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THIS IS AN ARTIST ILLUSTRATION.
Webb has revealed an exoplanet atmosphere as never seen before!
The telescope has revisited gas giant WASP-39 b to give us the first molecular and chemical profile of an exoplanet’s atmosphere, revealing the presence of water, sulfur dioxide, carbon monoxide, sodium and potassium, as well as signs of clouds. This builds on Webb’s initial look at the planet back in August, which showed the first clear evidence of carbon dioxide in a planet outside our solar system. The latest findings bode well for Webb’s capability to investigate all types of exoplanets, including the atmospheres of smaller, rocky planets like those in the TRAPPIST-1 system.
We learn about exoplanet atmospheres by breaking their light into components and creating spectra. Think of a spectrum as a barcode. Elements and molecules have characteristic signatures in that “barcode” we can read.
This planet is what is known as a “hot Saturn” — a planet about as massive as Saturn but eight times closer in orbit around its star than Mercury is around the Sun. The data shown here is taken from 3 of Webb’s science instruments. Together, they mark a series of firsts in science, including the first detection of sulfur dioxide in an exoplanet atmosphere. This, in turn, is the first concrete evidence of photochemistry — chemical reactions initiated by high-energy light, which are fundamental to life on Earth — on an exoplanet. Understanding the ratio of different elements in relation to each other also offers clues as to how the planet was formed.
Want to see the data in more detail and learn more? Head to the feature here: www.nasa.gov/feature/goddard/2022/nasa-s-webb-reveals-an-...
ILLUSTRATION: NASA, ESA, CSA, Joseph Olmsted (STScI)
Image description: A pinkish planet and its star on an empty black background. The star is bright white and located in the upper left, illuminating part of the face of the planet.
Was testing out the Olympus camera's new tethered shooting capability that was just added, so far while it has potential its still very very rough. It would be nice if I was able to transfer the images into LR but you can't so for now its a two stage process, one to get the images from the camera into the computer, then the second process to import the images into lightroom.
Also while the image you use to shoot the image from the camera rotates, the image it pulls from the camera once you take the shot isn't, so its a bit of a pain in the ass if you are taking anything vertically.
There are buttons and functions that disappear once you connect the camera into the computer, you can no longer format, which isn't a big deal, the thing that is a big deal to me however is it completely removes myset functionality, in fact if you check the camera it acts like the button assigned to a myset is doing nothing, and if you try to reselect it in options the myset function is gone. The good news is once the camera is free it goes back to normal.
The focusing from the computer is a bit rough, and some of the controls could use some work, and some polish
But its new, so hopefully Olympus works some of the bugs out, I would like to see it work with LR either as a plugin, or Adobe getting it so it works with their camera tethering.
A Fountain at Harewood House, near Leeds, West Yorkshire.
Harewood House is a Grade 1 Country House near Leeds in West Yorkshire.
It was designed by architects John Carr and Robert Adam and built between 1759 and 1771 for wealthy plantation and slave owner Edwin Lascelles - the 1st Baron Harewood, and is still home to the Lascelles family.
The 1000 acre grounds were designed by Capability Brown.
The house is one of the ten 'Treasure Houses of England'.
A spectacular house and grounds that is well worth a visit, but uncomfortable about the source of the wealth that built it.
*** 'Explore' #364 (briefly!) 31 Oct 2008***
**** 10,000 Views 20th Aug 2010 ****
This is the view that you see as you enter Blenheim from the town of Woodstock (you miss it if you go through the tourist entrance!).
It was described as 'The Finest View in England' by Lord Randolph Churchill (father of Winston Churchill), when he brought his American bride to Blenheim. King George III said 'We have nothing like this' when he saw it.
This view arises from the work of Vanbrugh, who built the Palace and the Grand Bridge, followed 50 years later by Lancelot 'Capability' Brown, who created the lake and island.
It's an awkward scene to photograph well. It's just a little bit too wide from the Palace to the RH side of the Grand Bridge, I'm not a fan of letter box views, so this is about as far as I wanted to go; some bits of the Palace are missing.
The other problem that arises is that the Sun goes off the Grand Bridge by 11:00 BST, also the trees on the left of the lake are in deep shadow for much of the morning. They get the Sun in the afternoon, by which time the bridge is in shadow! So timing is very critical with this scene.
The light was brilliant, but it was clouding over; however I think clouds add a lot to a scene, even though you may have to wait a bit for the lighting you want.
I had to separate the sky plus lake from the grass and trees and work on them separately, on the original image the sky was too bright and the trees too dark. If you work in JPEG's this can be a bit tedious, it's less of a problem with RAW images.
I worked in 'Photo Studio', this came free with the camera. It lacks a lot of the functionality of Photoshop, but it's possible to do tolerable work with it (I think!)
Please note that this image is reduced from full size to a maximum 600 pixels. This is to discourage theft; if you are interested in using it please contact Getty Images.
Sheffield Park Garden is an informal landscape garden five miles east of Haywards Heath, in East Sussex, England. It was originally laid out in the 18th century by Capability Brown, and further developed in the early years of the 20th century by its then owner, Arthur Gilstrap Soames. It is now owned by the National Trust.
The gardens originally formed part of the estate of the adjacent Sheffield Park House, a gothic country house, which is still in private ownership. It was also firstly owned by the West Family and later by the Soames family until in 1925 the estate was sold by Arthur Granville Soames, who had inherited it from his childless uncle, Arthur Gilstrap Soames.
Sheffield Park as an estate is mentioned in the Domesday Book. In August 1538, Thomas Howard, 3rd Duke of Norfolk, entertained Henry VIII here. By 1700, the Deer Park had been partially formalised by Lord De La Warr who planted avenues of trees radiating from the house and cleared areas to establish lawns. In the late 1700s, James Wyatt remodelled the house in the fashionable Gothic style and Capability Brown was commissioned to landscape the garden. The original four lakes form the centrepiece. Humphry Repton followed Brown in 1789–1790. In 1796, the estate was sold to John Holroyd, created Baron Sheffield in 1781. It is particularly noted for its plantings of trees selected for autumn colour, including many Black Tupelos.
By 1885, an arboretum was being established, consisting of both exotic and native trees. After Arthur Gilstrap Soames purchased the estate in 1910, he continued large-scale planting. During World War II the house and garden became the headquarters for a Canadian armoured division, and Nissen huts were sited in the garden and woods. The estate was split up and sold in lots in 1953. The National Trust purchased approximately 40 ha in 1954, now up to 80 ha with subsequent additions. It is home to the National Collection of Ghent azaleas.
In 1876 the third Earl of Sheffield laid out a cricket pitch. It was used on 12 May 1884 for the first cricket match between England and Australia. The Australian team won by an innings and 6 runs.
SAC 01 NATO Strategic Airlift Capability Boeing C-17A Globemaster III - cn F-207 take- off @TRD/ENVA 27.02.16 NATO Cold Response Exercise 2016
Ickworth House is a country house outside Bury St. Edmunds, Suffolk, England. It is a neoclassical structure topped by a giant rotunda in a park laid out by Capability Brown. It is in the care of the National Trust (Explore #192
I'm very lucky to only live up the road from this beautiful Capability Brown designed landscape at Croome in Worcestershire.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillipps, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s. William Morris was so inspired by Broadway Tower and other ancient buildings that he founded the Society for the Protection of Ancient Buildings in 1877.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public (entrance charge), as well as a gift shop and restaurant.
Commentary.
Landscaped by Lancelot “Capability” Brown,
this estate is crowned by a Neo-Greco-Roman mansion,
now used as part of Stowe Public School.
Brown ensured that from the house a number of Classical structures would provide, eye-line, focal points within the Park Landscape.
These include the scaled-down copies of Greek Temples, like the one shown,
Obelisks, Columns with statues and a Corinthian Arch,
centred on the house, nearly a mile to the south-east.
The lakes and valleys provide slopes and water, to further enhance the vistas and present a variety of eco-systems.
Copse woodland and mature trees lining vast, sweeping lawns.
Wood-fringed lakes, streams and waterfalls.
Wild meadow land, farm-land and a maze of interconnecting drives and paths.
This lake is known as the Octagonal Lake.
A brood of Coot chicks briefly swam out into the open, but lily-covered, expanse of water.
Mum and Dad Coots ushered them back into the safety of the nest amongst the reeds, rushes and Water-Irises.
The adults then swam out to forage for food before returning to the nest.
Although far from natural, the Estate has matured and provides a very pleasant and relaxing environment, managed in recent times by the National Trust.
If the cold weather carries on this pool will eventually freeze over.
In some places the ducks were walking on he ice.
Back in the 18th century the winter's were more reliable with plenty of ice for the house.
Still a WIP, but she is almost complete! Just need to throw on another mirror, finish the muffler, and improve the structural capability of the front hull.
The Nikomat (Nikkormat) EL, originally released in 1972, is the first focal plane shutter Nikon SLR camera with aperture priority (Av) automatic exposure capability, in addition to manual exposure setting. In fact, this is one of the first cameras in the world to offer aperture priority exposure control and an electronic shutter. The camera is based on the Nikkormat mechanical body chassis, although its exterior pentaprism design is looks different from the mechanical Nikkormats (the larger prism housing design accommodates the non-flexible circuit board inside). The control interface has been changed, though, to the style of the future FE/FM series of cameras. In other words, the shutter speed and ASA (ISO) are no longer set through rings on the lens mount, but rather with dials on the top of the body. Although the traditional Nikkormat interface worked well, this new layout is easier to see and adjust, and became the standard for future generations of Nikon bodies until the advent of control wheels on the Nikon F-801 and other similar bodies of that later generation.
The Nikomat EL is the first of three electronically controlled bodies in the Nikkormat line. Later models included the Nikomat ELW and the Nikon EL2. Nikon made various changes over the lifespan of these three models, leading the way to eventual release of the FE, which was based on a new, more compact and lighter body design. Indeed, the final EL2 version was only in production for a short time, from 1977 to 1798, before it was replaced by the Nikon FM, with its new form factor. All three models feel similar to the user and work great. Differences between the three models will be discussed below, and basically entail gradual improvements in specifications.
The Nikomat EL still incorporated CdS exposure meter technology, which had somewhat slower response at lower light levels compared with later SPD meters. The exposure meter gives a 60% weight to the 12mm circle in the center of the viewfinder, which is the Nikon standard for most cameras of this era. The measuring range of the exposure meter is EV 1-18, which remained unchanged on all EL/ELW/EL2 bodies, as well as the future FE/FM series. The electronic shutter has an official range of only 4 sec. to 1/1000 sec. There is no detent position on the shutter speed dial for 8 sec., but if you move the dial to where 8 sec. would be if it were marked, the shutter actually opens for about 8 seconds! I haven't actually used the 8 sec. "setting" so I don't know how accurate it is, or whether the exposure meter can accurately select up to 8 sec. in aperture priority mode. In any event, 8 sec. is not officially supported on the EL. If the battery dies, the EL shoots at a fixed shutter speed of 1/90 second regardless of what speed the shutter speed dial is set to. Film ASA range is limited to 25 - 1600 in this first generation EL, and there is no exposure compensation dial on the ASA setting ring. Of course, if you know how to use the camera, you can easily implement exposure compensation by just changing the selected film speed. The EL is from the same generation as the Nikkormat FT2, and links the lens to the camera's exposure meter by slipping the aperture ring claw on the lens onto the metering pin around the lens mount. For users of Nikon bodies of that generation, attaching lenses to the camera body this way is second nature.
The EL is the first Nikon body to use the use the new type of exposure meter display in the viewfinder, which became very popular and continued to be used virtually unchanged all the way through the final body in the later FM line, the FM3A! In manual exposure mode, a green needle points to the selected shutter speed on the left side of the viewfinder; you adjust the aperture ring and/or shutter speed dial until the position of the green needle coincides with the position of the black exposure meter needle. In aperture priority mode, the green needle points to "A" instead of a shutter speed, and the black needle points to the automatically selected shutter speed, including intermediate shutter speeds of course. There are two disadvantages of the EL's viewfinder display. First, it works great when there is sufficient light to see the needles, but the needles can be hard to see when photographing at night or in a dark theater, etc. This weakness continued all the way through the FM3A. Another disadvantage of the EL's viewfinder display, which continues from the mechanical Nikkormats, is that there is no indication of the selected lens aperture. You need to look at the aperture ring on the lens to know our aperture setting. The selected aperture does not show up in the display of these semi-pro Nikon bodies until the FM. The location and type of battery used by the EL, ELW and EL2 as relatively unusual. The camera uses a single, relatively large 6 volt silver oxide battery (e.g., 6.2v 4SR44). The battery is installed at the bottom of the mirror box by using the mirror lock-up lever to raise the mirror and opening the battery compartment cover with your finger. This works OK, although you need to be careful to avoid getting dust, etc. in the mirror box when changing the battery.
The EL apparently had at least two types of focusing screens. My EL has a central microprism spot surrounded by a 12mm circle for the central weighted area of the exposure meter. The central microprism circle pops into focus and is quite easy to use. However, the EL user manual describes the standard screen as a central split-image surrounded by a microprism collar. Since my EL is not a particularly early model (The EL starts a serial number 5100001 and mine is 5174881) perhaps my sample was originally a special order. Or possibly it was standard on "Nikomats" like mine that were purchased in Japan. Focusing screens on the EL, ELW and EL2 are not interchangeable. Viewfinder coverage is a rather limited 92%, but this is not unusual for the era.
In addition to the just-mentioned mirror lock-up function, the EL also has the usual aperture stop-down button, self-timer lever, etc. The self-timer lever is pushed in towards the lens to provide exposure lock in aperture priority mode. The camera also has a fixed hot shoe on top of the prism. Fastest electronic flash synch speed is 1/125 sec., same as for other Nikkormat bodies.
The EL is a really solid professional level camera, which provides state-of-the-art features for a first generation body with an electronic shutter. Sitting here in 2016 as I write this article, my black EL still looks almost new and functions 100% just as it did when it was manufactured. Some years back, it did have a problem with the shutter not always firing as set, but this was easily repaired by my local camera tech.
So what improvements were made in the subsequent ELW and EL2 models? The ELW was almost unchanged from the EL. Basically, the ELW adds support for the AW-1 auto winder. It also adds a shutter release button lock (to accommodate the auto winder), although the shutter still locks on the EL when the film advance lever is pressed in against the body. All other features were the same as the EL.
The EL2 incorporates a larger number of changes, and is closer in features to the subsequent Nikon FE. The EL2 does away with the exposure meter pin/claw system and moves to the more convenient automatic indexing system that is employed by the Nikkormat FT3 and later cameras. Also, another big change for the EL2 is that it employs a more modern and faster SPD exposure meter technology compared with the CdS meter of prior generations. The shutter for the first time officially supports shutter speeds as long as 8 seconds instead of the previous 4 seconds. The EL2 also includes for the first time an exposure compensation ring and expands the available film ASA range to 12-3200. Finally, Nikon changed their naming convention starting with the EL2. The camera is called the "Nikon EL2" instead of "Nikkormat/Nikomat" which was the name used for the EL and ELW.
Considering all of the upgrades available on the EL2, I think that this final model is the most desirable of the EL/ELW/EL2 line for actual picture taking. However, if you only use manual focus Nikon lenses with the aperture claw, and don't care about a slow motor drive (1 frame per second) in today's modern age, the original Nikomat EL works perfectly fine too. Still, since these three bodies are based on the original Nikkormat full-size chassis with a weight of about 780 grams without lens, my preference is to use the next generation FE/FM bodies which are significantly smaller (but not too small, unlike, say the Pentax MX) and lighter (only around 590 grams). On the other hand, the slightly greater weight and size of the EL's Nikkormat-style chassis gives it a more stable feeling, especially with smaller lenses.
Copyright © 2016 Timothy A. Rogers. All rights reserved.
(DSC_6080fin1)
The Tower is an iconic landmark on top of a beautiful English Cotswolds escarpment.
It was the brainchild of the great 18th century landscape designer, “Capability Brown”. His vision was carried out for George William 6th Earl of Coventry with the help of renowned architect James Wyatt and completed in 1798.
It stands 65 feet high and there are panoramic views from the site.
The small memorial on the left refers to a RAF bomber that crashed on this hill on 2 June 1943, when all on board lost their lives.
{Created by Lancelot ‘Capability’ Brown in the 1770s, the lake at Harewood covers an area of thirty-two acres and the woodlands on either side contain a wide variety of trees, including oaks, chestnuts, beeches and hornbeams.}
A folly which was completed in 1799. Inspired by Capability Brown and designed by James Wyatt , its viewing platform is the highest point in the Cotswolds.
Broadway Tower is a folly on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second-highest point of the Cotswolds (after Cleeve Hill). Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 65 feet (20 metres) high.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillipps, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s. William Morris was so inspired by Broadway Tower and other ancient buildings that he founded the Society for the Protection of Ancient Buildings in 1877.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee, as well as a gift shop and restaurant. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village.
Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
GB Railfreight Class 60, 60002 "Graham Farish 50th Anniversary 1970-2020" passes a small part of the INOVYN Holford Brinefields as it approaches Lostock Gralam with 6M51 12:03 Doncaster Down Decoy to Liverpool Biomass Terminal.
INOVYN's operations at its Northwich sites focus on the solution mining and processing of brine for supply to the INOVYN site at Runcorn, where it's used as one of the key raw materials for the production of chlorine, caustic soda, chlorinated derivatives and food grade salt. Brine is also supplied to the Tata Chemicals Europe Soda Ash Plant at Lostock.
INOVYN's Northwich sites pump around 30 million cubic metres of water every year, with some 2.5 million tonnes of salt being solution mined.
Castle Ashby aerial image - Northamptonshire. Built around 1574 to 1600. Landscaped by Capability Brown #CastleAshby #aerial #image #Northamptonshire #AerialPhotography
The first MC-130J Commando II that will be converted to become an AC-130J Gunship is being built at the Lockheed Martin Marietta, Ga., C-130 production facility. The AC-130J will be equipped with a Precision Strike Package creating the U.S. Air Force Special Operations Command’s newest gunship. Sixteen AC-130Js are planned with an Initial Operating Capability scheduled for 2015.
Croome, Worcestershire. Both house and gardens at Croome Court were designed by Capability Brown between 1751-2, rebuilding an earlier house from the 1640s. The estate was requisitioned in WW2, but was not used for troops, being offered to the Dutch Royal family, but nearby, and partly within the grounds, RAF Defford was established, an important location for the Telecommunications Research Establishment. They left in 1957 as the runways were too short. The house was sold by the Croome Estate Trust in 1948, and became St Josephs Special School until 1979. Taken over by the Hare Krishna movement, it became known as Chaitanya College with involvement from George Harrison, who created recording studios within the house. They left in 1984 and the house was used for several short-term activities, including a training centre; apartments; a restaurant and conference centre; a hotel and golf course, and a private family home. In 2007, it was purchased by the Croome Heritage Trust, who leased it to the National Trust. Croome Court is grade 1 listed.
Croome D'Abitot, near Pershore, Worcestershire, West Midlands, England - Croome Court, High Green
June 2025
Commentary.
Landscaped by Lancelot “Capability” Brown,
this estate is crowned by a Neo-Greco-Roman mansion,
now used as part of Stowe Public School.
Brown ensured that from the house a number of Classical structures would provide, eye-line, focal points within the Park Landscape.
These include the scaled-down copies of Greek Temples, like the one shown,
Obelisks, Columns with statues and a Corinthian Arch,
centred on the house, nearly a mile to the south-east.
The lakes and valleys provide slopes and water, to further enhance the vistas and present a variety of eco-systems.
Copse woodland and mature trees lining vast, sweeping lawns.
Wood-fringed lakes, streams and waterfalls.
Wild meadow land, farm-land and a maze of interconnecting drives and paths.
This lake is known as the Octagonal Lake.
A brood of Coot chicks briefly swam out into the open, but lily-covered, expanse of water.
Mum and Dad Coots ushered them back into the safety of the nest amongst the reeds, rushes and Water-Irises.
The adults then swam out to forage for food before returning to the nest.
Although far from natural, the Estate has matured and provides a very pleasant and relaxing environment, managed in recent times by the National Trust.
A positive statement and quotation:
'The capability to remove bad memories reveals a healthy mind '. (Quote by Gianna Cera - Lettering & translation by White Angel).
White paint marker lettering
27066 stands in the yard at Barrow Hill, 6th April 2019
Locomotive History
27066 was originally D5386 and is one of sixty nine class 27 locomotives built by the Birmingham Railway Carriage and Wagon Company (BRCW) during 1961 and 1962. D5386 was delivered in May 1962 and was one of a batch of thirty five class 27’s delivered for Midland Main Line duties. In October 1969 it was transferred to Eastfield initially as part of the plan to allow the withdrawal of the poorly performing Clayton class 17 locomotives from traffic. However in late 1970 it returned south, entering Derby works to be modified for Glasgow-Edinburgh push/pull duties. By the late 1960s, the class 126 DMU’s operating the Edinburgh – Glasgow Queen Street service were becoming unreliable and they were replaced in 1971 rakes of six Mark IIa carriages powered by two class 27 locomotives fitted with push-pull equipment. Twenty four class 27 locomotives were fitted with push – pull equipment and dual brakes and D5386 became 27103 under the 1973 TOPS renumbering scheme. Twelve of push/pull fitted class 27’s were subsequently fitted with electric train heating capability via an auxiliary engine/alternator set in 1975/76. The plan was to fit 27113 – 27124 however 27118 was deemed unsuitable and 27103 substituted. On fitting ETH 27103 became 27212 and 27118 was then renumbered to the now vacant 27103. The very intensive 90 mph service was demanding on the class 27 locomotives and reliability was an issue never fully resolved. Eventually in 1980 the Glasgow-Edinburgh push/pull duties were taken over by class 47/7 locomotives and the push – pull and ETH was removed from 27212 and it was renumbered to 27066 in November 1982. It was withdrawn in July 1987 and eventually entered preservation.
The Nikon F90X (N90s in the U.S. market) was the second and final version of what I call the third generation of semi-pro 35mm autofocus SLRs from Nikon. The second generation, the F801/F801s (N8008/N8008s), introduced reliable autofocus, together with built-in autowind and rewind, spot metering, a new single control wheel interface, and other features, to the semi-pro line. (Note: an even earlier Nikon autofocus design, the F501 (N2020), had early first generation autofocus capability and a completely different interface and viewfinder display.) The F90/F90x continued virtually the same interface and body design as the F801/F801s but upgraded the level of technology, especially in its final incarnation, the F90X. The F90X is the epitome of Nikon's single focus point autofocus film SLRs. The F90X's interface was changed and enhanced with the subsequent F100, which introduced dual control wheels. The F100 also adds multiple focus and spot metering points, together with support for modern vibration reduction/image stabilization (VR) lenses and slightly more flexible custom settings. While the F100 is in some ways a better film camera to use today than the F90X, the F90X already included 3D Matrix Metering, which is the biggest exposure metering advance in the industry until the later color matrix metering of the F5 and F6 (and subsequent digital SLRs). The F90X also supports the built-in Silent Wave motors of modern Nikon lenses. In spite of its technical advances over the F90X, the F100 has an even more severe problem than the F90X with decomposition of the rubbery surface of its camera backs. If you don't need support for VR and are looking for a low-cost high-tech AF body in the used market, the F90X could be just what you want.
With the big picture out of the way, let's look at the features and functions of the F90X in more detail. The original F90 appears to have been rushed out in 1992 to quickly upgrade the F801s as a way to compete with Canon in a rapidly developing market. However, the F90X was released less than two years later with a long list of major and minor refinements. Today, you would definitely want the F90X over the original F90. The biggest improvements in the F90X over the F90 were improved autofocus, and the ability to adjust P, S, and M modes in 1/3 stop increments rather than one stop increments. According to Nikon, both the F90 and F90X used the CAM246 AF detection system, so AF improvement from the F90 to F90X was presumably due to better software.
The F90X is an amazing camera. The F800 already felt very advanced, moving from an F3HP, when the F801 was released in 1988. But after upgrading from the F801 to the F90X, one really appreciated the more responsive autofocus, the addition of spot metering (I never moved to an F801s), and most of all 3D Matrix (multi-pattern) metering. The 3D matrix metering of the F90X enabled more accurate exposure metering, especially for flash photography with dedicated Nikon electronic flashes, by incorporating subject focus distance information from AF-D lenses into the exposure calculation. The F90X is optimized for use with AF-D lenses, either Nikkor lenses or from third-party manufacturers such as Sigma and Tamron. The F90X works with non-autofocus Ai lenses, but with such lenses, you can only use center-weighted and spot metering (no matrix metering) and you can only use the Aperture Priority and Manual exposure modes (no Program or Shutter Speed Priority modes). Also, the set aperture of non-AF lenses does not appear in the viewfinder since there is no optical ADR like on most earlier Nikon bodies. The F90X (unlike the previous F801/F801s) auto-focuses with later G-type lenses (with no aperture ring and Silent Wave focusing motor). While you cannot adjust the aperture of G-type lenses directly on the F90X, a very simple solution is to shoot in Program mode, but use Flexible Program by turning the control wheel to step through equivalent aperture/shutter speed combinations while keeping the EV fixed. (This works a bit like exposure lock on electronic Contax bodies.)
The size and weight of the F90X is a very reasonable 755g, especially by the standard of the F4 or F5. It is an incremental increase in size and weight over the F801/s. In addition, although the user manual only indicates four AA-type alkaline, manganese or NiCd batteries, both Nikon and my personal experience confirms that the F90X also works fine with relatively lightweight AA lithium batteries. Overall, the camera/battery combination, even with alkaline batteries, is perfect both for stability and also portability. I have personally only used alkaline and lithium batteries and both types last for a very long time, although of course not as long as the button batteries in older manual focus cameras, such as the F3 or FM2N. The F90X owner manual indicates a battery capacity of 50 rolls of 36-exposure film at 20 degrees Celsius. This is much more than the battery capacity of my F6, especially with a power-hungry VR lens attached to the F6. The F90X has a very solid and comfortable feel, with a metal interior, matte-type rubberized grip surfaces, and heavy-duty matte composite plastic exterior plates. The F90/X body design includes a molded hand grip that is very stable and comfortable, but does not excessively add to the dimensions of the body. The covering material on the F90/X is not as rubbery or tactile as newer Nikon bodies, but still offers a fine grip.
There was a well-known problem with the rubberized material on the exterior of the camera back. A few years ago, the rubberized material on on at least some samples of the F90/X started to decompose and become a sticky goo. The same problem happened to the back of my own F90X, which became extremely sticky and completely unusable. Fortunately, my camera tech was able to procure a new replacement back and make the camera like new. The new back, like the old, is indeed plastic except for the pressure plate and other hardware. Still, the construction of the new back is very solid and it fits snugly onto the camera body when closed, without any irritating play. I am not sure about the composition of the exterior surface of the new back. It is a very attractive matte black finish, that must either be some type of composite material, or a very fine sprayed on layer. In any event, it appears to be very durable and hopefully long-lasting.
With the F90X generation of Nikon bodies, if you want to adjust certain functions, such as auto exposure bracketing, multiple exposure operation, interval timer, film imprinting, etc., you will need to add a MF-26 Multi-Control back. You can also use the optional Data Link System and AC-2E card to adjust more settings, download stored data, etc.
The viewfinder of the F90X has a relatively low 92% image coverage. Such coverage is more appropriate for the era when people used mounted slides, which cut off the edges of the frame, but is more limiting in today's age when film is scanned directly after processing at the lab. On the other hand, you can crop the scanned images in Photoshop if necessary. You just need to keep in mind at the time of shooting that your image will include a bit more than you can see. The viewfinder display is well-organized, and the brightness of the soft green horizontal LCD display is just right for both bright and dim environments. The viewfinder eyepiece does not include an adjustable diopter. However, Nikon still makes a full range of single diopter lenses in current production. The F90X takes the same diopter lens as the F3HP, F801/S, F90 and F100.
Dual film advance modes of single frame and continuous High ( 4.3 fps) and Low (2.0) speed, offer more than enough speed for casual shooting.
As mentioned above, the exposure metering system of the F90X is extremely advanced. It has second generation software and three additional central segments in addition to the five metering segments of the FA and F801/s (plus spot), for a total of 8 segments. In addition, the new "3D" technology of the F90x increases the accuracy of the multi-segment metering system even further, especially for flash photography, with concurrent and later AF-D compatible lenses. Center-weighted metering is of course included, and is designed with a 75% weighting, which had become the new Nikon standard for center-weight, more like the 80% center-weight of the F3 than the 60% weight of classic Nikon camera meters. The 3mm spot meter had become standard since the earlier F801s. One of my few complaints about the design of the F90X is that the selected exposure metering system is not displayed in the viewfinder, unlike on many later models. Glasses wearers will prefer the selected exposure metering system to be indicated in the viewfinder so they can switch among the metering systems without putting your glasses on, especially since the control wheel interface makes it difficult to confirm the selected system by feel alone. The LCD display on the top of the camera duplicates much of the same information as the viewfinder display, plus additional information such as metering system and ISO. The exposure meter is very sensitive, covering EV -1 through EV 21 in matrix and center-weighted, and EV 3 to EV 21 for spot metering.
Although the F90X only has a single focus area, autofocusing is quite responsive. Of course, the focusing technique in the day of the single autofocus point was to focus on the appropriate object, lock the focus with the shutter release button or AF lock, recompose, and shoot. The focus indicator also works very well with most manual focus lenses (with greater than f/5.6 aperture). Just focus manually until the round digital in-focus indicator is displayed in the viewfinder; there is no need for a central focusing aid on the focusing screen, although you can also manually focus with the matte screen itself. The central focus area can be easily switched between Spot and Wide by pushing a button on the top right of the camera and turning the control wheel; which area you have selected shows up in the viewfinder display so you can switch back and forth with your eye to the viewfinder. The Wide autofocus area is actually quite large, covering more than half of the outer central circle of the viewfinder image. The autofocus system appears quite adept at following moving subjects that stay within this expanded focusing area.
The F90X has all of the required PASM exposure modes and then some. The camera adds Ps "Vari-Program" modes that automatically set the recommended shutter speed and aperture combinations for seven separate photographic situations, such as Portraits, Portraits with Red Eye Reduction, Landscape, Sports, Close Up, etc. However, anyone who properly knows their way around a camera, or wants to learn, has no need for these Vari-Program settings. Unlike exposure metering systems, it is extremely easy to adjust your exposure modes with your eye to the viewfinder; just push the Mode button on the top left of the camera and turn the control wheel to select the correct mode. The selected mode is always clearly indicated at the bottom of the viewfinder. Program mode is extremely useful, even for photographers who are expert at manual camera setting. In a pinch, the camera's Program mode can adjust exposure fully automatically. More commonly, however, it is convenient to let the camera select the correct EV and the approximate shutter speed/aperture combination in Program mode. You then simply turn the control wheel in Program Mode after you have metered the scene to select the exact shutter speed/aperture combination that you want in 1/3 stop increments. This technique becomes even more useful when using newer G-type lenses, which have no aperture ring, since you have no secondary control dial to change the aperture directly. Manual mode works very well with AF lenses that have aperture rings; the digital analog readout in the viewfinder indicates exposure deviation in 1/3 stop increments, although, unlike some later designs, it only displays the range of +-1 EV to save display real estate. Although you can't see exactly how far you you are when greater than +- 1 EV, I never found this to be a practical limitation.
The F90X has a highly advanced shutter. Using the control wheel, you can directly set the shutter speed in 1/3 stop increments all the way from 1/8000 sec. to 30 seconds. Standard electronic flash maximum synch speed is a modern 1/250 sec.
Exposure compensation of +- 5 EV is easy to set by pushing a button on top of the camera and turning the control wheel, with the amount of compensation visible in the viewfinder display in 1/3 stop increments. The camera also has an AE-Lock lever on the back for your right thumb. I find that I usually prefer to use Manual Mode rather than the AE-Lock lever.
One small advantage of the F90X as a fully electronic camera is its ability to easily set the self-timer delay between 2 to 30 seconds. Just push the appropriate button on the top left of the camera and turn the control wheel to set. It can be used as an alternative to a remove control cable. On the other hand, one disadvantage of fully electronic cameras, such as the F90X, is that you need to use a special electronic remote cord (MC-20) (rather than a standard mechanical cable) when taking Bulb exposures. Also, Bulb exposures can wear down the battery. Better to use a fully mechanical body if you plan to take lots of long Bulb exposures. (On the other hand, the MC-20 can automatically close the shutter after up to 99 hours, 59 minutes, 59 seconds! The MF-20 back, and apparently the AC-2E card, also provides this function.)
The F90X has easily interchangeable focusing screens. The single available optional screen adds a grid.
The MB-10 Multi-Power Vertical Grip is available if you need more battery longevity and bigger camera grip with vertical shutter release.
As already mentioned, with its 3D technology, the F90X is amazing for flash photography. If you know what you are doing, you can get great flash photographs even with non-TTL mechanical bodies. But TTL flash control is much more convenient, and the F90/x enhances the level of TTL matrix flash metering by, for the first time, incorporating focus distance from the lens into the exposure calculation. Just make sure to use AF-D type lenses or better, and one of the compatible Nikon electronic flash units. The most advanced concurrent flash with the F90X was the SB-28, which allows full use of the F90X's flash exposure features. The F90X also supports monitor pre-flash with the SB-25/26/28. (Later flashes, such as current production modern Nikon flashes, also work fully with the F90X. I usually use a current production SB-800 flash, even on the F90X.) Another nice feature of the F90X's flash technology is 3D Multi-Sensor Balanced Fill Flash. This function automatically reduces the output of the flash to supplement ambient light. Of course, is you want more precise control, fill-flash can also be set with appropriate manual flash negative compensation directly on the flash unit. Other flash features available with the F90X/SB-28 combination is Rear-Curtain Synch for motion photography and red eye reduction.
One generally unnecessary feature that has been omitted from the F90X is mirror lock-up (MLU).
To conclude, the F90X was and continues to be an amazing camera. The F90/X were the first semi-pro Nikon to incorporate 3D metering technology. It felt fun and was effective to use the camera with AF-D or newer lenses. The F90X offered virtually every function that you could think of, at least with its various accessories. The camera feels great in your hands and has a good form factor and weight for both travel and large lenses. Really the only limitation that irritates me about the F90X is that I can not use Matrix Metering, and there is no viewfinder display of the selected aperture, with manual focus lenses. In practice, this should not impact the quality of your images, but it is certainly less convenient. (Thankfully, this limitation was finally fixed in the F6 and some high-end Nikon DSLRs). The real limitations of the F90X today are its single focus point, its lack of support for VR lenses, and its lack of a second control wheel for G-type lenses. Thus, in the film world, you would need an F100 or F6 (and the consumer grade F75/F80) to get maximum benefit out of the newest generation of lenses. The control wheels and rubbery grip are more ergonomic on the F100 and F6, compared with the F90X.
Copyright © 2016 Timothy A. Rogers. All rights reserved.
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Bowood House and Gardens have been improved by successive generations up to the present day. Many famous architects and garden designers have been employed, including Henry Keene, Robert and James Adam, ‘Capability’ Brown, C.R. Cockerell and Sir Charles Barry.
A wet morning on the Thames Path; statue of 18th century gardener Capability Brown; Fulham FC in the distance..
CORAL SEA (July 21, 2021) The forward-deployed amphibious assault ship USS America (LHA 6) transits the Coral Sea during Exercise Talisman Sabre 21. Talisman Sabre 21, the ninth iteration and conducted since 2005, occurs biennially across Northern Australia. Australian, U.S. and other multinational partner forces use Talisman Sabre to enhance interoperability by training in complex, multi-domain operations scenarios that address the full range of Indo-Pacific security concerts. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jonathan D. Berlier)
SAC 01 NATO Strategic Airlift Capability Boeing C-17A Globemaster III - cn F-207 landing @TRD/ENVA 10.02.16 NATO Cold Response Exercise 2016
Broadway Tower is a folly on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second-highest point of the Cotswolds (after Cleeve Hill). Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 65 feet (20 metres) high.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly. (Wikipedia)
What is power? What exactly does it mean to be powerful? Power, or authority, is generally viewed as endemic to social beings, to humans. The nature of power can exist without coercion, keeping us safe and preventing riots and social instabilities, consequently making it legitimate in the social structures of society. Nevertheless, the nature of power also has the capability of creating evil, of constraining others, of being a force of pure domination. Power cannot be touched, it is not a physical entity and yet we cower from it, we hide from it, we obey it blindly. Power can, and will, corrupt if not exercised wisely. You see power can be created, it does not always have to be earned. For things like money can breed power. Influence can breed power. Looks can breed power and self glorification, illusion, can even breed power, and it is the people whom have acquired these things which we then allow to exercise dominance over us.
When power is striped from a figure of cultural dominance we either see them crumble under the loss, accept their fate as a fallen figure, or continue to stand, unmoving in the false impression of a supremacy to hold on to. It has been said that the most prevailing illusion created is that of power itself. Even in a world of chaos, where there is nothing left but ash, someone undoubtedly will stand up and claim it theirs. When a discussion of power takes place we must ask ourselves the fundamental question; who is it we should trust with such power?
“Justice and power must be brought together, so that whatever is just may be powerful, and whatever is powerful may be just.” - Blaise Pascal
Copyright © 2013 Amy Morris. All Rights Reserved.
North Yorkshire
The trees are believed to have been planted by Lancelot (also known as Capability) Brown in cira 1770’s
At the Republic of Singapore Air Force (RSAF) Open House 2023 last weekend, an F-15SG Strike Eagle scrambles and moves to get into a runway for takeoff as part of the Aerial Capability Display.
Petworth House and Park in Petworth, West Sussex, England, has been a family home for over 800 years. The estate was a royal gift from the widow of Henry I to her brother Jocelin de Louvain, who soon after married into the renowned Percy family. As the Percy stronghold was in the north, Petworth was originally only intended for occasional use.
Petworth, formerly known as Leconfield, is a major country estate on the outskirts of Petworth, itself a town created to serve the house. Described by English Heritage as "the most important residence in the County of Sussex", there was a manorial house here from 1309, but the present buildings were built for the Dukes of Somerset from the late 17th century, the park being landscaped by "Capability" Brown. The house contains a fine collection of paintings and sculptures.
The house itself is grade I listed (List Entry Number 1225989) and the park as a historic park (1000162). Several individual features in the park are also listed.
It was in the late 1500s that Petworth became a permanent home to the Percys after Elizabeth I grew suspicious of their allegiance to Mary, Queen of Scots and confined the family to the south.
The 2nd Earl of Egremont commissioned Capability Brown to design and landscape the deer park. The park, one of Brownâs first commissions as an independent designer, consists of 700 acres of grassland and trees. It is inhabited by the largest herd of fallow deer in England. There is also a 12-hectare (30-acre) woodland garden, known as the Pleasure Ground.
Brown removed the formal garden and fishponds of the 1690âs and relocated 64,000 tons of soil, creating a serpentine lake. He bordered the lake with poplars, birches and willows to make the ânaturalâ view pleasing. A 1987 hurricane devastated the park, and 35,000 trees were planted to replace the losses. Gracing the 30 acres of gardens and pleasure grounds around the home are seasonal shrubs and bulbs that include lilies, primroses, and azaleas. A Doric temple and Ionic rotunda add interest in the grounds.
Petworth House is a late 17th-century mansion, rebuilt in 1688 by Charles Seymour, 6th Duke of Somerset, and altered in the 1870s by Anthony Salvin. The site was previously occupied by a fortified manor house founded by Henry de Percy, the 13th-century chapel and undercroft of which still survive.
Today's building houses an important collection of paintings and sculptures, including 19 oil paintings by J. M. W. Turner (some owned by the family, some by Tate Britain), who was a regular visitor to Petworth, paintings by Van Dyck, carvings by Grinling Gibbons and Ben Harms, classical and neoclassical sculptures (including ones by John Flaxman and John Edward Carew), and wall and ceiling paintings by Louis Laguerre. There is also a terrestrial globe by Emery Molyneux, believed to be the only one in the world in its original 1592 state.
For the past 250 years the house and the estate have been in the hands of the Wyndham family â currently Lord Egremont. He and his family live in the south wing, allowing much of the remainder to be open to the public.
The house and deer park were handed over to the nation in 1947 and are now managed by the National Trust under the name "Petworth House & Park". The Leconfield Estates continue to own much of Petworth and the surrounding area. As an insight into the lives of past estate workers the Petworth Cottage Museum has been established in High Street, Petworth, furnished as it would have been in about 1910.
These insects have a strong liking for the Photinia plants in our nursery. I'm wondering if they have the capability of changing colour to blend in, as most Katydids are green.
This is the outflow from the artificial lake created by 'Capability' Brown in the 1760's. A carefully contrived placement of boulders mask the dam wall to create this natural looking feature.
It's over-shadowed by trees on its south side and faces east, so I missed the sunshine so late in the day in autumn; and at a fairly hefty £18.50 to visit the Formal Gardens I don't think I'll be back for a while.
This lovely chapel was designed in the 1760s by Lancelot 'Capability' Brown as part of the new landscaping at Compton Verney, which also involved the demolition of the medieval church that had been nearby. Some (maybe all) the tombs and monuments from the church were relocated in the new chapel. This little angel holding a skull sits on top of the lavish memorial to Sir Grevill Verney, who died in 1668 aged just 20. He had only married the year before, and his son was born only weeks before his own death.
The recovery module gives the Boxer recovery, repair and logistic support capability via a 20 ton crane arm. Thanks to its own power supply, this module can also be used as a standalone crane when not mounted on the vehicle.
The Boxer is a modular design, consisting of a base vehicle that houses the engine compartment and driver in the long, sloped front. Right behind that, depending on the need of vehicles and their roles, various mission modules can be fitted. Modules can be swapped rapidly and this can even be done in the field with minimal equipment.
The Boxer is the backbone of ZEUS' mechanized infantry and has been in the alliances service since before its founding, where its early versions (A0-A3) served with the German and Dutch forces. Other countries that adopted the vehicle later on were Lithuania, Australia and the UK. ZEUS Boxers are all A4/5 iterations and are constantly upgraded to maximize their capability.
The Boxer is one of my oldest models and I've had one built in one form or another since about 2010 - and even that wasn't the earliest version, I just don't remember what year the previous ones were done. I've had these latest iterations for some time now, and finally got around to taking pictures. The main changes are an overall more stable design and a much more true-to-life design for the different modules. On previous versions, only the 'roof' was changed, so to speak. On this version, the rear modules are fully enclosed.
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This is part of a joint upload with the usual suspects, so go check their models out too!
***June 1st 2010 2,000 Views***
One of the gems of Capability Brown's great lake at Blenheim is the island in the 'Queen Pool' Rather fancifully named 'Queen Elizabeth's Island' (neither Queen Elizabeth had anything to do with it, and it wasn't there when Q Elizabeth I was imprisoned at Woodstock!). The Island is aligned along one of the two causeways that crossed the valley between Woodstock and the original Woodstock Manor. I caught it with the poplars on the island turning golden; almost the best that I've ever seen them.
For all my other Blenheim photos see
Danson Park - Laid out in the 18th century and attributed to Capability Brown (as many gardens are!) - it has probably existed as an estate since the 13th Century.
In any event there has been significant planting in my lifetime and the number of trees has increased dramatically since I played here as a youngster. I live further away now and haven't walked in the park for a year or two - the changes are fundamental - pretty good too!
Google it for more info
This was taken on Fuji F50 then processed through Silver efex - light orange filter effect added and detail sharpened
LEMOORE, Calif. (July 15, 2020) An F/A-18E Super Hornet from Strike Fighter Squadron (VFA) 86 loaded with a Mark 63 Quickstrike mine flies in support of a mine countermeasure exercise led by Naval Surface and Mine Warfighting Development Center (SMWDC) as part of U.S. 3rd Fleet's Trident Warrior exercise. Trident Warrior, in its 18th year of execution, is an annual U.S. 3rd Fleet at-sea field experiment that helps the Navy identify warfighting capability gaps and provides inventive solutions in an operational environment. (U.S. Navy photo by Lt. Travis Franklin)
The McDonnell Douglas (Boeing) F-15 Eagle is an American twin-engine, all-weather tactical fighter designed by McDonnell Douglas to gain and maintain air superiority in aerial combat. It is among the most successful modern fighters, with over 100 aerial combat victories.
Following reviews of proposals, the United States Air Force selected McDonnell Douglas' design in 1967 to meet the service's need for a dedicated air superiority fighter. The Eagle first flew in July 1972, and entered service in 1976.
Since the 1970s, the Eagle has been exported to Israel, Japan, Saudi Arabia, and other nations. The F-15 was originally envisioned as a pure air superiority aircraft. Its design included a secondary ground-attack capability that was largely unused. The design proved flexible enough that an all-weather strike derivative, the F-15E Strike Eagle, was later developed, and entered service in 1989. The F-15 Eagle is expected to be in service with the U.S. Air Force past 2025. F-15 versions are still being produced for foreign users, with the F-15 production line set to end in 2019, 47 years after the type's first flight.
Broadway Tower is a folly on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second-highest point of the Cotswolds (after Cleeve Hill). Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 65 feet (20 metres) high.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillipps, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s. William Morris was so inspired by Broadway Tower and other ancient buildings that he founded the Society for the Protection of Ancient Buildings in 1877.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee, as well as a gift shop and restaurant. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village.
Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
Croome Court, Worcestershire - the Wine Cellar. Both house and gardens at Croome Court were designed by Capability Brown between 1751-2, rebuilding an earlier house from the 1640s. The estate was requisitioned in WW2, but was not used for troops, being offered to the Dutch Royal family, but nearby, and partly within the grounds, RAF Defford was established, an important location for the Telecommunications Research Establishment. They left in 1957 as the runways were too short. The house was sold by the Croome Estate Trust in 1948, and became St Josephs Special School until 1979. Taken over by the Hare Krishna movement, it became known as Chaitanya College with involvement from George Harrison, who created recording studios within the house. They left in 1984 and the house was used for several short-term activities, including a training centre; apartments; a restaurant and conference centre; a hotel and golf course, and a private family home. In 2007, it was purchased by the Croome Heritage Trust, who leased it to the National Trust. Croome Court is grade 1 listed.
Croome D'Abitot, near Pershore, Worcestershire, West Midlands, England - Croome Court, High Green
June 2025