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Atlanticwall Regelbau S75 & S80 - 38 cm S.K.C/34 Naval Gun - The Adolf Gun Bunker.
S75 is the ammunition depot of the Bunker and
The S80 is the for machine room and room for crew.
The 38 cm SK C/34 naval gun was developed by Germany mid to late 1930s. It armed the Bismarck-class battleships and was planned as the armament of the O-class battlecruisers and the re-armed Scharnhorst-class battleships. Six twin-gun mountings were also sold to the Soviet Union and it was planned to use them on the Kronshtadt-class battlecruisers, however they were never delivered. Spare guns were used as coastal artillery in Denmark, Norway and France. One gun is currently on display at Møvig Fortress outside Kristiansand.
Ammunition
It used the standard German naval system of ammunition where the base charge was held in a metallic cartridge case and supplemented by another charge in a silk bag. Both cartridges were rammed together.
Propellant charge
Main charge: 38 cm HuelsKart34 – GefLdG – 108 kg (238 lb) RPC 38 (16/7)
Fore charge: 38 cm VorKart34 – GefLdG – 104 kg (229 lb) RPC 38 (16/7)
Shell
Four types of shells were used by the 38 cm SK C/34 although the Siegfried-Granate could only be used by the coast defense versions. Almost 40 percent lighter, this latter shell could be fired with a reduced charge at 920 metres per second (3,000 ft/s) out to 40 kilometres (44,000 yd). With a full charge it reached 1,050 metres per second (3,400 ft/s) and could travel 55.7 kilometres (60,900 yd) – over 34 miles.
Naval gun
The data given is according to Krupp datasheet 38 cm S.K.C/34 e WA52-453(e). This gun was mounted in pairs in the Drh.L. C/34e turret which allowed elevation from -5° 30' to +30°. Each gun had an individual cradle, spaced 3.5 metres (11 ft) apart, but they were normally coupled together. In general the turret was hydraulically powered, but the training gear, auxiliary elevation, auxiliary hoists and some loading gear was electrically powered. The turrets weighed 1,048 tonnes (1,031 long tons; 1,155 short tons) to 1,056 tonnes (1,039 long tons; 1,164 short tons), rested on ball bearings on a 8.75 metres (28.7 ft) diameter track, could elevate 6° per second and traverse 5.4° per second. The guns were loaded at +2.5° and used a telescoping chain-operated rammer. According to German manuals the required permanent capacity for the loading equipment for ammunition was 2.5 shells per minute. During testing period at the Baltic Sea the AVKS Report states an output of the ammunition delivery system up to 3.125 shells per minute. Under battle conditions Bismarck averaged roughly one round per minute in her battle with HMS Hood and Prince of Wales.
These guns were modified with a larger chamber for coast defense duties to handle the increased amount of propellant used for the special long-range Siegfried shells. Gander and Chamberlain quote a weight of 105.3 tonnes (103.6 long tons; 116.1 short tons) for these guns, presumably accounting for the extra volume of the enlarged chamber. An armored single mount, the Bettungsschiessgerüst ("Firing platform") C/39 was used by these guns. It had a maximum elevation of 60° and could traverse up to 360°, depending on the emplacement. The C/39 mount had two compartments; the upper housed the guns and their loading equipment, while the lower contained the ammunition hoists, their motors, and the elevation and traverse motors. The mount was fully powered and had an underground magazine. Normally these were placed in open concrete barbettes, relying on their armor, but Hitler thought that there was not enough protection for the guns of Battery Todt emplaced on Cap-Gris-Nez in the Pas de Calais near Wimereux and ordered a concrete casemate 3.5 m (11 ft) thick built over and around the mounts. This had the unfortunate effect of limiting their traverse to 120°. Other C/39 mounts were installed at the Hanstholm fortress in Denmark, and the Vara fortress in Kristiansand, Norway.
Four Drh LC/34 turrets, three of which were originally intended to re-arm the Gneisenau and one completed to the Soviet order, modified for land service, were planned to be emplaced at Paimpol, Brittany and on the Cap de la Hague on the Cotentin Peninsula, but construction never actually began. Construction for two of those turrets was well underway at Blaavand-Oksby, Denmark when the war ended.
how is a Regelbau
Before and during World War II, the Wehrmacht built several standardised bunkers and weapon positions in Germany and German-occupied countries. These buildings were called Regelbau, i.e. standardised buildings.
The Regelbau (German for "standard design") were a series of standardised bunker designs built in large numbers by the Germans in the Siegfried Line (German: Westwall) and the Atlantic Wall as part of their defensive fortifications prior to and during the Second World War.
#Bunker #WorldWar2 #Atlanticwall
Many enterprises find it difficult to efficiently manage their #PayrollAccounting. Schedule consultation with us to get the best accounting solutions! goo.gl/GWOc2y
Photo from the Scaling New Heights Accounting and Training Conference. For additional photos from the event see: Scaling Flickr photo set June 2012.
Picture by Grant Wickes principal of Wickpoint Management Services and VP Businss Development Wasp Barcode Technologies.
Photo (cc). If using photo, please credit: Photo courtesy Grant Wickes.
In picture: Shadi Gholami, Kim Wilson
#snh2011 #scalingnewheights
Hi guys!
For two reasons, I decided to make a new flickr account.
My pro account expired, and I also wanted a new, fresh start.
I'm still going to be active on this account, but I won't be uploading to it much anymore, if at all.
So add me on my new one! :)
www.flickr.com/photos/78358942@N07/?savedsettings=7258864...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
inagorillacostume.com/2011/funny-friday-funny-retweets-me...
When we created this website we set up an In A Gorilla Costume Twitter account to retweet our blog posts and our guerrilla marketing initiatives. I also used Yahoo! Pipes to aggregate twitter searches and retweet conversations about "in a gorilla costume". I'm not going to lie, I did it to find and retweet some funny sh!t.
Last night I checked on the account for pretty much the first time since our first test guerrilla marketing blog posts in April. Needless to say, i ended up staying up an hour later sifting through and laughing at all of the funny retweets, @replies and love the @AGorillaCostume has received so far.
Without further ado, here are the best, funniest and our favorites.
Funny Retweets and Mentions from In A Gorilla Costume on Twitter:
[caption id="attachment_2487" align="aligncenter" width="361" caption="Twitter AGorillaCostume - you tease me"] [/caption]
Sorry @gracenjohnson, didn't mean to be a tease!
[caption id="attachment_2486" align="aligncenter" width="354" caption="Twitter AGorillaCostume - unlocked the gorilla bot"] [/caption]
Sweeeet, we're not called a gorillabot thanks to @gubeltrut.
[caption id="attachment_2485" align="aligncenter" width="358" caption="Twitter AGorillaCostume - strange rt by inagorillacostume"] [/caption]
My guess is it's pretty equal, @a_musinghcguy.
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[caption id="attachment_2484" align="aligncenter" width="359" caption="Twitter AGorillaCostume - powerslides and fan dance"] [/caption]
Powerslides and a Fan Dance with KhandieKhisses? I wasn't quite expecting that either!
[caption id="attachment_2482" align="aligncenter" width="368" caption="Twitter AGorillaCostume - my mother in a gorilla costume"] [/caption]
@jen4coffee @studio_gal We want those pictures!! (Maybe. Send pictures first :P)
[caption id="attachment_2481" align="aligncenter" width="356" caption="Twitter AGorillaCostume - meet me in 10"] [/caption]
@i_lve-robsten: ok.@ToRoaminTheRain: I'll confirm that in 20. ;)
[caption id="attachment_2480" align="aligncenter" width="361" caption="Twitter AGorillaCostume - lmao yo really get outta here"] [/caption]
@AndyForeverMacn, @GeorgieOvoxo, @GeorgieBlooper bwahahaha!
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[caption id="attachment_2479" align="aligncenter" width="363" caption="Twitter AGorillaCostume - it was this foo"] [/caption]
@EvanWindfieldIt was me! No wait, just kidding.
[caption id="attachment_2478" align="aligncenter" width="362" caption="Twitter AGorillaCostume - if i had to feed you"] [/caption]
Ha same here, @BobbyBlissXXX, glad you enjoyed it as well.
[caption id="attachment_2477" align="aligncenter" width="355" caption="Twitter AGorillaCostume - I was in there too"] [/caption]
Ha this is super funny THEConnorJamesV - I had to google PMSL. :P
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[caption id="attachment_2476" align="aligncenter" width="352" caption="Twitter AGorillaCostume - funniest spam ever"] [/caption]
I agree with @Mitch1984.
[caption id="attachment_2475" align="aligncenter" width="359" caption="Twitter AGorillaCostume - everyone please follow"] [/caption]
Thanks for the love @iLegitQuotes!
[caption id="attachment_2483" align="aligncenter" width="354" caption="Twitter AGorillaCostume - new best friend"] [/caption]
New best friend right here -> @tazerwp
Which ones are your favorites? Let me know in the comments below!
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The Great Limerick Run 2015 (Marathon, Half Marathon, Relay, and 6 Mile) races were held in Limerick City, Ireland on Sunday 3rd of May 2014 starting at 09:00. This was a very large mass participation event which is now firmly established on the Irish running calendar. These are a set of a photographs from: the start of the marathon, the mile 2 mark of the mark, the half way point of the marathon (to about a 3:40 finishing time), a selection from mile 20 of the marathon. These sets of photographs will not include every competitor. The official results are available here [www.tdl.ltd.uk/] and the official race website is available at [www.greatlimerickrun.com/] These are not offical race photographs.
We have a full set of photographs from todays race on Flickr at this album location:https://www.flickr.com/photos/peterm7/sets/72157651923101059/
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
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 directly 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.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,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 or acknowledge us as the original photographers.
This also extends to 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 this photographic image here directly 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. Have a look for a down-arrow symbol 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 takes 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.
Let's get a bit technical: 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.
Above all what Creative Commons aims to do is 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
By Bailie Uppena (Pompei, Italy)
Degree: Accounting/BBA/Tippie
Hometown: Waukee, Iowa
Session Abroad: Fall 2017 Austria
Study Abroad Program Provider:
Vienna Exchange Program
Student Experience:
"The mountain range consisting of Mount Vesuvius stands triumphantly through a window of one of Pompeii’s ruined buildings. The volcano which caused the city’s downfall continues to overlook the destructed city seemingly proudly."
A group of accounting students in the Lumpkin Building on the campus of Eastern Illinois University in Charleston, Illinois on March 11, 2015. (Jay Grabiec)
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
A day in front of a computer, finishing off things for last years accounts, the treat at the end of the working day, a walk on a sun drenched beach.
Dunnet Bay, Caithness, Scotland.
Description: Typewritten booklet accounting the brief biography and professional life of a Perkins School for the Blind graduate (1934) and Perkins-trained Piano Tuner and Technician titled "Notes from Edward E. Vachon, Perkins Trained Piano Tuner and Piano Technician Presently residing at 271 Auburn St., Manchester, N. H. 03103."
Full text: 5
Working under the umbrella of these three organizations, I had the pleasure of tuning for the greatest number of artists possible in the classical as well as the popular field. Some of the many are:
Symphony Orchestras
Buffalo Symphony
Detroit Symphony
Kansas City Symphony
Phoenix City Symphony
Washington Symphony
Baltimore Symphony
Longene Symphonette
Boston Pops Orchestra
Duo Piano Artists
Luboshuts & Nimenoff
Gold & Fiszdale
Whittemore & Lowe
Feenty & Teisher
Virtuoso Artists
Claude Arau
Leo Litvin
Theodore Litvin
Eugene Estoman
Nichol Henriette Schwitser
Beverage Webster
Lee Luvisi
6
Richard Tucker
Leonard Shurr
Singers
Eileen Farrell
Rita Stevens
Morton Downey
Nat King Cole
Violinists
Isaic Stearns
Chelists
Pablo Casell
Last, but certainly not least Liberache- Twice
Around 1950, the Currier Art Gallery acquired a Steinway Grand Piano and started a concert series. I have serviced that piano to this day, 40 years.
I have also tuned the piano at the Manchester Institute of Arts and Science for 50 years.
The Manchester City Library Auditorium for over 50 years.
The Practical Arts Auditorium for over 50 years, tuning for the concert work only
Date: no date
Format: text
Digital Identifier: AG145-013-0146
Accession note: Donated by Charles R. Cormier, circa 2003
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
Project 365 - Image 133/365
This image might not be as striking as some of the others from the Isle of Skye, but you have to take the following into account:-
[*] Rolf is only a puppy
[*] Rolf is under 3 inches tall
[*] This photo was taken approx 450 metres up the Old Man of Storr walk
Rolf would like to add "Arf, aaaaarrrr, arffff!"
From the Uglydoll blog at adventuresinuglyworld.blogspot.com/
The liturgical east window of the 1950s extension, installed during further work in 1993. The outer lights depicting King David and Isaiah are by Margaret Rope and originate from the former convent at East Bergholt.
The church of the Holy Family & St Michael was built in 1930 to serve the local Catholic community at the expense of the Rope family, thus it is fitting that the most famous members of that family, the great Arts & Crafts stained glass artists and cousins, Margaret Agnes Rope and Margaret Edith Aldrich Rope, should be so well represented in the adornment of their family church.
The original church building was more of a chapel of ease whose congregation soon outgrew it, thus it has been greatly extended since, most significantly in the 1950s with a new nave added at a right angle to the original structure like a huge transept. Further additions were finished in 1993, giving the enlarged and somewhat sprawling worship space we see today.
The original church contains rich bespoke windows by Margaret Agnes Rope (known as 'Marga'), beautifully painted and detailed in jewel-like colours. The liturgical east window is a group of lancets portraying the Virgin & Child flanked by St Joseph & St Michael (commemorating Michael Rope who died in the R101 airship disaster in 1930, indeed the church was founded in his memory). To the liturgical south are windows of St Dominic and the English Martyrs whilst the porch contains further delightful vignettes.
The extension from the 1950s contains further windows by Marga but none actually designed for it. The new liturgical east window incorporates striking and superbly detailed figures of King David and Isaiah that originate from a nearby former convent. The central light that tries to unite with them in a new three-light window is an unhappy new creation from the 1990s that fails to balance the colouring and artistry of the Rope windows. It should be said however that matching Margaret Rope glass would be a difficult task for anyone, but the overall effect is best viewed at a distance. More of Marga's work can be seen around the church in the form of the framed and mounted cartoons for windows made for other locations.
Several further panels are the work of Margaret Edith Aldrich Rope (known as 'Tor'), one designed for the building and another earlier work (a stunning Nativity) was relocated here more recently. Finally there is here single light window of three of the English Martyrs in the side chapel that was originally part of the pre-extension church. The artist was laid to rest in the churchyard here in 1988.
Seeing this church with it's wonderful Rope windows was a hugely rewarding and immersive experience for me and I am greatly indebted to Simon Knott and his wife Jaqueline for so generously organising this visit for me. There is a much fuller account of the church and its treasure's on Simon's site below:-
Members of a charcoal making women association with a kart loaded with the surplus of CFT 's wood production, Kisangani - DRC.
Photo by Axel Fassio/CIFOR
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A importadora FinaStore veio para oferecer aos cliente uma experiência diferente na hora de poder obter um produto importado com preços excelentes e segurança na hora de realizar o pagamento.
Now you can follow me not only on flickr and facebook but also on behance :D So check out my behance account, follow me there, and give big support! :D Big Thanks for everyone who likes my work :D
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Dear Quentin,
My wife and I have done very well working in healthcare the past 25 years. We’ve always taken advantage of 401(k) and 403(b) to the max, and have additional savings in an IRA and almost no revolving credit debt. We currently have $1.8 million in these savings accounts.
However, at 52, we decided to move to Florida — now that our kids are both grown and on their own — rather than wait until retirement. We both still work and together make over $400,000 a year. We plan to work until 65 at minimum and have never had serious health problems.
At issue: We bought a house at the very top of our desired range and have a 20-year mortgage (2.5% interest) with a monthly payment of over $4,100. We have always paid extra on our mortgages, and my goal was to do the same with this house so that by the time we hit retirement at 65, it is paid off.
However, my wife says we will have plenty of money once we hit retirement age to maintain the house payment for the first five to six years of retirement, and that we shouldn’t “penny pinch” now that we have time to travel, even before we fully retire.
I understand that we are blessed to have such a nice nest egg, but I worry that stretching that house payment into our first five years of retirement will eat a huge chunk out of the retirement funds that could jeopardize longer-term planning. We also plan on this house being the bulk of the “inheritance” for our two children, so don’t plan on selling and moving once we finally make the retirement plunge.
Thoughts on how to approach this mortgage conundrum?
Two Pharmacists in Florida
You can email The Moneyist with any financial and ethical questions related to coronavirus at qfottrell@marketwatch.com, and follow Quentin Fottrell on Twitter.
Dear Pharmacists,
This is a win-win. You’re charmed if you do, and you’re charmed if you don’t.
This column often leaves readers flabbergasted. “I can’t believe this crazy situation!” readers say as they try to process some letter writers’ misdeeds or familial shenanigans. “Who would do something like that?” It’s a pleasure to read a letter where people have actually done so much right. You’re in a financially secure position and, in a worst-case scenario, you could always downsize from your current home.
The answer to your dilemma is an extremely subjective one. There is an argument to be made that we don’t know whether any of us will be here by the time our mortgages are paid off, so why not fulfill our obligations and enjoy all that life has to offer.
Given the interest you will undoubtedly save by paying off your mortgage early, even at 2.5% interest, I agree with you. Overpay if you can, especially early on in the lifetime of the loan when the interest-rate payments are higher.
Depending on the terms of your mortgage, you may be limited on the amount in overpayments you can make (10% in some cases), and as frustrating and galling as it seems, there may also be a penalty for overpaying.
For you and your wife, however, that could create a happy middle ground.
www.newsobsession.com/my-wife-and-i-have-1-8m-saved-and-e...
This is the first screen of Microsoft Office Accounting Express 2007. Free download www.ideawins.com/ (via Lifehacker)
I like that you can import from Quickbooks and MS Money. I'll look at it in detail in the next few days. Looks easy to use at first glance.
Disclaimer: The photo albums in this Flickr account are not intended to be collections of my best hand-picked images. Such images are included but the vast majority of images, 4800 and counting, commingled amongst the few gallery-worthy images, are snapshots, bad shots and missed shots (the bad shots containing some element of the composition that strikes my fancy despite its flaws thus saving it from the Recycle Bin and the missed shots being those photos where the exposure and/or DoF were not completely appropriate). There is trip documentation and there are pure experiments (including multiple treatments of the same scene such as different angles, different post processing, different times of day, sunrise/sunset progressions, zoom progressions, etc.). This account is basically a secondary backup location with convenient captioning, titling & EXIF capabilities.
The installation of Paint by Number: Accounting for Taste in the 1950s exhibited at the National Museum of American History from April 2001 to January 2002.
Visit the exhibition online
Bill Geist interviews curator Larry Bird and Trey Speegle on Paint by Number, 2001 www.youtube.com/watch?v=ZNMeK85QJ9U&list=UUcBeQ2q6YyO...
Curator Larry Bird on Paint by Number, The Chatroom, CTV Toronto, 2001
www.youtube.com/watch?v=lsQG5YglHeQ&feature=relmfu
NPR's Nina Simeone tours the exhibit and paints the outdoor banner on the museum's facade www.npr.org/templates/story/story.php?storyId=1122867
Division of Political History collection
A group of accounting students in the Lumpkin Building on the campus of Eastern Illinois University in Charleston, Illinois on March 11, 2015. (Jay Grabiec)