A closer look at these behemoths of power! Don’t tilt at them!
In yesterday’s Kinderdijk post I shared the variety of weather conditions that we experienced at Kinderdijk; during the 90 or so minutes that we were there, the only season we missed was Winter!
The classic Dutch windmill is an engineering marvel that can withstand centuries of whatever Mother Nature throws at it…
Rearview of the Cap
Starting at the top, we have the cap of the windmill; its head, so to speak. This section can be rotated around its vertical axis, as it sits on wheels inside the cap. This enables the miller to turn the windmill into the wind, so that it can generate its power.
Capstan Wheel
This rotation is achieved using the capstan wheel, which is on the tail of the windmill. Chains are attached to anchor points in the ground, and then the wheel is turned to rotate the cap in the direction of the anchor point. Note the gentleman in the wood shoes; he’s the miller responsible for this windmill, the Nederwaard No. 2, which houses the Windmill Museum.
Brake Handle
Of course, you need a braking mechanism to slow down rotation of the sails; the brake handle sticks out from the cap; this on his painted in the colors of the Dutch flag, red, white and blue.
Canvas and the Sail
When the miller wants to operate the windmill, one of the interesting jobs is to unroll the canvas to cover the sail; this involves climbing up the lattice and tying the canvas to the sail. Not that it can be reefed, just like a sailboat, to adjust for the strength of the wind. Imagine climbing up in wooden shoes when the breeze is picking up; I think this could be a harrowing bit of work.
A View through the Capstan Wheel
As we’re getting ready to wrap up, I took one more look back through capstan wheel to soak in this majestic view!
I felt lucky to get this turnaround in the weather, because with this sun and clear air, the scenery of Kinderdijk is simply glorious!
A Fresh Perspective
Photography is more than just a vehicle for capturing the world around me; it provides me with a palette and a set of brushes, with which I paint not only what I see, but also look to express the emotions that are evoked by the scene in front of me in that moment.
Growing up in the Netherlands exposed me to a wide cross-section of visual arts that laid the foundation of my photographic view of all that surrounds me. Early influences were the Dutch Masters of the 17th century, to whom I was introduced by my grandfather during museum explorations; favorites among them are the scenes of quotidian life depicted by Jan Steen and Frans Hals and the vivid landscapes of Jacob van Ruisdael.
My classical high school education was supplemented by the Boijmans Van Beuningen museum, where I spent many a lunch hour exploring its great collection. Here I was introduced to surrealism with a particular love for the approach taken by Salvador Dali; Dali also rekindled my appreciation for the work of Hieronymus Bosch, who often showed the folly of us mortals.
Universal Connections
My approach to any photographic subject is to look for understanding first; in this I look to establish either a connection between the viewer and the subject or capture the connection of the subject with its surroundings. The captured image then aims to portray this connection from a perspective that is part of my personal interpretation.
This interpretation is often a form of externalized introspection, which may alternately display the connection of isolated beings and items with their environment or highlight the whimsy of the profound world, in which we find ourselves. The universe is full of connections, many of which are waiting to be discovered; part of my journey as a photographer is to document these connections.
Any assignment, be it an event, a product shoot or a portrait session is always approached through communication with the client; this is where the first connection is established. Ideas are exchanged and a collaborative plan of action forms, ultimately resulting in a set of images that aim to exceed the expectations of each client.
And, lest we forget, it is important to have fun while practicing the serious business of photography!
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I climbed to the top of a windmill in Norfolk. It might not sound that hard a feat, but the last stage was a ladder and the platform just wide enough for one, so it was a huge challenge for me. I do not have a head for heights, and am very unstable on a ladder, but I did it and the view was worth the effort. Hubby was so proud of me, even if I was shaking like a leaf when I came down.
We were friends with the caretaker of the last working 6 sailed windmill in Lincolnshire and they used to produce the flour which was used in the cakes and bread sold in the cafe adjacent to it. Storms shattered the sails and there was no money for them to be repaired, and as far as we know, the cafe closed and the windmill is now just a sail-less shape on the horizon. Such a shame.
I climbed to the top of a windmill in Norfolk. It might not sound that hard a feat, but the last stage was a ladder and the platform just wide enough for one, so it was a huge challenge for me. I do not have a head for heights, and am very unstable on a ladder, but I did it and the view was worth the effort. Hubby was so proud of me, even if I was shaking like a leaf when I came down.
We were friends with the caretaker of the last working 6 sailed windmill in Lincolnshire and they used to produce the flour which was used in the cakes and bread sold in the cafe adjacent to it. Storms shattered the sails and there was no money for them to be repaired, and as far as we know, the cafe closed and the windmill is now just a sail-less shape on the horizon. Such a shame.
That’s an amazing feat of daring! The interior of this windmill was great as well, but I let other folks go to the top as it was a sizable group.
Also, I’m rather familiar with this type of windmill, as friends lived in one and I spent quite a bit of time inside the cap.
Oh, I’d love to live in one! Hubby fancies a lighthouse!!
A lighthouse would be pretty cool too!
😀