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Sony Xperia X Compact ufficiale sul territorio italiano, ecco il prezzo e un breve riepilogo dei componenti hardware
Con le primissime disponibilità già segnalate nelle settimane passate tramite il popolarissimo e affidabilissimo Amazon Italia, il tanto discusso smartphone Android Sony Xperia X C...
telefononews.it/cellulari/sony-cellulari/sony-xperia-x-co...
Jean Francois Racine of Garneau-Quebecor Cycling Team. Les Mardis Cyclistes de Lachine présenté par Jean Coutu, Montreal. August 12th, 2014.
Siehe Konica C35, die Edixa hat aber keinen Entfernungsmesser und scheint ganz aus Kunststoff zu sein.
I can't decide which of the Minoxes is my favorite model, so I kept both of these. The IIIS on the left is the last of the most-compact original series, and the B on the right is the same camera with a coupled light meter built in. Neither one needs a battery to operate, which for me is a big plus.
Ever wonder how these things work? rick_oleson.tripod.com/index-91.html
And if you REALLY want to know how they work:
www.m25audi.co.uk/audi/q3.html
Compact SUV, Paintwork/Daytona Grey pearl effect.
The Audi Q3 is now available for ordering, you can download the price and specification brochure from the M25 Audi website using the link above. Enquiries welcome.
Hickson Compact Group 61 consists of the four galaxies to the left of the center of the image:
NGC 4169 (HCG 61a, UGC 7202, PGC 38892 and others), the S0a type galaxy at 3 o’clock.
NGC 4170 (HCG 61b, UGC 7204, PGC 38897 and others), the long, low surface brightness galaxy at 12 o’clock.
NGC 4175 (HGC 61c, UGC 7211, PGC 38912 and others), the galaxy at 9 o’clock.
NGC 4174 (HGC 61d, UGC 7206, PGC 38906 and others), the galaxy at 6 o’clock.
These galaxies, collectively known as ‘The Box,’ are located in Coma Berenices. HCG 61a, c and d appear to be located approximately 175 million light-years away. HCG 61b is much closer at approximately 43 million light-years away.
Luminance – 24x600s – 240 minutes – binned 1x1
RGB – 8x300s – 40 minutes each – binned 2x2
360 minutes total exposure – 6 hours
Imaged over six nights in April and May, 2023 from Dark Sky New Mexico at Rancho Hidalgo (Animas, New Mexico) with a SBIG STF-8300M on an Astro-Tech AT12RCT at f/8 2432mm.
This was the second time I had visited St Vedast, the first time I just had my compact camera, this time I was fully tooled up.
St Vedast seems to me, like a quire without a church, the pews decked out like misericords, with the lamps for illuminating hymnsheets, has all the appearances of a quire. Then there is the black and white marble floor, the fantastic ceiling, all overlooked by a large gilded organ. Fnar.
It was twenty past nine, and I had the church to myself, whilst a few yards away outside, the rush hour traffic stacked up. Inside, all was peace and quiet.
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The Parish of St Vedast is known from the 12th century, and the church is traditionally claimed to have been established by 1170.
It has been altered, enlarged and restored many times and probably rebuilt at least twice, the last time by Christopher Wren, after the Great Fire of London in 1666. Having been completely burnt out during the Blitz of World War II, the church was restored under the direction of its Rector, Canon Mortlock, and a very influential Parochial Church Council that included Poet Laureate John Betjeman and master organ builder, Noel Mander.
The church is dedicated to a French saint, little known in Britain, who was Bishop of Arras in northern Gaul around the turn of the 6th century.
Vedast, who was called in Latin, Vedastus; in Norman, Vaast; in Walloon, Waast; and in French, GastSaint Vedast Vaast Vastes Fosteron, helped to restore the Christian Church in the region after decades of destruction by invading tribes during the late Roman empire and to convert Clovis, the Frankish king. Remembered for his charity, meekness and patience, he is buried at Arras cathedral.
His name in England has been corrupted from St Vaast, by way of Vastes, Fastes, Faster, Fauster and Forster to Foster, the name of the lane at the front of the church, and the reason that the official designation of the church is St Vedast-alias-Foster. St Vedast was venerated in particular by the Augustinian priors in the 12th century, and they may be responsible for the foundation of the few churches dedicated to him. Only one other church in England is currently dedicated to St Vedast, in Tathwell, Lincolnshire, a third parish in Norwich now being remembered only in a street name.
Some of the works and legends of St Vedast are celebrated in the stained glass windows of the church.
It has been suggested that the original church of St Vedast may have been founded by the Flemish community in London in the 12th or 13th century, possibly by a Flemish ancestor of Ralph d’Arras, who was the Sheriff of London in 1276.
The first church was probably quite small, but additions were made through the centuries. A chapel dedicated to St Dunstan was added in the 15th century, and other altars were added in the 16th century to Mary and to St Nicholas. By 1603, Stow in his Survey of London described St Vedast as ‘a fair church, lately rebuilt’.
Although no complete or accurate account survives for this early church, evidence of its construction can still be seen in the south wall of the church externally. Evidence of earlier openings for doors and windows, as well as the medieval stonework has been examined by archaeological survey and reported in London Archaeologist.
In 1614, St Vedast was enlarged by 20 feet thanks to a gift from the adjacent Saddlers’ company, and ‘beautified’ according to Stow’s Survey.
In 1635 the then Rector, James Batty, petitioned the Archbishop that a rail might be set up around the communion table as there are many “disorders and undecencies” among the parishioners when receiving the Blessed Sacrament. For his loyalty to King Charles I, Batty was “sequestered, plundered, forced to flee, and died” in 1642.
How the church may have suffered during the Civil Wars of the mid 17th century is unrecorded, but given that the Parliamentarians kept horses stabled in the chancel of nearby St Paul’s Cathedral, it is likely to have been badly affected. The current Rectors’ Board lists the years between 1643 and 1661 as under Foulke Bellers, a ‘Commonwealth Intruder’.
The disastrous Great Fire that swept through the City in September 1666 reached St Vedast on the third day. Afterwards, it was thought that although the roof, pews, pulpit and other fittings had been destroyed, the church could be repaired satisfactorily. It was therefore omitted from the original list of 50 churches to be rebuilt by Christopher Wren. B
y the 1690s, however, structural flaws must have become significant enough that rebuilding was begun. Records of those responsible for the detailed design and construction of the church are somewhat sketchy. Other than Wren, it is possible that Robert Hooke and/or Nicholas Hawksmoor were involved (the steeple is said to be particularly Hawksmoor-like), and master mason Edward Strong had been paid £3106:14:7 by the time the church was completed in 1699. He was responsible for the cherubs that grace the west front and bell tower, and for the dove in glory sculpture now situated at the east end of the south aisle.
Many of the minor changes that affected the church through the 18th century may not have been recorded, but we know that an organ was installed in 1773, and that heating was first introduced in 1790 – open stoves that were to be replaced in 1807 by a more satisfactory double fronted one.
Thomas Pelham Dale, Rector from 1847 to 1882, fell foul of the Public Worship Regulations Act of 1874 and was prosecuted for “ritualistic practices”. Although he gave up the practices in question for a time, he was brought before a court in 1880 and, for contempt, sent to Holloway prison.
The greatest change to the building in the 19th century was perhaps to the fenestration. A square headed window was removed in 1848 from the east end, along with the Dove in Glory sculpture by Strong above it. Twelve new stained glass windows were introduced in 1884, making the church much darker. Internal adjustments to pews, screens, pulpit and altar rails were made shortly afterwards.
On 29th December 1940, London was attacked by German air raids that dropped some 24,000 high explosive bombs and 100,000 incendiaries, mostly in the City. Although the Cathedral itself survived thanks to hundreds of volunteer firefighters, much of the area around St Paul’s was utterly destroyed.
As after the Great Fire of 1666, St Vedast was gutted and left a burnt out shell, with roof, pews, pulpit and fittings all ruined. As the structure of the church and its tower were deemed to be safe, plans to restore the church began in 1947. The work itself only started in 1953, under the auspices of its new Rector, Canon Mortlock, and the architect Stephen Dykes Bower. The post war Parochial Church Council that oversaw the work included Poet Laureate and conservation champion John Betjeman and the great organ builder Noel Mander.
To make the church a more appropriate layout for smaller 20th century congregations, Dykes Bower introduced collegiate style seating, and screened off the south aisle. New false walls were constructed within the east and south walls to make the church more rectangular, enabling a strong black and white patterned terrazzo floor to be laid. The ceiling was constructed to a pattern near that of the Wren original and finished with gold leaf and aluminium, donated by the Worshipful Company of Goldsmiths.
An adjacent plot along Foster Lane to the north, formerly the location of the Fountain pub, was purchased for the construction of a new Rectory, and a small secluded courtyard built between this Rectory and the former parish school (now the parish hall of St Vedast).
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The original church of St Vedast was founded before 1308 and was extensively repaired in the seventeenth century.[2]
Although the church was not completely destroyed in the Great Fire of 1666,[3] it was restored by 1662 on parochial initiative. However, the church required substantial reconstruction by the office of Sir Christopher Wren between 1695 and 1701, with only small parts of the older building surviving to be incorporated,[3] most noticeably parts of the medieval fabric in the south wall which were revealed by cleaning in 1992–3. The three-tier spire, considered one of the most baroque of all the City spires, was added in 1709–12[4] at a cost of £2958, possibly to the designs of Nicholas Hawksmoor, whose correspondence with the churchwardens survives. The organ was built by Renatus Harris in 1731, originally for St Bartholomew-by-the-Exchange.
Wren's church was gutted a second time by firebombs during the London blitz([5]) of 1940 and 1941.[6] A proposal by Sir Hugh Casson to leave this and several other ruins as a war memorial was not implemented. The post-war restoration within the old walls was undertaken by Stephen Dykes Bower. He re-ordered the interior in a collegiate chapel style with seating down each side with a side chapel in the former South aisle, and squared the old walls which were not rectangular in plan so that the altar now faces the nave squarely. He made an almost imperceptible taper in the pews and floor pattern, to give a false perspective towards the altar, making the church look longer than it is. The architect also designed the richly decorated 17th-century-style plaster ceiling. He reused fittings from other destroyed City churches, including the richly carved pulpit from All Hallows Bread Street and the font and cover from St Anne and St Agnes. Dykes Bower commissioned the Whitefriars glass windows in the East End, showing scenes from the life of St Vedast. These windows are largely opaque to hide tall buildings behind and to disguise the fact that the East wall is a wedge in plan. The work was completed in 1962. An aumbry by the south chapel altar is by Bernard Merry and the organ is 1955 by Noel Mander, in the re-used 1731 Harris case.
Dykes Bower also built a small Parish Room to the North East of the church in 17th-century style and a Georgian-style rectory, adjacent to the church, on Foster Lane in 1959 – in the first floor room of which is an important mural by Hans Feibusch on the subject of Jacob and the Angel. A niche in the internal courtyard of the building contains a carved stone head[who?] by sculptor Jacob Epstein.[7]
The church is noted for its small but lively baroque steeple, its small secluded courtyard, stained glass, and a richly-decorated ceiling. It also has a set of six bells, cast in 1960, that are widely regarded[by whom?] as being the finest sounding six in London.[8]
The church was designated a Grade I listed building on 4 January 1950.[9] The rectory was listed as a Grade II building on 15 July 1998.
The Ford Mustang is an automobile manufactured car by the Ford Motor Company. It was initially based on the second generation North American Ford Falcon, a compact car. Introduced early on April 17, 1964, the 1965 Mustang was the automaker's most successful launch since the Model A.
As Lee Iacocca's assistant general manager and chief engineer, Donald H. Frey was the head engineer for the Mustang project — supervising the overall development of the Mustang in a record 18 months — while Iacocca himself championed the project as Ford Division general manager. The Mustang prototype was a two-seat, mid-mounted engine roadster. This vehicle employed a Taunus (Ford Germany) V4 engine and was very similar in appearance to the much later Pontiac Fiero. It was claimed that the decision to abandon the 2 seat design was in part due to the low sales experienced with the 2 seat 1955 T-Bird. To broaden market appeal it was later remodelled as a four-seat car styled under the direction of Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster— in Ford's Lincoln–Mercury Division design studios, which produced the winning design in an intramural design contest instigated by Iacocca.
Having set the design standards for the Mustang, Oros said:
“ I told the team that I wanted the car to appeal to women, but I wanted men to desire it, too. I wanted a Ferrari-like front end, the motif centred on the front – something heavy-looking like a Maserati, but, please, not a trident – and I wanted air intakes on the side to cool the rear brakes. I said it should be as sporty as possible and look like it was related to European design.” Oros added:
“ I then called a meeting with all the Ford studio designers. We talked about the sporty car for most of that afternoon, setting parameters for what it should look like -- and what it should not look like -- by making lists on a large pad, a technique I adapted from the management seminar. We taped the lists up all around the studio to keep ourselves on track. We also had photographs of all the previous sporty cars that had been done in the Corporate Advanced studio as a guide to themes or ideas that were tired or not acceptable to management. Within a week we had hammered out a new design. We cut templates and fitted them to the clay model that had been started. We cut right into it, adding or deleting clay to accommodate our new theme, so it wasn't like starting all over. But we knew Lincoln-Mercury would have two models. And Advanced would have five, some they had previously shown and modified, plus a couple extras. But we would only have one model because Ford studio had a production schedule for a good many facelifts and other projects. We couldn't afford the manpower, but we made up for lost time by working around the clock so our model would be ready for the management review.
” To cut down the development cost and achieve a suggested retail price of US$2,368, the Mustang was based heavily on familiar yet simple components. Much of the chassis, suspension, and drivetrain components were derived from the Ford Falcon and Ford Fairlane (North American). Favorable publicity articles appeared in 2,600 newspapers the next morning, the day the car was "officially" revealed. A Mustang also appeared in the James Bond film Goldfinger in September 1964, the first time the car was used in a movie.
The Shelby Mustang is a high performance variant of the Ford Mustang built from 1965 through 1970.
These cars are often improperly called "Cobras", which was the Ford-powered AC-based two-seat sports car also produced by Carroll Shelby during the same period. The confusion arises from the optional "Cobra" valve covers on many GT350s, part of a marketing tie-in by Shelby. All 1965-66 cars featured the K-Code 271 hp 289, modified to produce 306 hp. 1965-66 GT350s were delivered from Ford's San Jose assembly plant as "bodies in white" for modification by Carroll Shelby's operation, originally in Venice Beach and later at Los Angeles International Airport.
All but one 1965 GT350s were painted Wimbledon White with Guardsman Blue rocker stripes. The one exception was blue with white stripes. Contrary to popular belief, very few GT350s were delivered with the optional "Le Mans" hood, roof, and trunk stripes, an option which was usually installed by the dealer. Today it's difficult to find a GT350 not so equipped. 1965 cars had the battery relocated to the trunk, featured overrider traction bars, relocated A-arms, and other modifications.
1966 saw the introduction of non-white colours—including blue, red, green and black. Other changes include special quarter-panel windows replacing the factory extractor vents, functional brake scoops on each side and optional automatic transmissions, as well as the addition of an optional Paxton supercharger. The battery was no longer relocated to the trunk for 1966, and the over-rider traction bars were discontinued. A fold-down rear seat was now standard. Where early 1965 cars had black engine blocks, 1966 and later cars had the 289 engine painted blue. The first 252 GT-350s for 1966 began as 1965 Mustang K-Code Fastbacks. Often these first 252 1966 GT-350s are referred to as "carry-over" cars, but this is not the case. These 252 1965 Model Mustangs were specifically ordered by Shelby American for conversion into 1966 GT-350 Mustangs. They were not "left over" from the 1965 production, at all. They had the 1965 Ford Mustang Bodies and 1965 Ford Mustang serial numbers under their Shelby serial numbers. They mostly had 1965 features including standard Koni shock absorbers and engines painted black. Blue engines did not appear in 1966 until after these first 252 GT-350s were produced. 1966 production was 1373 fastbacks, including two prototypes and four drag cars, and 252 early production models with Ford Mustang 1965 bodies. 1001 Hertz fastbacks were produced, including two prototypes. Four convertibles were also produced, for a total of 2378 units for 1966. A small number (how many remains unclear) of 1966s were fitted with Paxton superchargers, but not the No-Spin limited slip differential, with an option price of US$670; the engine was rated at 440 hp (330 kW).
The new name for the Mugen CR-Z!!!
Also at the Coventry Car DAy was a Countach, Ferrari California, Lamborghini Gallardo Spyder, old Rollers and Jags, Merc SLS AMG, Ferrari 330 P4 Replica, Honda NSX, Bentley Flying Spur, Ford Evos and new Peugeot 208!!!
The Sci-Arc/CalTech Hanwhua Solar House, CHIP (Compact Hyper-Insulated Prototype), 2011
Exposition park
700 Exposition Drive
Los Angeles, CA 90037
SciArc/CalTech for the US Department of Engergy Solar Decathalon, 2011
2011 Decathalon Winner
An "Exposition Park" needs to be about emerging technologies -- not just a museum of past discoveries. CHIP carries on this tradition, and should be a permanent fixture on the campus. Tucked away behind the California Science Museum, this temporary exhibit was a delightful find. Although it's small, It's very livable. Well done!
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Architecturally, the crown jewel of Exposition Park is the 1913 Natural History Museum (renamed the Los Angeles County Museum of Natural History), designed by the prominent team of Frank Hudson and William Munsell. The Natural History Museum is mostly Beaux Arts, capped by a large dome of stained glass, supported by marble pillars. The building accents are Romanesque and Spanish Plateresque.
The Sunken Garden (renamed the Rose Garden in the 1920's) is the park's other National Register site. There are more than 20,000 rose bushes, with more than 200 varieties. The Rose Garden, with the Natural History Museum in the background has been captured in numerous films and TV shows, most recently featured as the home of the "Jeffferson Institute" on the TV crime drama Bones. The park's past is checkered. Originally it was a vanue for horse, camel, dog, and later automobile racing; it also reportedly housed the city's longest bar and "one of its most stylish brothels."
Also lining the Rose Garden are other architectural treasures. The Beaux Arts/Classical Exposition Building (renamed the California Science Center) runs parallel to the garden, and opposite the Natural History Museum is the Beaux Arts/Egyptian Revival Armory Building (Now the Science Center School and Amgen Center for Science Learning. Next to the Armory Building is the 1984 Frank O Gehry and Associatiates California Aerospace Museum. Elsewhere in the park is The Museum of African-American History, designed in 1984 by Jack Haywood and Vincent J Proby. The Memorial Coliseum was designed by John and Donald Parkinson.
Exposition park holds the distinction of the only venue in the world to host two olympic summer games (X and XXIII) and two Superbowls (I and VII). During the 1990's the park's popularity decreased and it was possible to spend time in the Rose Garden and almost not see another person. Today the park has regained its popularity.
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The park is public space owned by the state of California, whose major cultural facilities mentioned above are operated by both the state and Los Angeles County. The 160-acre (0.65 km2) site served as an agricultural fairground from 1872 to 1910 (hence its original name Agricultural Park). Farmers sold their harvests on the grounds, while horses, dogs, and even camels competed along a racetrack where the rose garden now blooms.
In 1880, John Edward, Ozro Childs, and former Governor Downey persuaded the State of California to purchase 160 acres (0.65 km2) in Los Angeles to foster agriculture in the Southland. Soon after USC was built in 1880, the city's most influential families moved into the neighborhood, but did not appreciate the racing and the gambling that came with it. As a result, the rose garden replaced the racetrack, and the park became what it is now with its grand museums.
Wikipedia - Exposition Park: en.wikipedia.org/wiki/Exposition_Park_(Los_Angeles)
The Fujica Compact Deluxe is a 35 mm rangefinder camera made by Fuji Film Japan on the '60. This camera was from a friend of mine. You can read the user's manual at www.scribd.com/doc/30795468/Fujica-Compact-Deluxe-35-mm-r...
Replaced the Ultegra triple with a Campagnolo compact crank 48/34. Veloce arms but nicer Centaur chainrings and a SKF BB. This is a standard 110mm BCD crank (unlike Campagnolo's newer cranks that all feature their incompatible 110/112 BCD).
I lose one gear on the bottom and half a gear on the top but I gain narrower tread (146 vs. 158) and much simpler front shifting.
I really appreciated the compact drivetrain on the VO and am glad I made this "upgrade" to the Romulus. With the 12-34 cassette in back this is my favorite setup. I can stay in the big ring most of the time and don't mind the jumps in the cassette at all.
I might miss the lower gear when I do light touring but it was worth the trade-off for me.
Another flower macro/close-up from our garden. These Dahlia buds have very interesting and beautiful looking colors and patterns on them. Nature has an amazing way of packaging these beauties... one day they are just small buds and the next day you find them in full bloom!
Wishing you all a great start to the week!
My Flowers & Macro set.
Taplow - Contax T2 Carl Zeiss 2.8/38 mm T* Compact with Kodak Max ASA 800 (Expired) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
The bezel on the Presenter is only 1 1/4" inches. You can learn more about the Presenter multitouch wall at: ideum.com/touch-walls/presenter/