View allAll Photos Tagged Accounting
This richly decorated manuscript chronicles an account from the creation of the world up to 138 BCE. It was illuminated by associates of Loyset Liédet and Willem Vrelant, and was completed, likely in Bruges, ca. 1470-80. The book itself is a fine example of secular books that were in demand by aristocratic patrons in the southern Netherlands during the third quarter of the fifteenth century. Along with an expansive decoration program, this world history also features key heraldic evidence. The most current armorial shield that was painted among an abraded surrounding area is that of Adolph of Burgundy, seigneur of Bevres, Vere, and Flissinghe. He was a member of the Order of the Golden Fleece as of 1516, following his father Philip of Burgundy, and his grandfather Anthony of Burgundy ("Grand Bâtard de Bourgogne," illegitimate son of Philip the Good). The decoration and its organization throughout the text embodies principles of hierarchical design and artistic collaboration typical of expansive pictorial programs in this type of secular text. Of particular note are the six large miniatures, one before major text divisions of the chronicle and each spanning across two columns of text. These illustrations are quite imaginative and varied stylistically. There is a visual emphasis on the Trinity as evinced by the frontispiece, which features a Creation cycle in six medallions. Along with the six large illustrations, six major text divisions, and six medallion Creation cycle, this manuscript recalls Augustinian tenets on Trinitarianism linked with the Six Days of Creation, the Six Ages of Man, and the Six Ages of the World.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Account Summary - The account summary now includes an overview of your account including holds, checked-out items, fines accruing, number of overdue items.
The Account Summary will also display a list of any holds you missed picking up, so that you can easily place the holds again
Document ref: Notts Archives PR 16,695
An account book from 1818-1820 which details the distribution of money and bread to the poor of South Clifton.
Look at the surnames. Do any of these appear on your family tree?
This richly decorated manuscript chronicles an account from the creation of the world up to 138 BCE. It was illuminated by associates of Loyset Liédet and Willem Vrelant, and was completed, likely in Bruges, ca. 1470-80. The book itself is a fine example of secular books that were in demand by aristocratic patrons in the southern Netherlands during the third quarter of the fifteenth century. Along with an expansive decoration program, this world history also features key heraldic evidence. The most current armorial shield that was painted among an abraded surrounding area is that of Adolph of Burgundy, seigneur of Bevres, Vere, and Flissinghe. He was a member of the Order of the Golden Fleece as of 1516, following his father Philip of Burgundy, and his grandfather Anthony of Burgundy ("Grand Bâtard de Bourgogne," illegitimate son of Philip the Good). The decoration and its organization throughout the text embodies principles of hierarchical design and artistic collaboration typical of expansive pictorial programs in this type of secular text. Of particular note are the six large miniatures, one before major text divisions of the chronicle and each spanning across two columns of text. These illustrations are quite imaginative and varied stylistically. There is a visual emphasis on the Trinity as evinced by the frontispiece, which features a Creation cycle in six medallions. Along with the six large illustrations, six major text divisions, and six medallion Creation cycle, this manuscript recalls Augustinian tenets on Trinitarianism linked with the Six Days of Creation, the Six Ages of Man, and the Six Ages of the World.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
GLG #Accounting #firm has several years of experience providing the best accounting services to clients from all over the USA. goo.gl/5kbxmJ
CAF's Charities Online Accounts Awards, presented at Institute of Chartered Accountants Hall, London, on 2 December 2005
KAKUTEI SHINKOKU!!!!! = declaration for profit tax. I just finished (almost). This is for personal tax. I already did company accounting and tax issue.
Essentially, the wage of an accountant varies depending on numerous elements. One of the essential aspects which are often considered to determine the accountant clerk salary is by considering the education you acquired and your degree of experience on the area. Aside from having a respectable earnings, exactly what makes the project of accountant extremely optimal is that there are business that provide some reward bundles to some accountants. Typically, the benefit package may provide you with health plan and others. This is based upon the info gathered by the Bureau of Labor Data in the United States.
25 APR 13
I am not a professional...
I could feel the blistering heat of a long festering rage coming from the annals of an email I received a few years back. “How dare you…” it read in flaming letters. The email address was quite vague, but I imagined its author to be a man, maybe white, older, with ever increasing lines around his mouth and eyes. There were a lot of exclamation points in his email, and big bold letters. He wanted me, and others like me, to cease and desist from posting ads in the local paper for people who wanted their portraits taken by someone who was not him. I finished digesting the email over hot tea and half of a waffle with bits of butter now completely saturating its bottom layers with buttery goodness. I switched the screen over to my webpage which I’d been working to finish. I had chosen the light box option which made all the pictures in my portfolio I’d taken over the past few years look radiant against the black background. I delighted in being able to pick out individual prices for my packages and my images, and in finally finding a competent use for my watermark. The last step was connecting my bank account to the pay feature. I clicked back over to the email and deleted it
I read a lot of books about what it really takes to be a professional photographer. Much like actors, most starry eyed photographers with or without degrees or training in hand, soon find themselves under a pile of bills, selling off equipment to make ends meet, or taking any old job outside of their genre regardless of whether they are competent to do it just to make a buck. I thought back to the email. Is that what this person wanted for me? For me to end up broke and unhappy just as he was professing to be so that I may have the distinct pleasure of calling myself, “professional?” I glanced at my newspaper ad. The word “professional,” did not appear anywhere in it. This man did not know me and perhaps his goal was to make me feel bad or give it all up so that he may get one more job, but his plight, wasn’t my problem.
I had my own problems. I was working 60 hour weeks, often times with only one day off at a job I no longer found any joy in. I’d also begun to get really sick for reasons I was unsure of at the time. It was soul crushing, but the only thing that kept me going in the darkest of moments, was on that one day off, being able to pick up my cameras and really express who I was to the world and to be able to connect with people on an intimate level. I was able to sit at that editing chair and really create a secondary world that didn’t exist on any plane but my imagination. That email wanted me to give up and to turn that light off for good and to go back to the darkness that was all around me. I narrowed my eyes at the thought. “How dare me…how dare YOU!” I have never ever claimed to be a professional photographer. Unlike perhaps those unscrupulous sort, I make it clear up front, before any talk of payment is made, that what defines a true professional photographer, is not what defines me. I show them my work. I show them who I am, but I pull no wool over their eyes. I do what I do because I am extremely passionate about it. The way my life has worked out, I have a degree, but it is not in photography. I have a job, but it is not “professional” photography. I feel no guilt in this department. I feel no shame. When it comes to how we choose to live and survive in this world, these two things intersecting have literally kept me alive in every sense of the word. When they call, and I thank the world that they do, I explain what I do and I make no bones about the fact that every day is a learning experience. I advise them that they know the risks, I often connect them with those that do call themselves professional, I give advice on pros and cons. I am truthful as I would want anyone to be with me. Some have walked away without even saying goodbye, others have had more questions. I am lucky that a lot give me the green light. I work twice as hard. I show up twice as prepared. I have to prove myself every time. Earn their respect. Earn the money I have asked of them. I will not work for free simply because that person thinks I should. I am doing a job, I am giving my time and effort, I am doing what I need to do to work as hard as I can to make my dreams come true. Just because I have no title, doesn’t mean my work is shit. There are famous artists whose names and works have littered the best museums and cathedrals and halls of the world, but if no one knows your name, and no one has “discovered” you, are you any less talented of an artist?
The professional photographer is not the gate keeper of all that is holy and grand about photography. Truth be told, there is only one thing that separates them from all the rest, and that is they claim it on their taxes. There are crap doctors, those that have gone through eight plus years of training, who show up and bungle the whole thing, so it is not the title of doctor which makes you a good doctor, it is what you do with that title, and how you treat people, and how you maintain an air of professionalism that extends beyond the ink in a degree. A professional photographer is hopefully one with a fair amount of experience who knows their craft, could teach it to others, who has the ability to see something there in frame, that others do not, and bring that to the surface. They charge what they do because they are both worth it and because it is needed to survive in this business. They aren’t “in the wind;” you can find them, their website, or their telephone number which has stayed the same, any day of the week. Perhaps they’ve had training, perhaps not. They have established a client base who return year after year. They try their best to stay current with trends, but aren’t consumed by them.
I would like to someday officially call myself professional, but the realities of making this a full time commitment are not kind to most. In life, sometimes, one must choose food on the table and roof over their head. Photography is no different. We’d all like to believe that if you love something enough, and you are passionate enough about it, you’ll be able to do it and nothing and no one can stop you, and that’s absolutely right. A 60 hour work week didn’t stop me, an angry email didn’t stop me, a major health issue didn’t detour me, and whoever you are whose possibly reading this and shaking their head in disgust, let’s get one thing straight, you..will..not...stop...me, because by God, I love photography and will work as hard and as long as I can to learn all that I can. Instead of sending snide emails and shaking your head, you should encourage this act because I am not trying to pretend. I’m trying to learn and grow. Yes, how dare you, tell someone that they should stop trying, stop learning, stop growing because you have been in the business twenty years or you have a photography degree, or you call yourself professional. What right have you to prevent me from trying to become one?
Every day I wake up, I am thankful for what my cameras have brought to my life. When I was at my lowest, when I was struck down by illness and wondering if tomorrow would come, those cameras helped me to keep moving. I am thankful that I am able to be a part of so many wonderful memories for others. I am on the mantles, in the wallets, in the invitations, in the albums, and in the hearts and minds of so many people that I have personally impacted with my work. I have several repeat clients which I believe is a testament to how hard I have worked to get where I am. We often wonder, why am I here? What is my purpose? Perhaps this is it. Perhaps I am here to provide a record of where we were all were at this particular time and space. Perhaps I am here to connect the infinite strings of humanity. Perhaps I am here to learn to stand up to all the people who have nothing better to do then tare each other down. Or perhaps like a lot of photographers, I am here to show you who I am through my lens, and you come to your own conclusions.
*This is for my beloved J who long ago saw me tearing up at the seams and struggling to breath, and turned on a light. There are some people that exist, that you will never be able to repay in this lifetime, and that is J. Two feet down, head up, moving forward.
A collection of exotic range of aquatic creatures, both freshwater and marine, are to be displayed in my photostream. Just waiting for my Pro Account. Dear contacts, keep checking this space.
A one-of-one classic Lamborghini has got to be pretty special.
I have chosen this Lego miniland model to kick off my account on Instagram. I hope people like the model.
Below is an article about the origins of this car, its history and restoration.
Courtesy of Autoblog.com
One-off Lamborghini Miura Spyder re-emerges after 40 years!
Exclusive news from Joe Sackey, Miura expert and author of "The Lamborghini Miura Bible" to be published in November 2008 by Veloce Publishing Ltd.
Purely as a design exercise, aimed at keeping demand for Lamborghini's Miura on the crest of a wave, Nuccio Bertone assigned Marcello Gandini a styling project to create a Spyder version of the Miura, commencing in the second half of 1967.
The 'Lamborghini Bertone Miura Roadster,' as it was officially christened, was finished in a light metallic blue with an off-white leather interior with red carpeting. The dashboard and steering remained black, and the steering wheel itself was the original avant-garde unit that was also used on the Marzal. This Miura carried chassis number 3498 (which, in accordance with its one-off prototype status, is not even listed in the factory's original production chassis number register), and P400 engine number 1642 was fitted.
For the January 1968 Salon de L'Automobile Bruxelles, Bertone pulled off another masterstroke when he unveiled this Miura Spyder to a gob-smacked Ferruccio Lamborghini, who, we are told, only saw the show car for the first time at the preview the day before. However, Bertone told Lamborghini to put any ideas of production right out of his mind: "We couldn't make this car for production because there were untold problems with stress-tolerance issues involving the chassis and the windscreen. It's purpose was simply that of a showcar," Bertone confided to a GM stylist years later.
With its Bertone publicity duties completed, the Spyder was sent to Sant'Agata (where it was famously photographed by both Zagari and Coltrin, and it was fettled by the service department with the idea of making it roadworthy to sell as an expensive one-off.
In 1968, International Lead and Zinc Research Organisation (ILZRO) CEO, the late Shrade Radtke, was looking for something radical to showcase the zinc alloys, coating and plating systems the company promoted for the major manufacturers in the Detroit area. It was decided to purchase a standard production Lamborghini Miura Berlinetta and have it specially built using zinc-based components and trim wherever possible.
Onwards then to Sant'Agata, and a meeting with Paolo Stanzani. However, Stanzani was against the idea of modifying a production Miura, and came up with the convenient solution of offering the one-off Miura Roadster, at the time at Sant'Agata for fettling. The offer was accepted on the spot.
In May of 1969, the "ZN75" was completed, now adorned with much extra brightwork and painted metalic green, and Bertone arranged for a private showing at a villa in Turin, attended by the hierachy of the Italian automotive industry. It was a special day, and Bertone, was proudly pictured with the car on that occasion.
There followed a globe-trotting schedule of International Motor Shows -
August 1969 – Shown in Detroit, Michigan
October 1969 – Shown in Montreal, Canada
November 1969 – Shown in Anaheim, California
January 1970 – Shown in Detroit, Michigan
January 1970 – Shown in Montreal, Canada
February 1970 – Shown in London, England and featured on BBC TV
April 1970 – Shown in Palmerton, Pennsylvania
July 1970 – Shown in Tokyo, Japan
August 1970 – Shown in Sydney, Australia
November 1970 – Shown in Paris, France
After a final showing at the 1978 Detroit Motor Show, in February of 1981, Radtke donated the car to the Boston Museum of Transportation for an estimated $200,000 tax deduction. In the mid-1980s, it was refurbished and its interior upholstery replaced.
In 1989, it was purchased by the Portman group, and has spent its life since then shuttling from auction house to temporary owner, likely because its full history and significance is unknown by most. Auctioned off soon thereafter, it spent a number of years in Japanese collection. In 2002 it returned to the USA for a brief sojourn, before finding another home with a Ferrari collector in France.
In December 2006, the priceless Miura Roadster was finally purchased by a New York property developer who, at huge cost, has had the car returned to its original 1968 Salon de L'Automobile Bruxelles specification. The conversion, by the Bobileff Motorcar Company, was completed in late August 2008.
Accounts Book 1947 - 1967. Green leather with beige spine. Gold lettering on spine reads "McDougalls Educational Company Limited" from Holmes McDougall.
Accession Number: SH.2009.371.4
Holmes McDougall were educational publishers based in Leith Walk, Edinburgh.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Soldier migrates email accounts
JOINT BASE BALAD, Iraq— Captain Robert Wallace, a Bolton, Miss., native and the automations management officer for 2nd Advise and Assist Brigade, “Black Jack,” 1st Cavalry Division, U.S. Division-North, migrates email addresses in preparation for movement to Kuwait at Joint Base Balad, Iraq, Sept. 25, 2011. (U.S. Army photo by Sgt. Justin Naylor, 2/1 CAV (AAB) PAO, 1st Cav. Div., USD-N)
I am doing my accounting today. I am supposed to be finishing it up. Ug. So of course I am doing everything else possible!
Seven Years' War, 1756-1763
This contemporary newspaper account reports on the Battle of Sainte-Foy, fought on April 28, 1760. It would prove to be the last victory of French forces against the British in North America.
Gift of the Bain family, 1980
Creator: London Gazette
Date: July 1, 1760
Identifier: london-gazette-extraordinary-article-cons
Format: Ephemera
Rights: Public domain
Courtesy: Toronto Public Library.
This is a photograph from the SSE Airticity Dublin Marathon which was held in Dublin City, Ireland on Monday October 27th 2014 at 09:00. This is the 35th year of the SSE Airtricity Dublin Marathon, which is run through the historic Georgian streets of Dublin, Ireland's largest and capital city. This photograph was taken in Dublin City Center Mount Street Canal Bridge which is just before the 26 mile mark on Mount Street.
PLEASE NOTE: These are completely unofficial photographs. We have no linkages whatsoever to the official photography outlets for the marathon
Please read the information below on how to use these photographs on social media or other media
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Two soldiers from the U.S. Army Honor Guard hold U.S. flags during a Full Honors Group Funeral Service for U.S. Army Air Forces Airmen missing from World War II in Section 60 of Arlington National Cemetery, Arlington, Virginia, June 27, 2018. Laid to rest were Airmen Tech. Sgt. John Brady; Tech. Sgt. Allen Chandler, Jr.; 1st Lt. John Liekhus; Staff Sgt. Robert Shoemaker; and Staff Sgt. Bobby Younger.
All five Airmen were members of the 323rd Bombardment Squadron, 91st Bombardment Group (Heavy), Eighth Air Force, during World War II when their nine-man aircrew was on a mission to Merseburg, Germany. Their B-17 plane was hit by flak during this bomb run and fell out of formation, crashing two kilometers southwest of the town of Barby on Nov. 2, 1944. Three crewmembers survived and were taken as prisoners of war. One airman who was killed was identified in May 1945 while the rest of the crew was declared missing in action. In January 1951, the American Graves Registration Command (AGRC) concluded that the five unaccounted for crew members perished in the crash with the location of the B-17 unknown.
From the Defense POW/MIA Accounting Agency (DPAA)'s new release:
Department of Defense historians and analysts, aided by German researchers and local government officials, located a potential crash site associated with their loss. Recovery operations were conducted from June to September 2015. Recovery teams found osseous remains, material evidence and aircraft wreckage.
DPAA returned to the crash site in April and May 2016, locating additional osseous remains, material evidence and aircraft wreckage, consolidating them with the evidence from the previous operations.
Three of the crew, Brady, Shoemaker and Younger, were able to be individually identified through mitochondrial DNA analysis, forensic identification tools and circumstantial evidence. The remains that could not be individually identified represented the entire crew.
Two caskets were present at the service on June 27 - one with the individual remains of Shoemaker, and another with the commingled unidentified remains. Individuals who received U.S. flags were: Nancy Farrell, Shoemaker's sister; Gertrude Reynolds, Liekhus' sister; and Fern Bridges, Chandler's widow who has since remarried. The U.S. flag from the casket carrying the commingled remains will be presented to the Casualty Assistance Office.
(U.S. Army photo by Elizabeth Fraser / Arlington National Cemetery / released)
#Accounting #firm refers to a corporation that offers accounts administration to customers. That is, it may handle a client's finance. goo.gl/5kbxmJ
I had an account of Youtube some time ago, and I just uploaded 1 video (Battlefield 3), but now I uploaded 3 more videos of Red Orchestra 2.
So I want that you take a look at my videos. I use Fraps, but videos are like 2 Gb or more, so I used a conversor, to convert those videos to MP4, WMV or other formats.
Here I put links (versions):
In MP4: www.youtube.com/watch?v=kdTXi6WEO7M
In WMV: www.youtube.com/watch?v=AZMa4tfO0sA
www.youtube.com/watch?v=CzYSKZoNsew
My account: www.youtube.com/user/jada12pw
This pic is when I was attacking the russian side and 2 enemy tanks arrived, those russian drivers... lol.