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Far more compact and efficient. Far less tripods involved. Control center contains all necessary pieces in one block and is power mains connexion-independent. Block communicates wit remaining equipment thru IR, RF and BT.
So my ThinkTankPhoto Retrospective 30 arrived earlier today and I figured I'd try out some different packing configurations with it. This config could possibly work quite well as my general, all-purpose layout. I'm pretty lazy sometimes when it comes to swapping lenses so with this config I'm covered from 24-260mm (w/a small gap between 70-91mm) w/out having to swap. For low light I stash a 35mm in one of the front pockets.
I opted to expose the velcro on the same side as the 35mm just as an additional safety measure to prevent the lens from accidentally tumbling out. Not that I think it will (those front pockets are pretty deep) but just in case.
The bag comes with a raincover that was originally clipped into the front pocket that the 35mm is in. I moved the cover into the back interior pocket since I don't think I'll use that pocket for anything. Upon wearing the bag I discovered that this arrangement actually worked really well because the raincover functions as additional padding for the rear of the bag so that your gear isn't digging right into your body, especially w/a heavy load.
Standard configuration with Storage Module and Standard Indicators.
The wheels are a tough, lightweight material especially suited to gravel or rocky surface conditions. They are also impervious to puncturing and provide excellent traction on loose surfaces. Traditional steel belted radials (not shown here) and mission specific alternatives are also available in a range of capabilities to suit a variety of offworld environments.
Masonic Perfect Ashlarvwith a Twig brought back from a pilgrimage.
Rough and Perfect Ashlar
A rough and perfect ashlar are stones which symbolize Man's moral and spiritual life.
Cutting stone to uniform shapes and sizes requires the skill and experience of a true craftsman with many years of experience.
This is why, historically, only large edifices (buildings) were made of ashlars (rather than brick or wood), due to the necessity (and difficulty) of assembling the many skilled craftsman needed to complete the many subsets of knowledge such as how to build a stone archway, how to lay foundation stone, and how to lay stone, one atop another to great heights...not to mention the artisans who sculpted the stones into ornamental shapes.
In days of old, apprentice masons cut and raised the Rough Ashlars from the stone quarry under the supervision of more experienced craftsman, called Fellowcrafts.
The work was accomplished under the watchful eye of the Master masons of the craft...those who had proved their ability to make their Master's piece to the satisfaction of their superiors.
In Freemasonry, there are 2 forms of ashlars.
Rough Ashlar
In operative Freemasonry, the rough ashlar represents a rough, unprepared or undressed stone. In speculative Freemasonry, a rough ashlar is an allegory to the uninitiated Freemason prior to his discovering enlightenment.
Perfect Ashlar
Operatively, the Perfect ashlar represents the dressed stone (after it has been made uniform and smoothed) by use of the working tools, the common gavel, (mallet) and chisel. (The chisel may be found in English Freemasonry, but is not used in the United States as a Freemason symbol.)
Only after the stone has been dressed by an experienced stonemason, can it be suitable to be placed into the architectural structure or building.
Speculatively, a Perfect Ashlar is an allegory to a Freemason who, through Masonic education, works to achieve an upstanding life and diligently strives to obtain enlightenment.
Rough and Perfect Ashlars
In the Fellowcraft Degree, we see the use of the Rough and Perfect Ashlars. The lesson to be learned is that by means of education and the acquirement of knowledge, a man improves the state of his spiritual and moral being.
Like man, each Rough Ashlar begins as an imperfect stone. With education, cultivation and brotherly love, man is shaped into a being which has been tried by the square of virtue and encircled by the compasses of his boundaries, given to us by our Creator.
Rough and Perfect Ashlar: Fitted For The Builder's Use
In ancient times, quarried stone which could be easily shaped into desired configurations, was called "freestone". Typical freestones are limestone and sandstone.
Then, as now, only after refining and smoothing these rough stones into their desired shape, were the stonemasons able to "fit them for the builder's use".
In the Fellowcraft degree, the Rough Ashlar represents a man's unrefined state and his need for improvement. He learns that the goal of being a better man includes spirituality of thought and striving for perfection of conduct. Via duties, expectations and obligations, he is charged to work toward these goals of self improvement.
As the Freemason "smoothes" his rough edges, internally and externally; he becomes a better man and, therefore, a better Freemason.
Once a man has perfected his ashlar to the best of his ability,... as Brothers to all mankind, it is his duty to help others become better men and better Freemasons.
Rough and Perfect Ashlar - The Potential For Change
All rough ashlars must have within them the potential to be made into a perfect ashlar.
The stone must be made of sound material and have a minimum of character flaws which may cause it to weaken the edifice (building). It must be capable of being worked into a perfect stone. This is why candidates for the degrees are asked many questions as to their qualifications and character about why they wish to become Freemasons.
The candidate must have the potential to both serve and support the Fraternity. He must be carefully inspected, just as each Rough Ashlar is inspected for quality in order to be able to "fit" him into Freemasonry's tenets and goals, which are compatible to God's laws.
An imperfect stone may be made perfect, however major flaws are difficult to overcome and when assembled into a structure, the entire structure can be weakened from its improper use. This is as true of men as it is of stones.
Rough and Perfect Ashlar - States of Metamorphose
Freemasonry has a glorious history. Flawed ashlars can bring negative feelings and reproach upon the Fraternity from non-Freemasons in the outside world and therefore, can have no place within its walls.
...That said,...let us not forget that perfect ashlars are not found lying about the stone quarry without benefit of their having been hammered, chiseled and polished into such a state of being.
It also holds true that "perfect" men are also such an anomaly without the benefit of brotherly love, guidance and light. There are very few Freemasons who have not been in both the rough and perfect ashlar state-of-being at some point in their lives.
Freemason Duties For the Future of the Craft
1. Freemasons must give serious consideration to our personal responsibility to educate other Brothers toward their self improvement.
Like the Good Samaritan in the Holy Books; it is in the giving and assistance to others in which you will find the true "jewels" of enlightenment. True Master Masons not only exemplify the tenets of the craft, but they teach what they learn.
2. Lodges should carefully judge the potential of each candidate, weighing both their character and their potential for change. For more information as to how to properly perform this duty, see my page Masonic Investigation Committee.
3. Each Freemason is charged to extend the hand of brotherly love and affection to help new Freemasons become better men and strive to live on the square, stand upright with the plumb and take their true place as a man who would make his Creator (the Almighty), proud of him.
The lesson of the Rough and Perfect Ashlar applies to all men who are worthy,...who have a heartfelt wish to go from ignorance to knowledge,...from darkness to light...and from death to life.
The following poem, written by Mary Brooks Picken, entitled, "Thimblefuls of Friendliness" was written in 1924, and, perhaps says it, best.
"Thimblefuls of Friendliness"
"Isn't it strange that Princes and Kings
And clowns that caper in sawdust rings,
And just plain folks like you and me,
Are builders for Eternity?
To each is given a bag of tools,
A shapeless mass and a book of rules,
And each must make ere life is flown,
A stumbling block, or a stepping stone.
So,...it's up to you. What will YOU decide to build with YOUR working tools?
Airbus A330-343E
MSN 1000
HB-JHA 'SCHWYZ'
SWISS International Air Lines
SWR LX
Copyright © 2012 A380spotter. All rights reserved.
Union Square, New York City, New York, United States
Summary
An important example of the Moorish style (with Venetian touches), with a profusion of terra-cotta embellishment that enlivens and adds variety to the facade, the Union Building (originally known as the Decker Building) testifies to the interaction between New York and Chicago architects.
Convincingly attributed to John H. Edelmann, mentor and friend to Chicago architect Louis Sullivan, the Decker Building was designed by Edelmann -while employed by New York architect Alfred Zucker. Edelmann's most significant extant work, the building, located on Union Square West and built in 1892-93, originally housed the Decker Piano Company, one of many firms devoted to artistic enterprises that were once centered around the square.
The Development of Union Square
The commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road (now Broadway), and the Bowery intersected at 15th Street. The acute angle formed by this "union" was set aside by the Commissioners and named Union Place. Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:
It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.
In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary. As the city expanded northward and land use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city,"
Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized. Graded, paved, and fenced, Union Place was finally opened to the public in July, 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.
By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings, including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun."
Theaters, hotels, and luxury retailers predominated in the 1870s-5 By the 189 0s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.
The Decker Building was commissioned by John Jacob Decker, then head of Decker Brothers Piano Company, to occupy the lot that he had leased from its owners.
Adjacent to architect Bruce Price's Bank of the Metropolis, the Decker Building is prominently situated on Union Square West, considered the most desirable side of the square "probably because for all practical purposes it really was Broadway.
By mid-century, piano-fortes had become increasingly popular, and, along with other musical instruments, an important source of manufacturing jobs for New York city.
Like many other businesses concerned with the arts and requiring skilled craftsmen, a number of piano-makers were situated near and around the square. Decker Brothers appears to have been established by John J. Decker in 1856 at 149 Baxter Street, In May 1863, the firm (which now included David Decker) had relocated to Varick Street.
As of May 1, 1870, the Decker Brothers showrooms were located at 33 Union Square West and at 322 West 35th Street; the factory's address was on West 35th Street between Eighth and Ninth Avenues. The firm (apparently taken over by William F. Decker by Kay 1, 1896), remained at 33 Union Square West until 1913.
According to Trow's Directory, the firm was in liquidation in the year ending May 1, 1902, and every year thereafter (with the exception of the year ending Hay 1, 1903) until 1913, after which it is no longer listed.
John H. Edelmann (1852-1900)
Writing about John H. Edelmann to his brother Albert from Paris in 1874, Louis Sullivan observed: "You can make up your mind that my reputation as an architect will always be inferior to his."
Even when his assessment of Edelmann's architecture had changed, a half century later, Sullivan wrote:
And be this said here and now: The passing years have isolated and revealed John Edelmann, as unique in personality among fine and brilliant minds. Be assured he will not turn in his grave, unless in bliss, should he hear it said that he was the benefactor and Louis the parasite and profiteer.
And yet, until recently, surprisingly little had been pieced together about Edelmann's career. He spent his early years shuttling back and forth between Cleveland and Chicago before moving on to New York. A talented architect whose efforts were nonetheless unfocused and who was plagued by ill health, he was absorbed by diverse concerns. During the years 1877-79, Edelmann became interested in radical social ideas, including the Greenback, Populist, and single-tax movements, as well as Socialism and philosophical anarchism.
He was a founder of the Socialist League in 1892 and contributed to Solidarity. a recently founded anarchist periodical of which he became a publisher in 1893 and which he twice revived (after publication was halted due to lack of funds) in 1895 and 1898. Edelmann was also an artist and a sculptor.
As a youth, Edelmann served as an architectural draftsman in his native Cleveland. In 1872, he moved to Chicago and was employed by the firm of Burling, Adler, and Co. The following year, Edelmann became foreman of William Le Baron Jenney's drafting room. It was at this time that he first met the young Louis Sullivan, who was also a draftsman in Jenney's office.
In 1874, Edelmann formed a partnership with Joseph S. Johnston, who had worked with him as a draftsman at Burling, Adler, & Co. That year, the firm was responsible for the design of the Moody Tabernacle Choir, located in Chicago.
Perhaps prompted by a decline in his Chicago practice and by his father's death, in 1876 Edelmann returned to Cleveland where he was soon employed as a draftsman. However, illness led to a hiatus in his architectural career. Having regained his health by 1880, Edelmann returned to Chicago, acting as office foreman for Adler, who was now practicing without his former partner. In 1881, after insuring that Sullivan would succeed him as Adler's foreman, Edelmann returned once again to Cleveland, where he is said to have designed the pavilion for President Garfield's catafalque. In Cleveland, he joined the firm of Coburn & Barrtum as foreman and supervisor of construction, "covering ... [their] buildings ... with sullivanesque ornament."
There he supervised construction of the Blackstone and the Perkins-Power Blocks (1881) which he may have helped design. As architect for J. B. Perkins, Edelmann is credited with the design of the Gilman, Wilshire, Stephens and Widlar Buildings (1882-83), structures conceived in the spirit of the new commercial architecture in Chicago. It has been observed that the several buildings he designed for Coburn & Barnum and for Perkins "evolved from polychromatic Victorian toward a Chicago functionalism."
By 1883, Edelmann had again returned to Chicago where he is said to have helped design the Pullman Building (1884) as an employee of S. S. Beman and where he may have helped to design Sullivan's Auditorium (1886-89).
In the late 1880s and throughout the 1890s, Edelmann worked in New York and lived for a time in what is now Kearny, New Jersey, where he designed a house for himself (1894), In 1889-90 he was associated with Lyndon P. Smith, later supervising architect on Sullivan's Bayard-Condict Building (1898), a designated New York City Landmark. In 1891-93, Edelmann was often employed by New York architect Alfred Zucker, for whom he apparently designed the Decker Building and the interiors for the Hotel Majestic (1891-92). Edelmann is credited with "a certain exotic, Sullivanesque decoration that characterized the work of Alfred Zucker."20 During these years, Edelmann may have occupied space in the offices of McKim, Mead, & White, working partly for the firm and partly independently as a designer and as a supervisor of construction.22 From September of 1896 to the end of 1897, Edelmann's name appears on the list of McKim, Mead, & White's employees, as a full-time employee? thereafter, Edelmann maintained his own office in New York, until his sudden death from a heart attack in 1900.
Chicago and New York: Architectural Interaction
The Decker Building exemplifies the architectural interaction between Chicago and New York, which existed although these important cities rivaled one another in attempting to establish architectural supremacy.
As John Zukowsky has noted: "At the simplest level of interactions, Chicago architects have designed New York projects and New Yorkers Chicago ones."
Although in municipal building records the architect of the Decker Building is listed as Alfred Zucker, the building's design is now attributed to John Edelmann. Mary Kathryn Stroh, in her master's thesis on Zucker, has noted striking differences between other structures designed by Zucker and the Decker Building and two other Zucker commissions, 256 and 119 Fifth Avenue: "different from any of his previous works, . . . the imaginative decoration, especially some of the windows and intricate ornament ... is borrowed from decidedly Islamic sources."Donald Egbert and Paul Sprague describe the Decker Building as "the chief extant structure believed to be Edelmann's design-"
The attribution to Edelmann sheds light on the building's ornament, which was not characteristic of the bulk of Zucker's work, but instead exemplifies the principles that concerned both Edelmann and Sullivan. Not surprisingly, many visual similarities between the work of the two architects suggest that early on "Sullivan was inspired, if not assisted in his designs and ornament by his mentor John Edelmann."
In addition to their shared sporting and cultural activities, Edelmann taught Sullivan aesthetics and German metaphysics and familiarized Louis with his theory of "suppressed functions."
This influence was, however, reciprocal. From 1873 to 1883, "Edelmann developed a style of decoration that is difficult to distinguish from Sullivan's early ornament."
During the time Sullivan attended the Ecole des Beaux-Arts, he and Edelmann remained friends, and upon his return, Sullivan "no doubt" occasionally worked for Edelmann's firm.
The two collaborated for a time on the decorations for the interiors of Moody's Tabernacle Choir (1374-7 6) and for Mount Sinai Synagogue (ca, 1874-75); sketches that Sullivan sent to Edelmann from Paris survive in Sullivan's papers.
The flat ornament of the Decker Building clearly relates to that of Sullivan and Edelmann. In his studies in Paris (ca. 1874), Sullivan became concerned with the Neo-Grec decorative principles of Victoire-Marie Ruprich-Robert, professor of the history and composition of ornament at the Ecole des Arts Decoratifs in Paris (1850-37).
Even before Sullivan's trip to Paris, both he and Edelmann made use of Jenney's library, and their ornamental design benefited from these studies.
Sullivan was also influenced by the ornament of Owen Jones and of Jones's student Christopher Dresser who "were likewise preaching and demonstrating the functional abstraction of all the historical styles — and nature as well — for application in modern design."
It has also been demonstrated that both Edelmann and Sullivan were influenced by the work of such leading American architects as Richard Morris Hunt and Frank Furness.
In 1873, Sullivan (at the suggestion of Hunt) sought and obtained employment (which lasted for a period of five months) with Furness.
The influences between Edelmann and Sullivan must have been reciprocal: as Edelmann had previously influenced Sullivan, so the relationship in some measure reversed itself in later years. In his article "The Pessimism of Modern Architecture" (Engineering News. 1892), Edelmann praised Sullivan's architecture.
When he designed the Decker Building (c. 1892), Edelmann was familiar with Sullivan's recent work. Sullivan's belated wedding gift to Edelmann (who married about 1890} of a cast from the ornamental frieze on the Wainwright Tomb in St. Louis (1892) is proof of the architects' continuing allegiance and assures us that Edelmann would have been familiar with Sullivan's ornament; Sullivan's gift was hung as a frieze in the living room of the Edelmann home.
The naturalistic motif on the enframements and moldings employed by Edelmann in his design for the Decker Building is certainly reminiscent of the border on the Wainwright Tomb, The same emphasis, evident in Sullivan's work, on enclosed and articulated areas covered by flat abstracted decoration based on plant types and Oriental sources also characterizes the Decker Building.
Particularly characteristic of Sullivan is the emphasis on horizontal spaces embellished or outlined by ornament; this too can be seen in Edelmann's work, such as the enframement of the second and the tenth stories of the Decker Building.
Moreover, the treatment of the wide ground-story, center window flanked by smaller apertures evident on the Decker Building as originally completed can be seen as characteristically Chicagoan.
Similarly, the loggia of the Decker Building is also reminiscent of Sullivan's work. The richness and prominence of Edelmann's spandrel panels between the fourth and fifth stories and between the eighth and ninth stories can be related to Sullivan's on the Wainwright Building in St. Louis (1890-91).
Other buildings attributed to Zucker during the years that Edelmann appears to have worked for him (1891-93) also share "Sullivanesque" characteristics that separate this group from other works by Zucker.
These buildings are 139 Fifth Avenue, 256 Fifth Avenue, 18-24 Washington Place, and 236-250 Wooster Street.
Yet, the Decker Building (and the four related works that are considered part of Zucker's oeuvre) is distinct from Sullivan's works in the way historical style and organic motifs are used. Sullivan employed historical sources but created non-historical works, in which ornament often called out function and structure. Edelmann's use of ornament appears rooted in historical style, in the case of the Decker Building, in the Moorish style combined with touches of the Venetian.
The Moorish Style
Although recent architectural historians have called aspects of this building Venetian and its tall narrow appearance and balconies call to mind Venetian palazzi, Islamic or Moorish motifs predominate in Edelmann's design for the Decker Building. As can be seen in Bruce Price's published presentation perspective of the Bank of the Metropolis, a domed minaret originally capped the adjacent structure.
The center pair of fifth-story windows is framed by a horseshoe or Arabic arch; the intrados is framed by a contiguous band of smaller horseshoe arches.
An alfiz, a rectangular molding which frames a horseshoe arch, unites the fourth- and fifth-story windows. The central pair of windows on the eleventh story is also surmounted by a horseshoe arch which rests on Moorish columns.
Ogee arches (also typical of Islamic architecture) of cast iron frame the second-story side windows. Similarly, the panels of abstracted foliate ornament, called arabesques r which are often enframed in defined geometrical fields (and were also employed by Sullivan), are also derived from Oriental sources.
Overall pattern, a hallmark of the Islamic or Oriental style, also characterizes the Decker Building. The Decker Building's shaft is covered with an overall pattern resembling a guilloche with round embellishments.
Moreover, the building's intradosses and enframements are ornamented by naturalistic and vegetal motifs that add to the impression of pattern and movement. The circular, pierced multifoils that embellish the balconies further enhance the impression of pattern and opulence, as do the limestone quoins that embellish the shaft and the alfiz, and the pattern created by the loggia's columns (and by the now-demolished balustrade of the minaret's parapet).
The Decker Building exemplifies the "Moorish" look that Louis Comfort Tiffany employed in his designs for the interiors of many nearby Fifth Avenue townhouses.
Nor was Islamic influence new to American architecture, prompted by increased trade and exploration in the Far East during the eighteenth and nineteenth centuries, the Oriental revival and the use of Oriental motifs in America was the "longest lived of the exotic movements.
Islamic motifs in Western context were used for an architecture and an interior design that suggests relaxation, "above all relaxation from conformity."
The Islamic style was deemed suitable for smoking rooms, cafes, theaters, and public baths, all activities associated with respites from everyday routine and the work-a-day world.
For these reasons, architecture employing Islamic motifs has been called "the architecture of occasions," and the transportation from the everyday to pleasurable realms promised by the piano was surely in keeping both with occasions and with relaxation.
Such associations might have provided Edelmann with an additional impetus to employ the Moorish style.
Description
Located on Union Square West between 16th and 17th Streets, the Decker Building is a narrow eleven-story structure. The building is three bays wide; single windows flank a central bay of two windows (all having unusually deep reveals), thus creating an "A—B-A" rhythm underscored by the placement of much of the terra-cotta ornament', which enlivens and adds variety to the facade. The building has brick sidewalls, a facade of limestone, brick and terra cotta, and a gravel and tile roof.
Combining Venetian touches with the Moorish style, this early skyscraper with masonry bearing walls and a combination of cast-iron and steel cage4' and skeleton construction conforms to the lot line at the front and rear being 30' 5 1/4" at the front and 30' 6" to the rear; the lot is 150' deep, the building, 138'.
The classic tripartite columnar skyscraper division is employed. The first two stories form a base; the third story serves as a transition into the six-story shaft which is further articulated by the terra-cotta pattern of intertwining curved lines with circular infills. This shaft is capped by the tenth-floor loggia which serves as a transition into the "capital" a Moorish tower.
The facade is enlivened not only by the rich ornament and patterning but by its organization as a series of horizontals. The rich enframement at the second story, which unifies the side and central windows, inaugurates the pattern, which is emphasized by the profusion of moldings extending the width of the facade.
This pronounced horizontality is continued by the tenth-story loggia. The railing of the balcony above the loggia (now largely demolished) was pierced by a continuous band of multifoils.
The interrupted cornice above the eleventh story continues the horizontality as did the balustraded parapet that once circled the base of the dome. A late nineteenth-century and an early twentieth-century photograph document the building as originally completed.
Although the ground story and top of the building have been substantially altered, the majority of the eclectic and exuberant terra-cotta ornament survives. At the second story on three sides a border of half-shells encloses a handsome terra-cotta molding embellished with sunflowers at the top and artichokes at the sides and bottom.
The sunflowers (one of the decorative hallmarks of the Queen Anne movement) are separated from one another by semicircular arches. The artichokes, evocative of the Aesthetic Movement, are contained within a guilloche formed by its own leaves. Enclosed and recessed within this rich enframement are two side and a central pair of windows, all surmounted by a narrow cast-iron filigreed molding.
Cast-iron columns with elaborate capitals separate -the central pair from the single side windows, which are framed by ogee arches with ornate filigree spandrels.
Above the second story, brackets support a wide beltcourse that bows out into a shallow balcony at its center. Above, a group of three Sullivanesque foliated panels frames each side of the beltcourse's central portion, which takes the shape of a rectangular panel. The name UNION BUILDING appears on this panel (one "N" is missing); an early twentieth-century photograph indicates that the panel originally bore the name DECKER BUILDING-
Serving as a transition, the third story incorporates the limestone that is used plentifully for the guoining and the stringcourses above with the elaborate naturalistic terra cotta featured in the enframement below. The top and sides of the single side windows and the pair of central windows are surrounded by small indented rectangles.
Rich vegetal moldings ornament the intradoses of the side and central windows. A bead molding separates the third story from a frieze that incorporates an arabesque scroll pattern with stylized plants.
This embellished frieze is contained within the space defined by the foliated panels on the beltcourse below the third story and by the outer rims of the third- and fourth-story windows. By virtue of its placement beneath the windows, this frieze links the ornament of the second-story enframement, the ornament covering the intradoses, and capping the building.
The placement of the terra-cotta ornament gives added impetus to the "A-B-A" rhythm of the facade with its three bays and serves as a transition to the six-story shaft.
The fourth story is the first of six that form the structure's midsection and is covered with an unusual terracotta pattern of intertwining curved lines with circular fruitlike infills. The corners are articulated by limestone quoins that are at various points linked by limestone bands.
The center pair of windows at the fourth and fifth stories are framed by a double-height horseshoe arch which is framed by the alfiz. itself ornamented both with rich foliate moldings and with Moorish tracery,
A spandrel panel between the fourth and fifth stories is indicated by a wide rectangular sill ornamented by terra-cotta plaques with naturalistic ornament and central cartouches bearing the letter D for Decker. Console-like brackets spring from the top of the alfiz and support a balcony pierced by multifoil apertures. The limestone bands that extend across the tops of the fourth- and fifth-story single side windows (and thus link the quoins) are ornamented by lines of small incised diamonds that emphasize the width of the openings below.
They are typical of the many fine details which enliven and add variety to the facade.
The windows of the sixth to the ninth stories are interestingly treated and have unusually deep reveals. The transoms are so pronounced and deep that the transom windows above are distinctly separated from the windows. Above the windows on each story, a limestone band joins quoins on either side of the building, thus further highlighting and separating the transom from the sash windows.
At the top of each side window a band of indented diamonds appears. The sill of the central pair is underscored by a limestone band that extends from one side of the facade to the other, as do two other bands that separate the transoms from the main bodies of the windows. This motif is evident on the seventh, eighth, and ninth stories.
A balcony with elaborate tracery comprised of multifoil apertures appears before the central pair of windows at the eighth story. An elaborate frieze embellished with naturalistic motifs and surmounted by a band of horseshoe arches is placed on the spandrel panel between the central windows of the eighth and the ninth stories.
A border of naturalistic motifs beginning at the base of the eighth-story windows runs along the sides and top of the ninth-story windows, thus joining the eighth- and ninth-story windows.
Each pair is separated by a column. The transoms of the eighth-story pair are capped by ogee arches, and the sides are ornamented by incised half shells. The transoms above the ninth story are simple rectangles.
The mullions between the eighth- and ninth-story transoms include a vertical band of pierced bezants. A band of indented diamonds surmounts the paired central ninth-story windows. The ninth story is capped by a band of limestone blocks and by a small corbel table.
The tenth story is a loggia bordered by an elaborate terracotta frame with highly naturalistic ornament reminiscent of the flowers featured in William Morris's textiles and wallpapers.
Within this frame, a band of limestone, pierced at the inner edge by indented semi-circles, encloses a loggia. Nine columns with Moorish capitals alternate with eight deeply recessed sash windows. Above the tenth story, projecting brackets support what remains (the floor) of the original elaborately pierced balcony.
Flanking the central tower are paired horseshoe or Arabic arches. Each pair is ornamented with terra-cotta arabesques and rests on two engaged columns and a central freestanding column. A bead molding separates the arches below from a rectangular expanse of terra-cotta arabesques which is capped by a corbel table.
As it survives, the intervening tower is two stories in height. On the smooth wall-surface, applied bosses create a geometric border of crosses alternating with diamond-shaped outlines.
At the eleventh story, the central pair of windows is surmounted by an ornamented horseshoe arch which rests on engaged Moorish columns. The spandrels above contain naturalistic ornament. Shaped transoms are capped by embellished terra-cotta. cartouches in the shape of ogee arches or domes.
The whole is outlined by a bead molding and a molding of continuous beads. An illusionary window and balcony pierced by open, bent-leaf shapes and ornamented by naturalistic forms rests on brackets lead to the final flourish. The horseshoe arches with smaller sculpted horseshoe arches are surmounted by roundels pierced by Islamic stars. Again, the window is framed by bands of running ornament.
As originally built, this tower was surmounted by a balustraded parapet that led to a domed minaret. At the juncture of the dome and the tower, an elaborate cornice flared upward; the tower sported balconies, imitating those from which the faithful could be called to prayer.
- From the 1988 NYCLPC Landmark Designation Report
I conducted an experiment to prep for the upcoming eclipse. I took a few thousand pictures of the sun at different ISOs and exposures to create a grid of how the sun's color and sharpness changes and ended up picking 272 of those images ranging from ISO-100 to ISO-800 and exposures from 1/100s to 1/4000s. This only tests a white light filter. These are all individual images but results would be similar with lucky imaging.
I have a video talking about my set up and these images here: www.youtube.com/watch?v=jintyGyLDr0
Find more of my videos at: youtube.com/Naztronomy
See a higher resolution image here: i.imgur.com/M7g7rbD.jpg or www.naztronomy.com/images/portfolio/fullscreen/Full_Solar... (8500x8308px)
Equipment used:
* Canon T5i stock DSLR
* Telescope configurations: AT60ED, AT60ED + 2x Barlow, NexStar 6SE, NexStar 6SE + 0.63x reducer
* Exposures range from 1/100s to 1/4000s at ISO-100 to ISO-800
* Thousand Oaks Optical solar sheet in homemade filter hat for both telescopes
* No processing done on the images aside from cropping and fitting into the grid
Thanks for looking!
While photographing for this project I took a more creative approach when photographing the ways in which natural surroundings (in this case-the sun) can refresh and enliven our experiences. This shot has a strong influence from Valie Export and her "Body Configuration" idea. This photo was taken on a bell tower against the setting sun in the background. Without the beautiful sunset illuminating the night's sky, this photo would caring far less meaning. This was my favorite photo from the series as I feel it captures my theme in the most creative and abstract way. I look forward to hearing any feedback!
Black Wolf Turbo Tents, the original quick pitch tents, have become the benchmark in tourer tents. Super fast and easy to erect they’re ideal for extended touring trips when you’re on the move. With various sizes and configurations available in both ‘heavy duty’ and ‘lite’ material, the Black Wolf Turbo Tents are unique in their class.
The Black Wolf Turbo Lite 300 Plus Tent features:
* More Space: In addition to the 300cm square floor of the Turbo Lite 300, the Turbo Lite Plus 300 has an additional 180cm floor space for storage or extra sleeping area. A curtain divider allows the extra space to be divided off but can be rolled away to the sides to give one big open area. Also available in the “Lite Plus Series” is the smaller Turbo Lite Plus 240 also with a comfortable 210cm height.
* Lightweight: The Turbo Lite Plus 300 is made from very strong but lightweight Ripstop Polyester. Weighing in at only 24 kilograms the Lite Plus 300 is easy to handle and transport and packs away almost as quickly as it sets up.
* Fly Material: The fly, which comes standard, is made from 150D Ripstop Polyester PU 2000mm a lightweight yet ultra-tough and durable material.
* Floor: The bucket shaped floor (upgraded in 2012) consists of 500D Polyester PU material - more durable, yet light in weight and easy to fold and pack.
* Strong: The frame and poles are all of strong, lightweight and durable 25mm diameter aluminium.
* Excellent Ventilation: A large front door, roof vents and large gusseted side windows provide for plenty of airflow and ventilation.
* Waterproof: The seams of the fly and floor are waterproof-taped to prevent leakages and keep you dry while a new curved supporting rear horizontal pole provides improved rain run-off and shedding.
* Weather Protection: The freestanding front awning tensions off the main frame, eliminating extra poles but sheltering the entry from rain and sunshine
* Insect protection: The doors and windows are fitted with zippered fibreglass mesh to keep out flying insects.
* Compact when packed: Will fit into the back of most 4WDs and doesn’t have to be carried on roof racks.
* Extras touches: Zippered guy rope stow pockets to keep guy ropes tidy; a zippered power inlet with retainer tabs.
* Accessories/Options Available: To extend your living space team up your Turbo Lite Plus 300 with a Turbo Lite Basecamp Plus Fly 300.
* Lifetime warranty: Black Wolf are constantly improving and innovating their products. The Turbo Tent range is a perfect example of the company’s commitment to best-in-class quality and performance. Their true belief in this is illustrated in the Lifetime Warranty that comes with all the Turbo Tent range!
www.snowys.com.au/Tents-Shelters/Touring-Tents/Turbo-Lite...
The baseline configuration of the Oshkart SMTV (Scalable Medium Tactical Vehicle) family, the Mk601A is the standard two-door 6x6 cargo hauler configuration.
Features include opening doors and top hatch, a cab capable of seating 2 minifigs with body armor and headgear, foldable gunner’s seat, turning front wheels, center-pivoting rear axles, and spare tire with lift arm.
A special thanks needs to be given to Abdullah750Pakistan. This originally started as a project to clean up and make a buildable and more minifig-friendly version of his Ural 63708. As you can see though, it’s turned into a project to create a series of trucks in the same vein of the Oshkosh MTVR, Navistar 7000 MV, and Ural 63704-0010 families.
As with my other builds, all parts used in this are real production pieces.
If you're interested in this build, a file can be found here:
Crown XLS2500 DriveCore Series 2400W Amplifier Description:
Crown's XLS 2500 is a premiere, portable power amplifier with unmatched performance, technology and affordability. Its advantageous flexibility includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 11 pounds, the Crown XLS2500 power amp is much easier to set up and move from show to show.
Integrated DriveCore Technology
Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. DriveCore Technology provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown XLS2500 power amp won't compromised your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.
In addition, DriveCore Technology's patented feedback and PWM modulation circuits enable fast recovery on peak transients, accurate reproduction of low-level detail, and precise tracking of low-frequencies at high power levels for maximum subwoofer output.
Advanced Switched-Mode Power Supply
The advanced power supply in the Crown XLS2500 power amp is highly efficient and optimized for maximum power transfer from the AC line through the Class D output stage to the loudspeakers. A benefit to this is substantial weight reduction when compared to older 60Hz transformer-based power supplies. All four models in the Crown XLS line weigh 10 pounds or less with no compromise in performance. This makes the Crown XLS2500 power amp and others in the XLS Series the benchmark for high-performance, lightweight portability.
PureBand Crossover System
The PureBand Crossover System in the Crown XLS Series adds an enormous amount of flexibility and performance to any system. With this system, the crossover frequency is completely variable allowing the choice of any crossover point between 50Hz and 3kHz on 1/12 octave centers. The use of 4th order Linkwitz-Riley filters provides steep slopes for a seamless transition between high and low drivers. And with four crossover modes to choose from providing the ultimate in flexibility, all of your system needs are covered.
Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher sound pressure level (SPL) with less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters
XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
Minimum Guaranteed Power per channel, both channels driven: 1550W, Stereo, 2 Ohms (per ch.); 775W, Stereo, 4 Ohms (per ch.); 440W, Stereo, 8 Ohms (per ch.); 1550W, Bridge-Mono, 8 Ohms; 2400W, Bridge-Mono, 4 Ohms
Sensitivity (for full rated power at 4 ohms): 1.4 Vrms
Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB
Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS2000 > 103 dB
Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200
Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB
Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced
Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono
AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz
Ventilation: Flow-through ventilation from front to back
Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation
Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers
Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)
Dimensions: 19"W x 3-1/2"H x 10-3/4"D
Weight: XLS2500: 10-3/4 lb.
A beautiful girl named Jellybean told us about the natural mirror art installation. There were several mirrors set up in a special configuration, so that when you looked in the mirror, instead of seeing a mirror image of yourself, you see the non-reversed image: how other people would see you. What you ACTUALY look like. It actually freaks everyone out. For whatever biological/psychological reason, the asymmetries that everyone has with their faces are much more apparent when we do not see a mirror image. We're not used to seeing our faces as they really exist in a mirror -- most people have never experienced it in their lives. It is freaky. The difference is more than anyone expects. This was a great art installation.
Carolyn, Claire.
smiling.
natural reflection.
self-portrait.
Marvin's Mountaintop, Cascade, West Virginia.
July 19, 2018.
... Read my blog at clintjcl at wordpress dot com
... Read Carolyn's blog at CarolynCASL at wordpress dot com
BACKSTORY: We went to Transformus for the first time, since it moved closer to us. Mostly we wandered and met people. There was ice cream on the burn night!! How crazy is that!?
The Vice-Admiral Kulakov was commissioned in 1982 and was on combat duty with the Northern Fleet until March 1991, when she was retired for repairs that lasted more than 18 years. The ship returned to the Severomorsk base on December 7, 2010 and is to return to active duty. On 5 January 2011, a fire broke out in one of the ship's mess-rooms. It was reported to be caused by a short circuit. The damage was minimal and did not reduce the combat effectiveness of the ship.On 3 September 2011 the destroyer conducted the first underway landings tests for the new Ka-52K helicopter.
The Udaloy-II is modified by the replacement of the SS-N-14 by the SS-N-22, reflecting a change in emphasis from ASW to anti-shipping, however, her standoff ASW capability is retained by firing SS-N-15 missiles from the torpedo tubes. Other changes include an improved self defense capability with the addition of the gun/SAM CIWS systems. Similar to Udaloy externally, it was a new configuration with the Moskit antiship missiles, a twin 130 mm gun, the Udav antitorpedo system and several anti-aircraft systems.
Powered by a modern gas turbine engine, it was equipped with more capable sonars, an integrated air defense fire control system, and a number of digital electronic systems based on state-of-the-art circuitry. The original MGK-355 Polinom integrated sonar system (with NATO reporting names Horse Jaw and Horse Tail respectively for the hull mounted and towed portions) on Udaloy-I ships is replaced by its successor, a newly designed Zvezda M-2 sonar system that has a range in excess of 100 km in the 2nd convergence zone. The Zvezda sonar system is considered by its designers to be the equivalent of American AN/SQS-53 in terms of overall performance, but it is much bulkier and heavier than its American counterpart: the length of the hull mounted portion is near 30 meters. The torpedo approaching warning function of Polinom sonar system is retained and further improved by its successor Zvezda sonar system.
The Black Wolf Turbo Lite Plus 300 Tent is one of the Black Wolf range of original Quick Pitch Tents that have become the benchmark in tourer tents. Super fast and easy to erect they’re ideal for extended touring trips when you’re on the move. With various sizes and configurations available in both ‘heavy duty’ and ‘lite’ material, the Black Wolf Turbo Tents are unique in their class.The Black Wolf Turbo Lite 300 Plus Tent features:
* More Space: In addition to the 300cm square floor of the Turbo Lite 300, the Turbo Lite Plus 300 has an additional 180cm floor space for storage or extra sleeping area. A curtain divider allows the extra space to be divided off but can be rolled away to the sides to give one big open area. Also available in the “Lite Plus Series” is the smaller Turbo Lite Plus 240 also with a comfortable 210cm height.
* Lightweight: The Turbo Lite Plus 300 is made from very strong but lightweight Ripstop Polyester. Weighing in at only 24 kilograms the Lite Plus 300 is easy to handle and transport and packs away almost as quickly as it sets up.
* Fly Material: The fly, which comes standard, is made from 150D Ripstop Polyester PU 2000mm a lightweight yet ultra-tough and durable material.
* Floor: The bucket shaped floor (upgraded in 2012) consists of 500D Polyester PU material - more durable, yet light in weight and easy to fold and pack.
* Strong: The frame and poles are all of strong, lightweight and durable 25mm diameter aluminium.
* Excellent Ventilation: A large front door, roof vents and large gusseted side windows provide for plenty of airflow and ventilation.
* Waterproof: The seams of the fly and floor are waterproof-taped to prevent leakages and keep you dry while a new curved supporting rear horizontal pole provides improved rain run-off and shedding.
* Weather Protection: The freestanding front awning tensions off the main frame, eliminating extra poles but sheltering the entry from rain and sunshine
* Insect protection: The doors and windows are fitted with zippered fibreglass mesh to keep out flying insects.
* Compact when packed: Will fit into the back of most 4WDs and doesn’t have to be carried on roof racks.
* Extras touches: Zippered guy rope stow pockets to keep guy ropes tidy; a zippered power inlet with retainer tabs.
* Accessories/Options Available: To extend your living space team up your Turbo Lite Plus 300 with a Turbo Lite Basecamp Plus Fly 300.
* Lifetime warranty: Black Wolf are constantly improving and innovating their products. The Turbo Tent range is a perfect example of the company’s commitment to best-in-class quality and performance. Their true belief in this is illustrated in the Lifetime Warranty that comes with all the Turbo Tent range!
www.snowys.com.au/Tents-Shelters/Touring-Tents/Turbo-Lite...
HST Power Car W43029 brings an early WR set into Exeter St Davids station. It is notable that the leading TS is still one of the originals rather than the later TGS design with a guard's compartment.
What does it mean to create a truly autonomous machine, independent from human control? And what happens when organs live outside of a body? Could this help us understand that the power of the human body lies in its ability to be different and to take on unexpected forms and identities?
Violently entangled within the performance space are three elements: an artificially intelligent prosthesis, out-of-body organic wombs and a human body. The prosthesis uses artificial intelligence algorithms to learn in real time how to move, exist and perform on stage. The wombs live and pulsate through the activity of microbial cultures. The sounds of the performer’s body are re-synthesised and transformed into a powerful and visceral auditory experience.
Credit: vog.photo
Telecaster guitar body , Jazz Bass neck with a Telecaster Bass Headstock. A real mixture.
Straight-Though Maple Neck with Mahogonay Lines, Jazz Bass Style Nest with Telecaster Bass Headstock, Ebony Fingerboard, 2 Seymour Duncan p
PickUps, 3 Way Switching Configuration.
This was my first configuration on my GF2 for super macro photography. Keep in mind this was simply my first test setup for macro after upgrading from a Lumix fz28 as my macro shooter. That's also the reason why I foolishly jammed the DCR 250 in there, which really provides no benefit in magnification...something I learned after posting this picture.
My macro setup is always a serious work in progress that's for sure. I've hence moved on to older reverse mount lenses with f stop lower than this stock lens.
Hopeful potential changes:
-auto bellows+M42 adapter
-Nissin Di466+flash bracket (after my olympus fl-36 died...womp womp)
Update: Just got some extension tubes and an adapter for an old 35m Steinheil :)
Note: The DCR 250 is pretty useless in this setup, really doesn't add much magnification if at all.
This is a screen shot of me setting up frame relay and serial ppp between 3 of my routers. Its running through a cisco 2511 with 16 terminal lines. So I can have upto 16 telnet windows open
Final configuration: Termignoni silencers with modified dB killers installed. I drilled out one 1/2-in hole in each dB killer to reduce backpressure and smooth out the re-mapped power curve without significantly increasing radiated noise.
I think this is a good compromise between performance and overall noise. The system is still very loud, but nowhere near as ear-splitting as the full open-throated Termignoni system.
I now pass the "do not generate the scowl as you pass a cop" test. At least a dozen times in just a day or two. Hooray. But, parenthetically, why are there oodles of cops in speed traps right now?
This configuration is brought to you by Hasselblad-to-Canon EOS-to-Pentax Q adapters.
Check out my photostream to see a sample shot taken with this configuration
© 2015 Robert D. Bruce
All Rights Reserved.
How to disable desktop GUI on Raspberry Pi
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
#293/365
[strobist setup]
[2 x yn560 - octabox 80 + grid]-(24mm@1/1) at 8h
[yn460 - full ctb gel - snoot]-(24mm@1/1) at 1h
[camera]
Canon EOS 60d
[camera setup]
ISO100, 1/250, f22
[lens]
Sigma EX DG 24-70mm f2.8
[trigger]
Cactus V5
Twitter: @erkua
Facebook: erkua photography
Bike shown with the rack in the porteur configuration.
Bike write up:
The 2011 North American Handmade Bicycle Show (NAHBS) has arrived. I would like to start The Bicycle Escape’s coverage of the event with my new ride, the pictured YiPsan cruiser.
Some of you may remember the YiPsan Sunflower bike that won the “People’s Choice Award” and “Best City Bike” at the 2010 North American Handmade Bicycle Show. Well that beauty belonged to my beauty (aka wife Danielle). At the time the bike was being designed there was discussion of a dude’s version of the now famous cruiser. NAHBS 2011 offered the perfect excuse for such a bike to become a reality.
The design of the bike is function forward. Racks, generator lights, fenders, a bell, and a kickstand adorn the machine. To say it is functional is not to overlook the bikes beauty. The paint was done by the skilled hand of Keith Anderson. His flawless finish is complimented by lots of high-polished bits and pieces. When polished parts were not available (they usually were not) we had them polished. The rims for example started out as a nice silvery/grey color but it was not shiny enough for this build. We could do better. The kickstand, brake lever blades, crank, ring, fenders, and Shimano Alfine rear hub all received the same treatment. We even replaced the kickstand and brake lever pivot pins with pins made of brass. So yeah, I am kinda worked-up about this bike.
One of the original motivating forces behind this bike was the transforming front rack. I wanted a porteur style front rack that could transform into a small randonneur rack. After discussing this idea with Renold Yip at YiPsan Bicycles he took the idea a step further. He designed and built a rack platform with removable left and right sides. With the sides removed you are left with a small front rack. The sides can then be installed on the fork forming a low-rider rack to accommodate side bags.
I am really pleased with the way this bike came together and am super excited to see my bike displayed alongside the best our industry has to offer. Stay tuned for more posts from Austin.
The church dedicated to the Saviour's Configuration ("Metamorfosi tou Sotira") is built in the middle of "Palio Chorio" ("Old Village"). It was constructed in the 16th century (1520) and it has the same architectural style as the other two small churches of the village, that of "Panagia Theotokos" and that of Saint George "Perachoritis". Up until 1994, liturgies were conducted daily since it was considered as the village's main church.
It is a rectangular church of the Basilica style and with elements of the Byzantine style. It can accommodate up to 100-150 faithful. Externally it is made of stone and whitewashed.
The inhabitants built extensions to the church in 1880 and 1960 because the village was continuously growing. When they dug the floor they discovered many pieces of frescoes, which surely came from this church. Indeed, they were able to read the name of the hagiographer who was named Symeon Afxentis. He is known for his frescoes of the "Panagia Theotokos" and "Archangel" churches in the village of Galata.
The icon screen is woodcut, as also are the two Psalters that can be found in the church.
There are various remarkable representations dating back to the 16th and 17th century. The icon screen is of various different chronologies.
www.kakopetriavillage.com/churches.html
The settlement of Kakopetria, although mentioned by the mediaeval annalists, existed -at least- since the Frank domination era. The village's region was inhabited around the 6th - 7th century and the various excavations that have been conducted in 1938 around the old village of Kakopetria (in the Ailades venue) prove this. During the excavations a dispenser of an ancient shrine -most probably belonging to the goddess Athena- came to light. A large number of movable findings were found, mainly terra-cotta, many of which depict the goddess Athena, as well as small, limestone, statues and parts of statues and bronze and iron shafts from spearheads and arrows. The findings most probably date back to the Archaic and Classic eras of Cyprus. Other statuettes represent Hercules and are an indication that he was also worshiped in the area along with the goddess Athena. These findings are found in the Archaeological Museum of Nicosia.
This is a photograph from a set of photographs taken at the St. Coca's AC 5KM Road Race 2017 which was held in Kilcock, Co. Kildare, Ireland at 20:00 on Friday 30th June 2017. This superb road race is now firmly established again as one of the fastest and best organised road races of its kind in Leinster. The race follows a left handed course around a well known local walking route around Laragh and in the closing kilometer runs parallel to the Royal Canal into the finish at the railway station in the town having started at the primary school close to the St. Coca's running track. In fact for several hundred meters after the 4KM marker towards the finish the course runs parallel with the railway, canal and the R148 between Kilcock and Maynooth. This geographic feature is one of only a small number towns with this parallel configuration in all of Europe.
The members of St. Coca's AC and the many volunteers from the local community must be given great praise for organising another fantastic night of racing for runners, joggers, and walkers. The 5KM course is very flat with the exception of short incline up a motorway overpass and makes its way along narrow country lanes sheltered on either side by hedgerows. These roads offer a great contrast from the urban population of Kilcock which has grown as a satellite town of the greater Dublin area. The nice summer evening made for an enjoyable night for everyone with a large crowd gathering at the finish to cheer on participants. Refreshments and prize awards were held in the Gaelscoil near to both the race start and close to the St. Coca's running track. Running clubs and groups from all over Leinster and beyond were represented in the race tonight.
Electronic timing and event management was provided by Irish company MyRunResults.com (Website: www.myrunresults.com/)
This photograph is part of a larger set of photographs from the St. Coca's AC 5KM Road Race 2017 which can be found in the following Flickr Photoset: www.flickr.com/photos/peterm7/albums/72157682901644263
GPS Trace of the 5KM Course (the route of the course has not changed in a few years) connect.garmin.com/activity/194011978
Photographs from previous St. Coca's AC 5KM Road Races on our Flickr photostream:
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2016: www.flickr.com/photos/peterm7/albums/72157670088473266
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2015: www.flickr.com/photos/peterm7/sets/72157655117810205
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2014: www.flickr.com/photos/peterm7/sets/72157645423471903
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2013: www.flickr.com/photos/peterm7/sets/72157634382263872
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2012: www.flickr.com/photos/peterm7/sets/72157630347296616
Our photographs on Flickr from the St. Coca's AC 5KM Road Race 2011: www.flickr.com/photos/peterm7/sets/72157627042558602
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Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the start third annual running of the Renault Mullingar Half Marathon which was held on Friday 17th March 2017 St. Patrick's Day Lá Fhéile Pádraig 2017 in Mullingar, Co. Westmeath, Ireland at 10:30. Following on from the incredible success of the first two years of the race this year the total numbers participating rose from just under 600 in 2015, 900 in 2016 to over 1200 in this year 2017. As was the case last year the nominated charity was Childline. The roots of the successs of the event last year was the perfect running weather, excellent organisation and a very flat and fast route. All of these characteristics were repeated this year.
Last year's weather was not repeated. Indeed the race could be described as a race of two halves in terms of weather. The first half participants had the strong, fresh westerly wind on their backs. However, turning for home along the Royal Canal this became a very strong headwind for 3 - 4 miles. Participants travelled from all over Ireland with a very large participation from runners around Mullingar and the midlands. The race has an AAI permit. The race's early start time was to facilitate the annual St. Patrick's Day parade which brings a large number of local visitors to the town on an annual basis. Parking is free in Mullingar town for the entire day. A small change to the course configuration seen the race cross the M4 Motorway at The Downs via a winding pedestrian footbridge.
The race began on Pearse Street/Austin Friar's Street in the town and proceeds North East out of the town to the N52 Delvin/Dundalk road towards Lough Sheever. The course then follows beautiful rural country roads out to The Downs at the M4. The only significant hill or rise on the course occurs here at about 7 miles when runners cross a pedestrian footbridge over the M4 near Junction 14 Thomas Flynn and Sons The Downs. The race then joins the now local access route of the old N4 road and then joins the Royal Canal at Great Down. The remainder of the race follows the Royal Canal back westward to Mullingar town. The towpath on the Canal is perfectly flat and in excellent condition. Runners will notice how the level of the canal changes dramatically along the route - at points the canal is level with the towpath. In other places the canal is at least 3 meters lower than the canal path. However the path is perfectly flat and firm the whole way. The course then leaves the Royal Canal at the Ardmore Road/Millmount area of the town and finishes in the Mullingar Town Park on Austin Friar's Street beside the Annebrook Hotel which is the Race Headquarters. The park provides a very nice setting for the finish of the race and runners and their families can mix and congregate around the finish area and the hotel.
Timing and event management was provided by http://www.myrunresults.com/. Their website is here [www.myrunresults.com/] and will contain the results to today's race.
Our Full Set of photographs from today's race is at www.flickr.com/photos/peterm7/albums/72157679566202191
Useful Links:
Our Flickr Photo Album from the 2016 Mullingar Half Marathon www.flickr.com/photos/peterm7/albums/72157665831236062
Our Flickr Photo Album from the 2015 Mullingar Half Marathon www.flickr.com/photos/peterm7/sets/72157651394365962
The Annebrook House Hotel (Race HQ) www.annebrook.ie
Offical Race Facebook Page www.facebook.com/mullingarhalfmarathon/
Google Maps Location of the Start/Finish www.google.ie/maps/@53.5253133,-7.3369538,18z
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Instagram, Snapchat, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
When you finally crack the configuration of Lemarchand's diabolical puzzle box.
#model #hellraiser #hellboundheart #lemarchandsbox #nightshot #slowshutterspeed #cenobite #clivebarker #hetanker #mechelen #2800love #hoopskirt #eerie #horror #creepie #digitalnomad #wanderlust #cobblestones #gothichorror #horrormodel #oldstreets #cosplay #cosplaygirl #pinhead #enjoythepain #umbrella #corset #macabre #halloween #everydayishalloween
The Sandhurst Military Skills Competition has run in various configurations since 1967. This year, it is a two-day event conducted at the United States Military Academy West Point, New York, April 10 and 11. At its core, Sandhurst is an inter-company competition for USMA. However, West Point teams now compete, not only amongst themselves, but against teams from their fellow United States Service Academies, 8 select University ROTC teams, the United States Military Academy Preparatory School team, and international teams from Britain's Royal Military Academy Sandhurst (RMAS), Canada's Royal Military College (RMC), and The Chilean Military School. Each USMA Cadet Company and visiting team selects a 9-member Squad (at least one member must be female) with two alternates. This squad is required to perform a series of challenging military tasks during a rapid, non-tactical move along a partly-prescribed route. (Photo by: William C. Bunce/ USMA DPTMS VI)
Im Rahmen eins Fotoworkshops in Würzburg übten die Teilnehmer den Umgang mit verschiedenen Lichtaufbauten. Während die anderen fleissig übten, nutze ich die Chance mit lichtstarken Objektiven das Model in Situationen zu erwischen, in denen sie sich auf die Seminarteilnehmer konzentrierte Die leicht verschwommenen Bilder waren Absicht. Hierfür fotografierte ich durch das Gitter eines Ventilators hindurch.
As part of one photo workshops in Würzburg, the participants practiced the handling of various lighting setups. While others practiced diligently, I take the chance with fast lenses to get the model in situations where she focused on the seminar participants The slightly blurred images were intent. For this I photographed through the grid of a fan.
Dans le cadre d'un des ateliers de photo à Würzburg, les participants pratiquent la manipulation des différentes configurations d'éclairage. Alors que d'autres pratiquaient assidûment, je prends la chance avec des lentilles rapides à obtenir le modèle dans des situations où elle s'est concentrée sur les participants au séminaire Les images légèrement floues étaient attentifs. Pour ce que j'ai photographié à travers la grille d'un ventilateur.
Como parte de uno de talleres de fotografía en Würzburg, los participantes practicaron el manejo de diferentes configuraciones de iluminación. Mientras que otros practican con diligencia, aprovecho la ocasión con lentes rápidas para obtener el modelo en situaciones en las que se centró en los participantes en el seminario Las imágenes ligeramente borrosas eran intención. Yo para esto he fotografiado a través de la rejilla de un ventilador.
Come parte di uno workshop fotografici in Würzburg, i partecipanti hanno praticato il trattamento di varie configurazioni di illuminazione. Mentre altri praticavano diligentemente, colgo l'occasione con lenti veloci per ottenere il modello in situazioni in cui si è concentrata sui partecipanti al seminario Le immagini leggermente sfocate erano intenti. Per questo ho fotografato attraverso la griglia di un ventilatore.
Foto: Georg Beyer
Kamera Nikon D800, Nikon D7000
Objektive beim Shooting:
Nikkor 70-200 2,8
Sigma 70-200 2,8
Nikkor 24-70 2,8
Nikkor 50mm 1,8
Nikkor 85mm 1,8
Sigma 35mm 1,4
Studioblitzanlage
Bei einem Fotoworkshop in Würzburg entstanden diese Bilder.
Camera: Pentax K-3 II
Focal Point: 33mm
ISO: 800
Aperture: f/22
Shutter speed: 3s
April 5, 2020 @ 10p
Taken at Home
Style: Diffused flash (used paper napkin)
This was done by setting up the candles and the central object (the puzzle cube from the Hellraiser movie series) on a patio table after dark.
Multi-Component Inspector Kit (MCIK) for Complementary Access (CA)/DIV Inspections
Safeguard Equipments - Close-up of the visual observation instruments configuration with vest, belt, bags with for indoor use. IAEA Vienna, Austria, 3 October 2018
Photo Credit: Dean Calma / IAEA
Classification: Airconditioned Tourist Bus
Seating Configuration: 2x2
Seating Capacity: 45 Passengers
Model: HD II
Manufacturer: Isuzu Super Cruiser with Fuji Heavy Industries
Chassis: LV771R
Engine: 10PD1
Suspension: Air Suspension
(Note: Specification are subjected for verification and may be changed without prior notice.)
Shot Location: 1st Avenue Grace Park Caloocan City