View allAll Photos Tagged Competing
Taken in Fredericksburg Virginia after a severe hail storm destroyed most of the native pollinator plants in our yard. The few bees that survived were competing for the remaining flowers.
NIKON D7100
lens DX = 105
lens FX = 157
lens type = VR 105mm f/2.8G IF-ED
aperture = 20
ISO = 400
shutter = 1/60
This car competed in the Allcomers Scratch Race for Vintage and Historic Racing cars at the Vintage Sports Car Club’s Richard Seaman Memorial Trophies meeting at Oulton Park in June 1965. It’s the 1947 Talbot Lago T26C of Anthony Brooke which has a 6-cylinder inline 4,485cc unsupercharged engine. The Talbot Lagos took part in the 1948 (pre-World Championship) Grand Prix races but were generally outnumbered and outclassed by the Ferraris and Maseratis, although Louis Rosier won the Belgian Grand Prix and Louis Chiron the French Grand Prix in one of these cars.
Competing for berries, these twin fawns wouldn’t get far enough away from one another to give me a good shot of both. :-)
Passing through Belford among the traffic, empty coal train HV263, rides the shadow of loaded GWA coal RV218, with 9031, 9027 and 9035.
2019-07-10 Pacific National 9031-9027-9035 Belford HV263
ARMaTech
Effective Range: N/A - Civilian Use
Classification: Racing - MRL Rumbler
Armaments: N/A
A heavily modified version of the Baron Prototype, the DASH Baron was made purely to compete in the Mecha Racing League. Designed to withstand a beating during races while still maintaining high top speeds, the DASH is definitely something you should watch out for in MRL.
Pilot: Baron Ishi
No one knows for certain if Baron Ishi is his real name or if he's even a human being but his patient yet deadly driving style has earned him a reputation in the league. Some say he's actually a cyborg with an advanced AI program designed by ARMaTech to drive their hulking speedster mech while others swear he's just a really cold human being, sick of piloting war machines and opts to drive a humanoid coffin at high speeds instead.
Special Ability: Shell Rush
Using both heavy arm guards, the DASH will charge towards an opposing mech, crushing them with deadly blunt force.
Special Ability: DASH Rush
The special Quorus heatsinks at the rear of the DASH activates and grants the reFrame increased speed, mobility, and reaction time although using this ability puts a lot of stress on the machine and can only be used once or twice before having the heatsinks replaced.
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Build notes:
You can find more about the build in my blog article :D
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More info, WIP details, and other LEGO mechs over at my blog:
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For those interested in LEGO mech building, I put out an eBook over at Amazon Kindle a while back called Mech Wars Instructional Primer. If you’re looking for a resource that could help you start or even improve your mech building skills, you might find this eBook useful :D
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Had to delete the previous one since it was too dark and I only noticed when I compared it to another video.
VIDEOS ARE SO NOT MY THING
T___________T .. well not yet
Competing interests that come with a second look. Here, Everett Railroad #11 in headed down the track, burning cleanly, and with an interesting sky. From a Lerro Productions charter.
Two bald eagles competing for survival as the lower flying eagle attempt to steel a Kokanee salmon from the eagle above. In the end... the eagle that captured the fish wins this air to air confrontation and fills its belly.
Canon 1DX MKII
Canon EF 400mm f/2.8L IS
Canon EF 2X III Extender
This car competed in the HGPCA Pre '52 GP Car Race at the Coys International Historic Festival meeting at Silverstone in July 1998. It's the 1935 Alfa Romeo 8C-35 of Paul Grist and has an 8-cylinder 3,822cc engine with twin overhead camshafts. It was built to challenge the Mercedes Benz and Auto Union cars but rarely managed to get the better of them. The Alfa Romeo 8C-35 was introduced when the Tipo B Monoposto – or P3 as it is more popularly known – became overdue for replacement. The P3 had itself been derived from the Monza and had flown the Alfa flag with great success between 1932 and 1935. The 8C-35 never beat the German cars in a top level Grand Prix, but did succeed in doing so in a number of smaller races, in the hands of Tazio Nuvolari.
Such a great flower to sow - it out competes weeds so it is perfect to sow on weedy freshly dug soil. Very cheap seed as the seed are sold as green manure in bulky bags and the seeds last greater than 5 years retaining very high germination rates so you could have a relatively big area every year for half a decade for about 50 pence a year! If growing for flowers you dont need to sow as densely as you would if growing as green manure for digging in before flowers set seed.
Also if you sow in succession you could theoretically have them in flower from mid spring to late Autumn. Late sowings overwinter and flower in Spring.
The individual flowers last so long (each flower spike lasts about 3 weeks as it unfurls new flowers) and it is perfect for cut flowers for bringing inside too.
Is there a better/easier/funner flower?
I have a patch about 3m by 3m just hitting peak flower and it is absolutely buzzing with honeybees and white tail bumbles.
I do grow a patch quite often but must make a point of discipline to do it every year and maybe more than once per year.
Very distinctive dark blue pollen loads - clearly illustrated in this picture. Like blue suede shoes
Elvis Presley - Blue Suede Shoes
Competing with the Euphorbia in my garden are these Hellebores, also pale green but not quite so bright. They seem very robust and require hardly any attention, which is always an advantage!
Competing cultural events on a Sunday afternoon at the Wollongong Botanical Gardens
A wedding (Cambodian) and a photo shoot on the bridge.
Brooke competing in 4H at the Blue Moon Ranch. On this date, 1-3-15, she won the overall High Point Trophy.
This car competed in the Formula Junior Championship race at the Historic Sports Car Club's Summer Race Meeting at Oulton Park in July 1992. It's the 1960 Lola MkII Formula Junior car of Tony Steele and appears to have a 4-cylinder online Ford Kent 1,098cc engine. Formula Junior was introduced in 1959 as a class of racing where younger drivers could be introduced to single-seater racing. It ended when Formula 2 and Formula 3 were re-introduced to the racing scene for the 1964 season and Formula Junior has continued to be featured at historic racing events.
A colonial animal, it competes with cattle for grazing rights, and their numbers have been dramatically reduced. A "dog town" in Texas was once reported to cover 25,000 sq mi, and to include 400,000,000 individuals.
Theodore Roosevelt National Park, North Dakota, USA.
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*** Please NOTE and RESPECT the Copyright ***
© Gary Prince - All Rights Reserved
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This car competed in the Bill Phillips Race for Standard & Modified Pre-war Sports Cars at the Vintage Sports Car Club's meeting at Oulton Park in May 2019. It's Mark Butterworth's 1938 Lagonda V12 Le Mans, two of which were built for the 1939 Le Mans 24 Hour race, and afterwards several of the short chassis Lagonda Rapide models were converted to Le Mans Replicas. The cars that competed at Le Mans in 1939 had a 4,479cc V12 engine with 4 SU carburettors and finished in third and fourth places driven by Arthur Dobson/ Charles Brackenbury and Lord Selsdon/ Lord William Walleran respectively. The car is seen here at Druids Corner during the race.
Competing for Mulberries with the Satin Bowerbirds, Black-faced Cuckoo-shrikes, Olive-backed Orioles and Grandchildren : )
Competing for the same habitat and resources, Wood Storks and Roseate Spoonbills are nonetheless natural allies. Here readying to head to a roost for the night.
Former southern region 09022 competes with one of the last 2 somersault signals remaining in the UK. The wooden arm still drops apparently, although it was demonstrated the only levers which remain operational in the signal box close the white pedestrian gates across the track.
Italia - Florencia - Catedral de Santa Maria del Fiore
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ENGLISH
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15.1 feet) high, 9.2 metres (30.2 feet) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north. Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. The Pantheon had employed structural centring to support the concrete dome while it cured. This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms. Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious, such as his use of the catenary arch for support. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The ribs, 4 metres (13 ft) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.
A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model.[30] He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (376 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this gilt copper ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.
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ESPAÑOL
La cúpula de Santa María del Fiore o cúpula de Santa María de la Flor, también conocida como cúpula de Brunelleschi o cúpula del Duomo de Florencia, constituye la cubierta del crucero de la catedral de Santa María del Fiore de Florencia. Fue la cúpula más grande del mundo tras la caída del imperio romano y se considera todavía la mayor jamás realizada en albañilería. Fue ideada, proyectada y construida por Filippo Brunelleschi, quien inició con esta obra el Renacimiento italiano y florentino en arquitectura. Está considerada como la construcción más importante edificada en Europa desde la época romana, debido a la relevancia fundamental que ha desempeñado para el desarrollo posterior de la arquitectura y de la concepción moderna de la construcción.
La cúpula tiene una forma apuntada y está formada por ocho caras o paños ojivales, cubiertos con teja de barro rojo y bordeados por ocho nervios de piedra blanca. Toda la estructura descansa sobre un tambor también octogonal, perforado por ocho óculos para la iluminación del interior. Los nervios convergen en un anillo octogonal superior, coronado por una linterna, elemento que también colabora en la entrada de luz. El interior está constituido por dos casquetes o domos, uno interior y otro exterior, construidos con ladrillo dispuesto en forma de espina de pez. Están conectados entre sí por medio de una retícula interior formada por costillas y nervaduras, que sostiene la cúpula y colabora en su estabilidad. El hueco que queda entre ambos casquetes forma un espacio por el que se asciende hasta la linterna. El exterior del tambor está revestido con mármoles polícromos y con una balaustrada incompleta que solo se construyó en una de sus caras. La cara interna de la cúpula está decorada con pinturas al fresco y al temple que representan el Juicio Final.
Las proporciones del conjunto son monumentales. La altura máxima de la cúpula es de 116.50 metros, el diámetro máximo del casquete interior es de 45.5 metros y el del exterior, de 54.8 metros. La base de las impostas se encuentra a 55 metros del suelo. El tambor, de 13 metros de altura y 43 de anchura, se sitúa a 54 metros del suelo. El casquete interior tiene un espesor en su base de 2.20 metros, que disminuye hasta los 2 metros en la cúspide, mientras que el casquete exterior tiene un espesor que pasa de un metro a 0.40 metros. El anillo superior de cierre de la cúpula se encuentra a 86.70 metros del suelo. La linterna tiene 6 metros de diámetro y 21 de altura. Los paños trapezoidales miden 17.50 metros de longitud y tienen una altura de 32.65 metros. El peso estimado total de la cúpula es de unas 30 000 toneladas y se calcula que se necesitaron para su construcción más de 4 millones de ladrillos.
Sus enormes dimensiones hicieron inviable el empleo de los métodos constructivos tradicionales mediante cimbras, lo cual ha favorecido la especulación de diversas teorías sobre la técnica constructiva empleada. Brunelleschi no dejó registro de ningún dibujo, maqueta o esbozo que indicara el procedimiento utilizado en la edificación de la cúpula.
Las obras de construcción de la cúpula tuvieron una duración de 16 años, desde 1420 hasta 1436. En 1446 se inició la construcción de la linterna, que fue terminada en 1461. El revestimiento exterior del tambor se ejecutó entre 1512 y 1515, y la decoración pictórica del interior de la cúpula se prolongó desde 1572 hasta 1579.