 1250 camera, shifted left/right +/- 15mm, producing a 230MP final image.

"Who designed this?" you might ask.NYC brownstones such as the one shown here were generally either built from the start as multi-family tenements, or started as single-family homes and later subdivided into apartments. In the former case, the layout into individual units was part of the original design and generally fairly sane. In the latter case, landlords often tried to squeeze every square inch of rentable space out of the existing layout, at the expense of common space like hallways.

Captured with a small mirrorless camera and 50mm lens.This hallway reminded me of a sight gag in the Coens' "Inside Llewyn Davis". I like that the two neighbors have to share a doormat.The starkly bare hallway and contrasting tones between the walls and the doors and floor make this as much a study in abstract shapes as it is about urban living.

Captured with a 45mm shifting and tilt/swing lens and a DSLR camera. A bit of swing kept the side of the trestle in sharp focus, and a bit of shift maintained the geometry with the framing.The long, tall, Alhambra Viaduct on the BNSF railroad is also known as the "John Muir Trestle". People far bolder than I had tagged it with graffiti.This is mostly a study in lines and convergence.Infrastructure is heroic.

This is part of my "slightly better photos of local attractions than you'd typically find hanging in your hotel room" series.

"The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world."- F. Scott Fitzgerald, The Great Gatsby.

Officially the "Ed Koch Queensborough Bridge" but more generally simply the "59th Street Bridge", the view from Sutton Place at 58th Street on the Manhattan side is probably as flattering and uncluttered a perspective as you'll find for this piece of NYC infrastructure.Immortalized in song by Simon and Garfunkel, in literature by Fitzgerald, and in cinema by Woody Allen, something about this bridge exemplifies the glamor and bustle of 20th century New York in a way that still holds up.

This was captured with the Phase One IQ3-100 back, Phase One XF DSLR camera, and the Schneider 80mm/2.8 "Blue Ring" lens. I had planned to use a technical camera and the Rodenstock 70mm, providing movements, but a cable was missing from the kit I had with me in the city that night. Fortunately, the 80mm SLR lens was just wide enough to not require movements, though the Schneider lens renders highlights (as prominent starbursts) a bit idiosyncratically for my taste.

@peachfront aus.social/@SallyABL/115997915

Side note: A mile or two behind this shop is the (now inaccessible) abandoned ghost town of Drawbridge, CA, which has been slowly sinking into the bay. But that's another story for another day.

Captured with a small mirrorless camera and 18mm lens, on a small tripod. I had no shifting lens, so this was shot head on with a wider lens and then cropped.Harsh midday sun is normally not ideal for architectural photos, but the hard light nicely brought out the clapboard siding of this (since demolished) rather dilapidated old former antique shop.

This is part of a set of two identically framed images of Vegas. This one, at night, shows the strip at its best, such as it is, with the lights and excess at least hinting at some sense of glamor and excitement. The other, made during the day, shows the strip at its most depressing, looking like a failed mega-mall and theme park that you might find off a forgotten exit near an interstate highway.

A technical challenge here was capturing the Bellagio fountain, which is split in half across the two shifted captures. Because the fountain changes continuously, it was hard to make two captures that could sensibly stitch together. After some trial and error, I ended up capturing them 15 minutes apart at about the same point during successive fountain "shows".