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After the Big Boy move for the day was complete, the ensuing crowds in West Chicago were unpalatable, so a diversion to Downers Grove was in order to take in some racetrack action in a (relatively) people free environment.
Another "short-turn" train is prepping to get underway back east towards the city as a westbound express zips down the center track. Another set of headlights are visible in the distance.
-METX F40PHM-2 #196, Westbound Metra Service
-METX F40PHM-2 #213 "Village of Franklin Park", Eastbound Metra Service
-BNSF Chicago Sub, MP 21
-Washington St Crossing, Downers Grove, IL
-July 26, 2019
TT1_5726_edited-1
Coachwork by Pininfarina
Chassis n° 915.696
Zoute Sale - Bonhams
Estimated : € 600.000 - 800.000
Sold
Zoute Grand Prix 2022
Knokke - Zoute
België - Belgium
October 2022
A development of the pre-war 6C 2300 and 2500, the 6C 2500 Super Sport is the ultimate variant of the elegant, glamorous, and luxurious Alfa Romeos that were developed under the guidance of engineers Vittorio Jano and Wilfredo Ricart (before the latter left to establish Pegaso). Pinin Farina's cabriolet was presented in Lausanne on 4th and 5th October 1946 at the Premières Journées d'Elégance event, which aimed to revive Italian coachbuilding after WW2.
This car boasts arguably the most iconic body style for this model: a design that exhibits Pinin Farina's typical stylistic features such as integrated headlights, flowing and continuous lines, and recessed door handles (also typical of the Ferrari and Cisitalia cars designed by Pinin Farina in this period). It is finished in the beautiful original colour combination of Petrol Green with tan leather interior and beige soft-top.
The specification is state-of-the-art for the time, including a twin-overhead-camshaft engine and independent suspension all round. Alfa Romeo ambitiously raced the 6C 2300 and 2500, amassing an impressive string of victories and podium finishes including 1st and 2nd in the 1937 Mille Miglia; 1, 2, 3 in the 1937 6-hour Targa Abruzzo at Pescara; and another Pescara win in 1938. These successes continued after the end of WW2, including an overall win in the 1950 Targa Florio.
The most technically potent of several 6C 2500 models was the Super Sport. With three Weber carburettors it produced 110bhp even on the low-octane fuel available in Europe at the time. The 6C 2500's relatively stiff frame and four-wheel independent suspension delivered this power to the road much better than the typically cart-sprung live-axle cars of the day. Easier on drivers and passengers, the suspension's supple ride ensued that a competitor would remain alert at the end of the Mille Miglia, as well as enabling the owner of this Gran Turismo Alfa to emerge fresh at the end of a road trip to Cannes.
Their combination of sophisticated engineering, durability, and attractive bodywork has ensured that the 6C 2500 is, and has always been, highly sought after by collectors and performance-minded enthusiasts. Three variants were built post-war, including the two closed versions: one by Carrozzeria Touring of Milan, and one in house by Alfa Romeo.
Most exclusive of the post-war 6C 2500 line was the 6C 2500 Super Sport, built on a short (2.7 metres) chassis and intended exclusively for coachbuilt bodywork. Total production of the 6C 2500 Super Sport was 458 units, of which 75 were built between 1939-1943 and 383 between 1947-1951. According to the Fabio Morlacchi and Stefano Salvetti books, around 63 Super Sport Pinin Farina cabriolets were manufactured after the war. With such an exalted pedigree it is not surprising that the Alfa Romeo 6C 2500 Super Sport should attract the attention of filmmakers, director/producer Joseph L Mankiewicz casting one ('915.834') in his 1954 movie, The Barefoot Contessa, in which it was driven by Humphrey Bogart alongside his co-star, Ava Gardner (photographs and a film extract may be found in the car's history file).
A '2nd series' example, chassis number '915.696 has an exceptionally well-documented history. This particular car boasts matching numbers and colours, the latter an elegant and rare combination, and a body by one of the most prestigious Italian coachbuilders: Carrozzeria Pinin Farina. It is likely the only one to have been ordered with such a colour combination.
The car has a known and documented history from 1948 until today, including more than 50 original document pages; letters to Alfa Romeo in Italy; bills; photographs, etc, all of which contributes to making this car unique. It represents the best of both worlds: a sure protagonist at the most prestigious Concours d'Élégance venues such as Villa d'Este, Chantilly, Pebble Beach, etc while at the same time being an unusual and unexpectedly capable sports car for long-distance competitions (it is eligible for the Mille Miglia and other high profile international rallies).
• Major component identification numbers are as follows:
• Chassis: 915.696 ('2nd series')
• Engine: 928.001
• Pinin Farina body: 153
• Body structure: 10044
• Gearbox: 945.808 (22 x 39)
• Drive shaft: 963.840
• Rear axle: 985.688, 15 x 59
• Weber Carburettors Tipo 36 DO2: 362, 1108, 1112
• Suspension legs: 963.840
Chassis number '915.696' was produced on 25th October 1948 and sold on 11th April 1949 to Mr Edmondo Cornudet of Milan, Italy, who drove the car for the first years of its life. In 1958 Mr Cornudet put his Alfa up for sale and the car was sold to Mr Fred Puhn, an American from San Diego, California. Fred Puhn, who worked part time in a grocery store, had seen a classified advertisement in the San Diego newspaper for several exotic Italian cars. He called immediately and talked to the seller, Mr Bill Brehaut, who was importing and selling used Italian cars from his home. It turned out that Bill Brehaut was one of the two men who started Road & Track magazine!
The car on offer, an Alfa Romeo 6C 2500 Super Sport Pinin Farina convertible, was too expensive ($2,000) for Fred Puhn. He then decided to ask Bill Brehaut to find a less expensive car and paid for it by cheque ($550) on 27th May 1958. Later in 1958, Bill Brehaut's business partner in Italy, Mr Michele Vernola from Milan, notified him of a car that was right for Fred Puhn. It was a 1948 Alfa Romeo 6C 2500 Super Sport Pinin Farina convertible just like the one he first rode in. The price was only $585 in Italy because the car had covered 100,000 kilometres and needed a repaint. The Alfa was not of the quality Messrs Brehaut and Vernola liked to deal in, but nevertheless they decided to import it as a special favour for Fred Puhn, who had spent all his savings purchasing the car. Other costs were shipping up to $330; duties up to $45; Bill Brehaut's fees up to $20; and Michele Vernola's fees up to $100.
When Fred Puhn received the shipping papers he went to the port of Long Beach to see the car for the first time: "It was beautiful, faded grey paint and threadbare top aside; it was the car of my youthful dreams". Of course, he had to come back on another day to get it through customs; the customs declaration was dated 20th November 1959.
With his friend, Jerry, Fred travelled again to Long Beach to collect the car. They put a little gas in it, and it fired up straight away. The exhaust was a little smoky, but otherwise it ran well: "I was on a cloud as we drove down Highway 101 back to San Diego. We stopped at San Juan Capistrano for lunch and a photo (see attached picture). It was the only photo I would have of car in its original state, for disaster loomed ahead.
"We were only a few minutes from home in San Diego and passed under a freeway. I marvelled at the echo of the exhaust in the tunnel and pushed on the throttle to amplify it. In the next instant, an old Ford coming the other way suddenly turned left in front of us. I crashed into the Ford with the brakes locked. The Ford driver took off trying to escape the consequences. Jerry leaped out my Alfa, flagged down a passing car and took after the escaping culprit. He caught him a few blocks away and brought him to the back scene. The cops then arrived and promptly gave me a ticket for no registration or plates (contrary to what the DMV told me over the phone). The guy who caused the accident had no insurance but promised in writing to pay for my repairs. He never did. The Alfa would drive if you did not turn the steering wheel much, so we limped home. I was more than demoralised. It was hard not to cry in front of my friends.
"The next few months were spent going into debt and watching a craftsman slowly repair the Alfa. Finally, it was done, so I painted it red. After that, there were good both times and had times with the car. I drove it to college and parked it next to my friend Jerry's newly acquired FIAT 8V. Going to school with the top down was a blast on a winding canyon road, and I raced every car I saw. The Alfa even made a trip to the Colton drag strip and won a trophy by beating a VW Beetle. I took out a girl on a date in the Alfa, but she complained at being stared at because the car had right-hand drive. I impressed my hot-rodder friend by taking him for a ride at night and showing him 150 (kph) on the speedometer. He thought it was miles per hour."
The Alfa's registration plate was in 1960 was 'PSX 679'. Fred Puhn took good care of his car and eventually overhauled the complex hand-built engine. On 14th December 1960 he bought various parts from Michele Vernola including new bearings and a timing chain, as well as some valves and valve springs He also had the cylinder block bored at Westerlund & Lange on 5th August 1961 in order to fit a set of new pistons. Other machining work done at Westerlund and Lange on 30th September 1961 including grinding the crankshaft and line-boring the main bearings.
But despite all those works the oil pressure was falling again, leading Fred Puhn to conclude: "I am sure it was a mistake I made putting the pressure relief valve back together." "In a fit of depression", he traded the car for an MG TF to Mr John M Schoenfeld, 3353 Albatross, San Diego, California, who kept it for eight years. Despite its lubrication problem, the Alfa obviously left a deep impression on Fred Puhn, who some 50 years later wrote an article about it for the July 2012 edition of the Alfa Romeo Owners Club's magazine in the USA!
On 28th June 1963, John Schoenfeld had the seats reupholstered in blue at Hillcrest Auto Top Shop for $81.80 (see invoice naming both Hillcrest Auto Top Shop and Hydro Products Co).
In 1963, he changed the clutch, the brakes and the master cylinder, and repaired some of the instruments. He also ordered new rod bearings from Michele Vernola. A service bill from Morena Blvd., San Diego, California dated 15th July 1963 showed a total of 76,214 kilometres recorded at that time. Hence, we can deduce that the car, which had 100,000 kilometres recorded in 1959, in fact had covered 176,214 kilometres by June 1963 as the odometer has only five digits.
In 1965 John M. Schoenfeld sold the Alfa Romeo to Mr Lew Skaug, Chula Vista, San Diego, California, who registered it on 10th May '65. On 22nd September 1965, he was looking for new connecting bearing rods and main bearings. In 1965, the car was registered 'LLB 313'. It seems that this was the only occasion Lew Skaug paid the annual license fee, so it is likely that the car was not driven much at this time.
In June 1970, Lew Skaug sold the car to Mr Robert Craft Archibald, 4216 Morrell, San Diego, California, CA, who registered it on 31st July of that year. Unfortunately there is no information available for his period of ownership. In 1980 Robert Archibald sold the Alfa Romeo for $800 to Mr Howard Staniforth, the father of the last owner who kept the car until 2013; he got the car running and drove it a short distance. Subsequently, the car was dismantled and Howard Staniforth commenced some cosmetic refurbishment in his small workshop (Staniforth Electric), although without finishing the work (see photographs taken prior to 2013).
On 16th October 2013, with the odometer showing 80,255 kilometres (almost certainly 180,255 in actuality), the car was sold by Howard Staniforth's son to broker Fantasy Junction of Emeryville, California (US title under the name of Fantasy Junction in file), who in turn sold it to another broker, Mr Francisco Ramos García of Classic Road, Madrid, Spain. The car arrived in Europe through the port of Alicante, Spain, on 17th July 2014 and was customs cleared.
Before selling the car to Fantasy Junction, Ray Staniforth wrote a short history of his car (see pictures in file and online catalogue).
By the end of 2015 the Alfa had been sold to Mr Andrea Sivieri from Ferrara, Italy, who made the decision to start a complete restoration in the autumn of 2016. However, he was unable to proceed because of the task's complexity and insufficient funds. A full restoration commenced in France in March 2019, and after more than 5,000 hours of work was finally completed in the spring of 2022 (important restoration file with 2400 photos). Some 99% of the original parts were retained during the restoration, including the Borrani wheels.
The car comes with a French carte grise de collection, a 1947 Alfa Romeo reproduction brochure La nuova 6C 2500 2a serie tipo Sport e Super Sport. In addition, some original manuals from 1948 and 1949: Alfa Romeo 6C 2500 Series II Owner's Manual for the Sport and & Super Sport, and Alfa Romeo 6C 2500 Series II & III Workshop/Spare Parts Manual for the Sport & Super Sport, are available if required.
This exceptional 6C 2500 Super Sport Cabriolet by Pinin Farina must be one of the most handsome of post-war Alfa Romeos and would be a worthy addition to any connoisseur's collection. It is more than a wonderful car: it is a masterpiece.
Marines with Echo Company, 2nd Battalion, 3rd Marine Regiment search the beaches of the North Shore Jan. 17, 2016 for debris of two CH-53E Super Stallion helicopters, which went missing Jan. 14, 2016 North of Oahu, Hawaii, . The aircraft are from Marine Heavy Helicopter Squadron 463, MAG 24, 1st MAW from Marine Corps Base Hawaii.
(U.S. Marine Corps Photo by Lance Cpl. Maximiliano Rosas/ Released)
Advertised in the 1955 edition of the Woolworths Journal.
Bertie Bassett was created in 1926 by an advertising copywriter who used Liquorice Allsorts sweets and pipe cleaners to form the character, making him a unique and colorful mascot that has been continuously developed in advertising since then.
Rochester is a town and historic city in the unitary authority of Medway in Kent, England. It is situated at the lowest bridging point of the River Medway about 30 miles (50 km) from London.
Rochester was for many years a favourite of Charles Dickens, who owned nearby Gads Hill Place, Higham,[1] basing many of his novels on the area. The Diocese of Rochester, the second oldest in England, is based at Rochester Cathedral and was responsible for the founding of a school, now The King's School in 604 AD,[2] which is recognised as being the second oldest continuously running school in the world. Rochester Castle, built by Bishop Gundulf of Rochester, has one of the best preserved keepsin either England or France, and during the First Barons' War (1215–1217) in King John's reign, baronial forces captured the castle from Archbishop Stephen Langton and held it against the king, who then besieged it.[3]
Neighbouring Chatham, Gillingham, Strood and a number of outlying villages, together with Rochester, nowadays make up the MedwayUnitary Authority area. It was, until 1998,[4]under the control of Kent County Council and is still part of the ceremonial county of Kent, under the latest Lieutenancies Act.[5]
Toponymy[edit]
The Romano-British name for Rochester was Durobrivae, later Durobrivis c. 730 and Dorobrevis in 844. The two commonly cited origins of this name are that it either came from "stronghold by the bridge(s)",[6] or is the latinisation of the British word Dourbruf meaning "swiftstream".[7]Durobrivis was pronounced 'Robrivis. Bede copied down this name, c. 730, mistaking its meaning as Hrofi's fortified camp (OE Hrofes cæster). From this we get c. 730 Hrofæscæstre, 811 Hrofescester, 1086 Rovescester, 1610 Rochester.[6] The Latinised adjective 'Roffensis' refers to Rochester.[7]
Neolithic remains have been found in the vicinity of Rochester; over time it has been variously occupied by Celts, Romans, Jutes and/or Saxons. During the Celtic period it was one of the two administrative centres of the Cantiaci tribe. During the Roman conquest of Britain a decisive battle was fought at the Medway somewhere near Rochester. The first bridge was subsequently constructed early in the Roman period. During the later Roman period the settlement was walled in stone. King Ethelbert of Kent(560–616) established a legal system which has been preserved in the 12th century Textus Roffensis. In AD 604 the bishopric and cathedral were founded. During this period, from the recall of the legions until the Norman conquest, Rochester was sacked at least twice and besieged on another occasion.
The medieval period saw the building of the current cathedral (1080–1130, 1227 and 1343), the building of two castles and the establishment of a significant town. Rochester Castle saw action in the sieges of 1215 and 1264. Its basic street plan was set out, constrained by the river, Watling Street, Rochester Priory and the castle.
Rochester has produced two martyrs: St John Fisher, executed by Henry VIII for refusing to sanction the divorce of Catherine of Aragon; and Bishop Nicholas Ridley, executed by Queen Mary for being an English Reformation protestant.
The city was raided by the Dutch as part of the Second Anglo-Dutch War. The Dutch, commanded by Admiral de Ruijter, broke through the chain at Upnor[8] and sailed to Rochester Bridge capturing part of the English fleet and burning it.[9]
The ancient City of Rochester merged with the Borough of Chatham and part of the Strood Rural District in 1974 to form the Borough of Medway. It was later renamed Rochester-upon-Medway, and its City status transferred to the entire borough. In 1998 another merger with the rest of the Medway Towns created the Medway Unitary Authority. The outgoing council neglected to appoint ceremonial "Charter Trustees" to continue to represent the historic Rochester area, causing Rochester to lose its City status – an error not even noticed by council officers for four years, until 2002.[10][11]
Military History
Rochester has for centuries been of great strategic importance through its position near the confluence of the Thames and the Medway. Rochester Castle was built to guard the river crossing, and the Royal Dockyard's establishment at Chatham witnessed the beginning of the Royal Navy's long period of supremacy. The town, as part of Medway, is surrounded by two circles of fortresses; the inner line built during the Napoleonic warsconsists of Fort Clarence, Fort Pitt, Fort Amherst and Fort Gillingham. The outer line of Palmerston Forts was built during the 1860s in light of the report by the Royal Commission on the Defence of the United Kingdomand consists of Fort Borstal, Fort Bridgewood, Fort Luton, and the Twydall Redoubts, with two additional forts on islands in the Medway, namely Fort Hoo and Fort Darnet.
During the First World War the Short Brothers' aircraft manufacturing company developed the first plane to launch a torpedo, the Short Admiralty Type 184, at its seaplane factory on the River Medway not far from Rochester Castle. In the intervening period between the 20th century World Wars the company established a world-wide reputation as a constructor of flying boats with aircraft such as the Singapore, Empire 'C'-Class and Sunderland. During the Second World War, Shorts also designed and manufactured the first four-engined bomber, the Stirling.
The UK's decline in naval power and shipbuilding competitiveness led to the government decommissioning the RN Shipyard at Chatham in 1984, which led to the subsequent demise of much local maritime industry. Rochester and its neighbouring communities were hit hard by this and have experienced a painful adjustment to a post-industrial economy, with much social deprivation and unemployment resulting. On the closure of Chatham Dockyard the area experienced an unprecedented surge in unemployment to 24%; this had dropped to 2.4% of the local population by 2014.[12]
Former City of Rochester[edit]
Rochester was recognised as a City from 1211 to 1998. The City of Rochester's ancient status was unique, as it had no formal council or Charter Trustees nor a Mayor, instead having the office of Admiral of the River Medway, whose incumbent acted as de facto civic leader.[13] On 1 April 1974, the City Council was abolished under the Local Government Act 1972, and the territory was merged with the District of Medway, Borough of Chatham and most of Strood Rural District to form a new a local government district called the Borough of Medway, within the county of Kent. Medway Borough Council applied to inherit Rochester's city status, but this was refused; instead letters patent were granted constituting the area of the former Rochester local government district to be the City of Rochester, to "perpetuate the ancient name" and to recall "the long history and proud heritage of the said City".[14] The Home Officesaid that the city status may be extended to the entire borough if it had "Rochester" in its name, so in 1979, Medway Borough Council renamed the borough to Borough of Rochester-upon-Medway, and in 1982, Rochester's city status was transferred to the entire borough by letters patent, with the district being called the City of Rochester-upon-Medway.[13]
On 1 April 1998, the existing local government districts of Rochester-upon-Medway and Gillingham were abolished and became the new unitary authority of Medway. The Department of Environment, Transport and the Regions informed the city council that since it was the local government district that officially held City status under the 1982 Letters Patent, the council would need to appoint charter trustees to preserve its city status, but the outgoing Labour-run council decided not to appoint charter trustees, so the city status was lost when Rochester-upon-Medway was abolished as a local government district.[15][16][17] The other local government districts with City status that were abolished around this time, Bath and Hereford, decided to appoint Charter Trustees to maintain the existence of their own cities and the mayoralties. The incoming Medway Council apparently only became aware of this when, in 2002, it was advised that Rochester was not on the Lord Chancellor's Office's list of cities.[18][19]
In 2010, Medway Council started to refer to the "City of Medway" in promotional material, but it was rebuked and instructed not to do so in future by the Advertising Standards Authority.[20]
Governance[edit]
Civic history and traditions[edit]
Rochester and its neighbours, Chatham and Gillingham, form a single large urban area known as the Medway Towns with a population of about 250,000. Since Norman times Rochester had always governed land on the other side of the Medway in Strood, which was known as Strood Intra; before 1835 it was about 100 yards (91 m) wide and stretched to Gun Lane. In the 1835 Municipal Corporations Act the boundaries were extended to include more of Strood and Frindsbury, and part of Chatham known as Chatham Intra. In 1974, Rochester City Council was abolished and superseded by Medway Borough Council, which also included the parishes of Cuxton, Halling and Cliffe, and the Hoo Peninsula. In 1979 the borough became Rochester-upon-Medway. The Admiral of the River Medway was ex-officio Mayor of Rochester and this dignity transferred to the Mayor of Medway when that unitary authority was created, along with the Admiralty Court for the River which constitutes a committee of the Council.[21]
Like many of the mediaeval towns of England, Rochester had civic Freemen whose historic duties and rights were abolished by the Municipal Corporations Act 1835. However, the Guild of Free Fishers and Dredgers continues to the present day and retains rights, duties and responsibilities on the Medway, between Sheerness and Hawkwood Stone.[22] This ancient corporate body convenes at the Admiralty Court whose Jury of Freemen is responsible for the conservancy of the River as enshrined in current legislation. The City Freedom can be obtained by residents after serving a period of "servitude", i.e. apprenticeship (traditionally seven years), before admission as a Freeman. The annual ceremonial Beating of the Boundsby the River Medway takes place after the Admiralty Court, usually on the first Saturday of July.
Rochester first obtained City status in 1211, but this was lost due to an administrative oversight when Rochester was absorbed by the Medway Unitary Authority.[10] Subsequently, the Medway Unitary Authority has applied for City status for Medway as a whole, rather than merely for Rochester. Medway applied unsuccessfully for City status in 2000 and 2002 and again in the Queen's Diamond Jubilee Year of 2012.[23] Any future bid to regain formal City status has been recommended to be made under the aegis of Rochester-upon-Medway.
Ecclesiastical parishes[edit]
There were three medieval parishes: St Nicholas', St Margaret's and St Clement's. St Clement's was in Horsewash Lane until the last vicar died in 1538 when it was joined with St Nicholas' parish; the church last remaining foundations were finally removed when the railway was being constructed in the 1850s. St Nicholas' Church was built in 1421 beside the cathedral to serve as a parish church for the citizens of Rochester. The ancient cathedral included the Benedictine monastic priory of St Andrew with greater status than the local parishes.[24] Rochester's pre-1537 diocese, under the jurisdiction of the Church of Rome, covered a vast area extending into East Anglia and included all of Essex.[25]
As a result of the restructuring of the Church during the Reformation the cathedral was reconsecrated as the Cathedral Church of Christ and the Blessed Virgin Mary without parochial responsibilities, being a diocesan church.[26] In the 19th century the parish of St Peter's was created to serve the burgeoning city with the new church being consecrated in 1859. Following demographic shifts, St Peter's and St Margaret's were recombined as a joint benefice in 1953 with the parish of St Nicholas with St Clement being absorbed in 1971.[27] The combined parish is now the "Parish of St Peter with St Margaret", centred at the new (1973) Parish Centre in The Delce (St Peter's) with St Margaret's remaining as a chapel-of-ease. Old St Peter's was demolished in 1974, while St Nicholas' Church has been converted into the diocesan offices but remains consecrated. Continued expansion south has led to the creation of an additional more recent parish of St Justus (1956) covering The Tideway estate and surrounding area.[28]
A church dedicated to St Mary the Virgin at Eastgate, which was of Anglo-Saxon foundation, is understood to have constituted a parish until the Middle Ages, but few records survive.[29]
Geography
Rochester lies within the area, known to geologists, as the London Basin. The low-lying Hoo peninsula to the north of the town consists of London Clay, and the alluvium brought down by the two rivers—the Thames and the Medway—whose confluence is in this area. The land rises from the river, and being on the dip slope of the North Downs, this consists of chalksurmounted by the Blackheath Beds of sand and gravel.
As a human settlement, Rochester became established as the lowest river crossing of the River Medway, well before the arrival of the Romans.
It is a focal point between two routes, being part of the main route connecting London with the Continent and the north-south routes following the course of the Medway connecting Maidstone and the Weald of Kent with the Thames and the North Sea. The Thames Marshes were an important source of salt. Rochester's roads follow north Kent's valleys and ridges of steep-sided chalk bournes. There are four ways out of town to the south: up Star Hill, via The Delce,[30] along the Maidstone Road or through Borstal. The town is inextricably linked with the neighbouring Medway Towns but separate from Maidstone by a protective ridge known as the Downs, a designated area of Outstanding Natural Beauty.
At its most limited geographical size, Rochester is defined as the market town within the city walls, now associated with the historic medieval city. However, Rochester historically also included the ancient wards of Strood Intra on the river's west bank, and Chatham Intra as well as the three old parishes on the Medway's east bank.
The diocese of Rochester is another geographical entity which can be referred to as Rochester.
Climate[edit]
Rochester has an oceanic climate similar to much of southern England, being accorded Köppen Climate Classification-subtype of "Cfb" (Marine West Coast Climate).[31]
On 10 August 2003, neighbouring Gravesend recorded one of the highest temperatures since meteorogical records began in the United Kingdom, with a reading of 38.1 degrees Celsius (100.6 degrees Fahrenheit),[32]only beaten by Brogdale, near Faversham, 22 miles (35 km) to the ESE.[33] The weather station at Brogdale is run by a volunteer, only reporting its data once a month, whereas Gravesend, which has an official Met Office site at the PLA pilot station,[34] reports data hourly.
Being near the mouth of the Thames Estuary with the North Sea, Rochester is relatively close to continental Europe and enjoys a somewhat less temperate climate than other parts of Kent and most of East Anglia. It is therefore less cloudy, drier and less prone to Atlanticdepressions with their associated wind and rain than western regions of Britain, as well as being hotter in summer and colder in winter. Rochester city centre's micro-climate is more accurately reflected by these officially recorded figures than by readings taken at Rochester Airport.[35]
North and North West Kent continue to record higher temperatures in summer, sometimes being the hottest area of the country, eg. on the warmest day of 2011, when temperatures reached 33.1 degrees.[36]Additionally, it holds at least two records for the year 2010, of 30.9 degrees[37] and 31.7 degrees C.[38] Another record was set during England's Indian summer of 2011 with 29.9 degrees C., the highest temperature ever recorded in the UK for October.
North and North West Kent continue to record higher temperatures in summer, sometimes being the hottest area of the country, eg. on the warmest day of 2011, when temperatures reached 33.1 degrees.[36]Additionally, it holds at least two records for the year 2010, of 30.9 degrees[37] and 31.7 degrees C.[38] Another record was set during England's Indian summer of 2011 with 29.9 degrees C., the highest temperature ever recorded in the UK for October.
Building
Rochester comprises numerous important historic buildings, the most prominent of which are the Guildhall, the Corn Exchange, Restoration House, Eastgate House, as well as Rochester Castle and Rochester Cathedral. Many of the town centre's old buildings date from as early as the 14th century up to the 18th century. The chapel of St Bartholomew's Hospital dates from the ancient priory hospital's foundation in 1078.
Economy
Thomas Aveling started a small business in 1850 producing and repairing agricultural plant equipment. In 1861 this became the firm of Aveling and Porter, which was to become the largest manufacturer of agricultural machinery and steam rollers in the country.[39] Aveling was elected Admiral of the River Medway (i.e. Mayor of Rochester) for 1869-70.
Culture[edit]
Sweeps Festival[edit]
Since 1980 the city has seen the revival of the historic Rochester Jack-in-the-Green May Day dancing chimney sweeps tradition, which had died out in the early 1900s. Though not unique to Rochester (similar sweeps' gatherings were held across southern England, notably in Bristol, Deptford, Whitstable and Hastings), its revival was directly inspired by Dickens' description of the celebration in Sketches by Boz.
The festival has since grown from a small gathering of local Morris dancesides to one of the largest in the world.[40] The festival begins with the "Awakening of Jack-in-the-Green" ceremony,[41] and continues in Rochester High Street over the May Bank Holiday weekend.
There are numerous other festivals in Rochester apart from the Sweeps Festival. The association with Dickens is the theme for Rochester's two Dickens Festivals held annually in June and December.[42] The Medway Fuse Festival[43] usually arranges performances in Rochester and the latest festival to take shape is the Rochester Literature Festival, the brainchild of three local writers.[44]
Library[edit]
A new public library was built alongside the Adult Education Centre, Eastgate. This enabled the registry office to move from Maidstone Road, Chatham into the Corn Exchange on Rochester High Street (where the library was formerly housed). As mentioned in a report presented to Medway Council's Community Services Overview and Scrutiny Committee on 28 March 2006, the new library opened in late summer (2006).[45]
Theatre[edit]
There is a small amateur theatre called Medway Little Theatre on St Margaret's Banks next to Rochester High Street near the railway station.[46] The theatre was formed out of a creative alliance with the Medway Theatre Club, managed by Marion Martin, at St Luke's Methodist Church on City Way, Rochester[47] between 1985 and 1988, since when drama and theatre studies have become well established in Rochester owing to the dedication of the Medway Theatre Club.[48]
Media[edit]
Local newspapers for Rochester include the Medway Messenger, published by the KM Group, and free newspapers such as Medway Extra(KM Group) and Yourmedway (KOS Media).
The local commercial radio station for Rochester is KMFM Medway, owned by the KM Group. Medway is also served by community radio station Radio Sunlight. The area also receives broadcasts from county-wide stations BBC Radio Kent, Heart and Gold, as well as from various Essex and Greater London radio stations.[49]
Sport[edit]
Football is played with many teams competing in Saturday and Sunday leagues.[50] The local football club is Rochester United F.C. Rochester F.C. was its old football club but has been defunct for many decades. Rugby is also played; Medway R.F.C. play their matches at Priestfields and Old Williamsonians is associated with Sir Joseph Williamson's Mathematical School.[51]
Cricket is played in the town, with teams entered in the Kent Cricket League. Holcombe Hockey Club is one of the largest in the country,[52]and is based at Holcombe Park. The men's and women's 1st XI are part of the England Hockey League.[53] Speedway was staged on a track adjacent to City Way that opened in 1932. Proposals for a revival in the early 1970s did not materialise and the Rochester Bombers became the Romford Bombers.[54]
Sailing and rowing are also popular on the River Medway with respective clubs being based in Rochester.[55][56]
Film[edit]
The 1959 James Bond Goldfinger describes Bond driving along the A2through the Medway Towns from Strood to Chatham. Of interest is the mention of "inevitable traffic jams" on the Strood side of Rochester Bridge, the novel being written some years prior to the construction of the M2 motorway Medway bypass.
Rochester is the setting of the controversial 1965 Peter Watkins television film The War Game, which depicts the town's destruction by a nuclear missile.[57] The opening sequence was shot in Chatham Town Hall, but the credits particularly thank the people of Dover, Gravesend and Tonbridge.
The 2011 adventure film Ironclad (dir. Jonathan English) is based upon the 1215 siege of Rochester Castle. There are however a few areaswhere the plot differs from accepted historical narrative.
Notable people[edit]
Charles Dickens
The historic city was for many years the favourite of Charles Dickens, who lived within the diocese at nearby Gads Hill Place, Higham, many of his novels being based on the area. Descriptions of the town appear in Pickwick Papers, Great Expectations and (lightly fictionalised as "Cloisterham") in The Mystery of Edwin Drood. Elements of two houses in Rochester, Satis House and Restoration House, are used for Miss Havisham's house in Great Expectations, Satis House.[58]
Sybil Thorndike
The actress Dame Sybil Thorndike and her brother Russell were brought up in Minor Canon Row adjacent to the cathedral; the daughter of a canon of Rochester Cathedral, she was educated at Rochester Grammar School for Girls. A local doctors' practice,[59] local dental practice[60] and a hall at Rochester Grammar School are all named after her.[61]
Peter Buck
Sir Peter Buck was Admiral of the Medway in the 17th century; knightedin 1603 he and Bishop Barlow hosted King James, the Stuart royal familyand the King of Denmark in 1606. A civil servant to The Royal Dockyardand Lord High Admiral, Buck lived at Eastgate House, Rochester.
Denis Redman
Major-General Denis Redman, a World War II veteran, was born and raised in Rochester and later became a founder member of REME, head of his Corps and a Major-General in the British Army.
Kelly Brook
The model and actress Kelly Brook went to Delce Junior School in Rochester and later the Thomas Aveling School (formerly Warren Wood Girls School).
The singer and songwriter Tara McDonald now lives in Rochester.
The Prisoners, a rock band from 1980 to 1986, were formed in Rochester. They are part of what is known as the "Medway scene".
Kelly Tolhurst MP is the current parliamentary representative for the constituency.
This was a right mess, and I'm glad I could salvage this shot. The first thing I did wrong was assume that the train would be on the fasts through Euxton Bashaw Lane station. Wrong. Also I'd been to an air museum the day before and put my camera on single-shot mode, not continuous. Darn!!
Anyhow, depicted is West Coast Railways 57314 leading the 1Z72/1127 Crewe to Blackburn 'Northern Belle', with 57313 on the rear, seen in the gloom on 19/12/18.
HDR IR. IR converted Canon Rebel XTi. AEB +/-3 total of 5 exposures processed with Photomatix. Neutral Density Filter (ND4). F8, ISO 100.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
I had one recent compliment about my action photos: "How do you capture the perfect moment, where everything is off the ground and everyone's pose is dead-on?"
The answer: fast shutter speeds, continuous shooting mode, high frame rate, and a bit of luck.
Nikon D850
AF-S Nikkor 50mm f/1.4G
It is not at all easy to get close enough to a dragonfly for a good shot. Observing them for some time helps, because after flying a round they tend to come back to the same spot. Here I was sitting for some time motionless until this one came back to its place on a dry leaf, where it remained sitting for about 30 seconds.
I held my camera with stretched-out arms in front of me and took aim with the camera's LCD in "life view" mode (which, unfortunately, is not a very reliable method in plain sunlight). Autofocus was set to continuous mode. The 105 mm lens helps to keep some distance from the shy insect. When I took this shot, the distance was perhaps a little less than one meter. The 36 megapixels of the Nikon D800 give you enough reserve for enlargement, which makes the dragonfly look closer than it actually was.
In addition to sunlight I used a Sigma EM-140 DG ring flash. Using a small aperture f/20 helps to get one shot with optimal focus with "only" five to ten attempts. But choosing the aperture too small would actually decrease sharpness due to diffraction. Moreover, a small aperture gives often gives you too many details in the background. Here I used photoshop to reduce background detail with a Gaussian blur.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
À Table - Stammtisch
Quick doodle / continuous line(s) sketch with added decoration
Ballpoint, ink pen
Grained paper
21 x 21 cm
Gokarnesvara Temple at Thirukonarnam is an exemplary portrayal of continuous tradition and culture of Pudukkottai from ancient time. Originally constructed as a cave temple during seventh century this temple has been patronized and extended by the rulers of later dynasties. As seen with many other old temples of Pudukkottai region, this temple is also a live temple and under worship at present time. The earliest inscription found in the cave temple is written in Grantha character of seventh-eighth century. As this is not a foundation inscription hence the cave temple must be in existence at that time and hence might be constructed in early seventh century. Though the pillar style and other features of the cave temple resemble with the Pallava cave temples however few scholars suggest that this would be a creation of the Pandya-s. Argument given to support this is that the Pallavas were not ruling over this part of land hence their monuments are rare to find. Though this might be true however vassals under Pallava-s were not very far from this land. Muttharaiya-s have constructed marvelous cave temples at Namakkal not very far from Pudukkottai. But as there is no foundation inscription hence it is hard to determine authorship of the cave temple. Where the country is Pandya, the style of construction is Pallava.
Nanacampantar, seventh century Nayanmar, has sung in praise of the Lord of Kokarnam. In Tevaram 3:337:4, Nanacampantar invokes the lord with epithet, Malaittalaivan, referring to the cave temple. Another Nayanmar, Navukkaracar, has compared the hill of Kokarnam with that of Kailasha. Though the hill is not very high however places of Shiva were usually compared to Kailasha as seen in many other temples of contemporary time such as Kailasanatha Temple at Kanchi and Kailasha Cave at Ellora. Later this comparison was done with the Meru mountain as seen in Brihadeeshvara Temple at Thanjavur. In Tevaram 6:263, Navukkaracar gives description of the Lord where he holds a sword and a tanka in his hands. Ganga mounts the crest of the Lord. He is probably referring to Gangadhara bas-relief of the cave temple.
(Above statements about Nayanmar-s and Tevaram are disputed by few scholars hence further study is needed in this direction. Will update the article once I am done with that study.)
As per stahala-purana, Kamadhenu (celestial cow) is supposed to fetch waters of the Ganga in her two ears and showered one earful on the murti (main deity image) and one into the tank. This explains the name Gokarnam, Go for cow and Karnam for ears. Currently the erstwhile princes of Pudukkottai, of Tondaiman lineage, is the trustee of this temple. The temple would have come to Tondaimans after the fall of Vijayanagara and then Nayaka rulers of Tamilnadu. They patronized this temple and the Lord of Kokarnam is Kula-devata (main deity) of Tondaiman kings.
DESCRIPTION SOURCE : puratattva.in/2011/03/13/thirukokarnam-gokarnesvara-templ...
Voestalpine RGH20C Rail Grinder coupled at the rear of a continuous welded rail train passing Hilden on Thursday, July 28th, 2022.
Another beautifully produced publication from steel and product manufacturer's John Summers & Sons Ltd. This from 1948 tells of the story of the Harwarden Bridge Steelworks at Shotton, on the Dee estuary, in Cheshire and is written by Andrew Reid. It tells of the development of the works, its production process and products and is lavishly illustrated. The book was printed by the well known printers of Andrew Reid & Co Ltd., at Strawberry House Press in Newcastle Upon Tyne.
The cover is from a painting the company commissioned from Terence Cuneo entitled "Continuous hot strip mill" showing the Mesta equipped strip mill that had been imported from the Pittsburgh, USA, based company in 1939 and that arrived 'in the nick of time' for the outbreak of war. The decision to invest in such technology had been taken in 1937 and Summers had obtained additional investment for the plant from the United Steel Companies Ltd. Cuneo (1907 - 1996) was an acknowledged painter of industrial subjects and was commissioned by many companies as well as British Railways for illustrations and poster work.
The company was founded in 1851 in Stalybridge and Dukinfield, then in Cheshire, and moved to the new green field site at Hawarden Bridge in 1896. The company was known for the manufacturing of steel strip - and particularly corregated iron sheets. At its peak the company employed 13,000 people - the Shotton plant, much reduced, still is in operation.
The Landsat program is the longest continuous global record of the Earth's surface, and continues to deliver both visually stunning and scientifically valuable images of our planet. This short video highlights Landsat's many benefits to society.
Image credit: NASA/Goddard
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Managers have given the "go" to proceed toward a Feb. 11 launch of NASA's Landsat Data Continuity Mission (LDCM) spacecraft atop a United Launch Alliance Atlas V rocket from Vandenberg Air Force Base in California.
The Landsat Data Continuity Mission (LDCM) is the future of Landsat satellites. It will continue to obtain valuable data and imagery to be used in agriculture, education, business, science, and government.
The mission will extend more than 40 years of global land observations that are critical in many areas, such as energy and water management, forest monitoring, human and environmental health, urban planning, disaster recovery and agriculture.
To learn more about LDCM and Landsat go to: 1.usa.gov/XSYBZ2
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Established in 1807 as Venice’s principal cemetery, and enlarged in 1839 when two islands were joined together, San Michele has been under continuous development for over 200 years, but its romantic exterior contrasts sharply with the sometimes rather municipal character of its interior.
Following an international competition, the development and extension of the north-east side of the cemetery began. The proposal was developed in two main phases and realised over an extended period, with the first phase of construction beginning in 2004 and the second phase being completed in 2017. A further phase currently remains in planning, along with a proposal to create a connected cemetery island to the east.
The guiding idea behind the scheme is an organisational structure that uses courtyards of varying sizes, defined by enclosing walls and colonnades that echo the fifteenth-century cloister of San Michele nearby. In contrast to the existing arrangement of tombs in rows, the scheme groups buildings, walls, tombs and landscape together, creating a sense of intimacy and enclosure.
The built scheme comprises three rectangular structures. Formed externally by blind walls and internally by colonnades with burial recesses, these structures enclose a series of interlocking garden courtyards. Different courtyards are designed for burials, cremations or ossuaries, and are defined by varying sizes and a diverse but harmonious range of materials. The walls are clad in basalt and pietra d’Istria – two types of stone commonly used in Venice – inlaid with texts from the Gospels, while the internal colonnades are formed from dark grey concrete.
The programme also called for a warehouse and a boat dock, which are distinguished by their use of traditional, hand-made red bricks, with interiors formed from in-situ exposed concrete. The original scheme also featured a chapel and crematorium, which will now not be realised, but three further courtyard complexes will be completed over the coming years.
Continuous Drive - Single
Focus Mode - AF + MF
Record Mode - JPEG
Canon Image Size - Large
Canon PowerShot SX70 HS
Easy Mode - Unknown (79)
= - Portrait Selfie Mode !!
Settings:
Ambience Selection - Darker
blur off
Digital Zoom - None
PS
Max Aperture - 6.7
Min Aperture - 31
Dial Direction Tv Av - Normal
"It's a mistake to think that once you're done with school you need never learn anything new."
-- Sophia Loren--
Sign above door on the left is Cordite Magazine.
Fort Lytton defended Brisbane continuously from colonial times until after WW2. The historic fort consists of about a hectare of colonial buildings, tunnels and other fortified structures embedded in a protective earth-mound wall and surrounded by a 10m-wide water-filled moat. In addition, numerous other fortifications, museum buildings and outdoor exhibits occupy the 13 hectare site.
More reading here:
Title.
women and women and women. (Three-point shot. The shutter is released at the moment each of the three people arrive at the location. I have never used the continuous shooting function before.)
(FUJIFILM GFX50R shot)
Terminal 3. Haneda airport. Ota-ku. Tokyo. Japan. March 21st. 2024. … 7 / 15
(Today's photo. It is unpublished.)
Images.
USHER - Kissing Strangers
youtu.be/_fepftsv6RA?si=8wkSnXH6VAnriwWk
::Link photo music and iTunes playlist::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
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Exhibition in 2024
theme
Goodbye , Photo .
Images
Ai Otsuka ( 大塚 愛 ) / Goodbye photo ( 恋愛写真 )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
Sponsored by
design festa
place
Tokyo Big Site
schedule
2024. autumn.
exhibition.mitsushiro.nakagawa@gmail.com
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Notice regarding "Lot No.402_”.
From now on # I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 2020 by Mitsushiro - Nakagawa.
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2024 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.
Kaori's dream of coming to Tokyo is to become friends with a famous artist.
For that purpose, the radio station's producer, Ryo Osawa, was needed.
Osawa speaks to Kaori during a live radio broadcast.
"I have a wife and children. But I want to meet you."
Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other to brush the dust of memory like an old man who misses old days staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell # I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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my statistics. (As of February 7, 2024)
What is the number of accesses to Flickr and U-Pik?
Flickr 21,694,434 Views
Youpic 7,003,230 Views
What is the number of accesses to Flickr and YouPic?
(As of November 13, 2023)
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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Title.
女性と女性と女性。( 3点ショット。3人がそれぞれその場所に来た一瞬にシャッターを切っています。僕はこれまで一度も連写機能を使ったことがありません。 )
( FUJIFILM GFX50R shot )
第三ターミナル。羽田空港。大田区。東京都。日本。3月21日。2024年。 … 6 / 15
(今日の写真。それは未発表です。）
Images.
USHER - Kissing Strangers
youtu.be/_fepftsv6RA?si=8wkSnXH6VAnriwWk
::写真の音楽とiTunesプレイリストをリンク::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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２０２４年の展示
テーマ
Goodbye , Photo
Images
大塚 愛 ( Ai Otsuka ) / 恋愛写真 ( Goodbye photo )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
主催
デザインフェスタ
場所
東京ビッグサイト
日程
2024年。秋。
exhibition.mitsushiro.nakagawa@gmail.com
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
_________________________________
_________________________________
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_________________________________
僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2024年2月7日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 21,694,434 View
Youpic 7,003,230 View
僕の統計。（2023年11月13日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 20,852,872 View
Youpic 6,671,486 View
_________________________________
_________________________________
Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
_________________________________
_________________________________
” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
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Italien / Toskana - Siena
Siena (/siˈɛnə/ see-EN-ə, Italian: [ˈsjɛːna, ˈsjeːna] (listen); Latin: Sena Iulia) is a city in Tuscany, Italy. It is the capital of the province of Siena. Siena is the 12th largest city in the region by number of inhabitants, with a population of 53,062 as of 2022.
The city is historically linked to commercial and banking activities, having been a major banking center until the 13th and 14th centuries. Siena is also home to the oldest bank in the world, the Monte dei Paschi bank, which has been operating continuously since 1472. Several significant Renaissance painters were born and worked in Siena, among them Duccio, Ambrogio Lorenzetti, Simone Martini and Sassetta, and influenced the course of Italian and European art. The University of Siena, originally called Studium Senese, was founded in 1240, making it one of the oldest universities in continuous operation in the world.
Siena was one of the most important cities in medieval Europe, and its historic centre is a UNESCO World Heritage Site, which contains several buildings from the 13th and 14th centuries. The city is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year in Piazza del Campo.
History
Antiquity
Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans (c. 900–400 BC) when it was inhabited by a tribe called the Saina. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus.
According to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their father's murder by Romulus, they fled Rome, taking with them the statue of the she-wolf suckling the infants (Capitoline Wolf), thus appropriating that symbol for the town. Additionally they rode white and black horses, giving rise to the Balzana, or coat of arms of Siena with a white band atop a dark band. Some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, the Roman family name Saenii, or the Latin word senex "old" or its derived form seneo "to be old".
Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade. Its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity.[citation needed] After the Lombard occupation, the old Roman roads of Via Aurelia and the Via Cassia passed through areas exposed to Byzantine raids, so the Lombards rerouted much of their trade between the Lombards' northern possessions and Rome along a more secure road through Siena. Siena prospered as a trading post, and the constant streams of pilgrims passing to and from Rome provided a valuable source of income in the centuries to come.
Middle Ages
The oldest aristocratic families in Siena date their line to the Lombards' surrender in 774 to Charlemagne. At this point, the city was inundated with a swarm of Frankish overseers who married into the existing Sienese nobility and left a legacy that can be seen in the abbeys they founded throughout the Sienese territory. Feudal power waned, however, and by the death of Countess Matilda in 1115 the border territory of the March of Tuscany which had been under the control of her family, the Canossa, broke up into several autonomous regions. This ultimately resulted in the creation of the Republic of Siena.
The Republic existed for over four hundred years, from the 12th century until 1555. During the golden age of Siena before the Black Death in 1348, the city was home to 50,000 people. A major economic centre and among the most important cities in Europe, as well as the main political, economic, and artistic rival of its neighboring city of Florence.
In the Italian War of 1551–59, the republic was defeated by the rival Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, marking the end of the republic.
Late modern period
After the Napoleonic period and the Risorgimento uprisings, Siena was the first city in Tuscany, in 1859, to vote in favour of annexation to the Kingdom of Italy.
Geography
Siena is located in the central part of Tuscany, in the middle of a vast hilly landscape between the Arbia river valley (south), the Merse valley (south-west), the Elsa valley (north), the Chianti hills (north-east), the Montagnola Senese (west) and the Crete Senesi (south-east). The city lies at 322 m (1,056 ft) above sea level.
Economy
The main activities are tourism, services, agriculture, handicrafts and light industry.
In 2009 agricultural activity comprised 919 companies with a total area of 10.755 square kilometres (4.153 sq mi) for a usable agricultural area of 6.954 square kilometres (2.685 sq mi) or about 1⁄30 of the total municipal area (data ISTAT for the 2000 Agriculture Census V).
There is little manufacturing in the city. One exception is the seasonal confectionery industry, which produces local specialities including panforte, ricciarelli and cavallucci at Christmas, and pane co' santi for I Santi on 1 November and I Morti on the following day.
The area has also seen a growth in biotechnology. The Centenary Institute Sieroterapico Achille Sclavo used to be Swiss-owned, operating under the company name, Novartis Vaccines. Novartis developed and produced vaccines and employed about a thousand people. In 2015, the research plant in Siena became part of Glaxo Smith Kline, as part of a deal between Novartis and this firm.
Culture
Contrade
Siena retains a ward-centric culture from medieval times. Each ward (contrada) is represented by an animal or mascot and has its own boundary and distinct identity. Ward rivalries are most rampant during the annual horse race (Palio) in the Piazza del Campo. There are 17 wards (contrada): Aquila, Bruco, Chiocciola, Civetta, Drago, Giraffa, Istrice, Leocorno, Lupa, Nicchio, Oca, Onda, Pantera, Selva, Tartuca, Torre, Valdimontone.
The Palio
The Palio di Siena is a traditional medieval horse race run around the Piazza del Campo twice each year, on 2 July and 16 August. The event is attended by large crowds, and is widely televised. Ten randomly selected from 17 Contrade (which are city neighbourhoods originally formed as battalions for the city's defence) vie for the trophy: a painted banner, or Palio bearing an image of the Blessed Virgin Mary.
Art
Over the centuries, Siena has had a rich tradition of arts and artists. The list of artists from the Sienese School include Duccio and his student Simone Martini, Pietro Lorenzetti and Martino di Bartolomeo. A number of well-known works of Renaissance and High Renaissance art still remain in galleries or churches in Siena.
The Church of San Domenico contains art by Guido da Siena, dating to the mid-13th century. Duccio's Maestà, which was commissioned by the City of Siena in 1308, was instrumental in leading Italian painting away from the hieratic representations of Byzantine art and directing it towards more direct presentations of reality. And his Madonna and Child with Saints polyptych, painted between 1311 and 1318, remains at the city's Pinacoteca Nazionale.
The Pinacoteca also includes several works by Domenico Beccafumi, as well as art by Lorenzo Lotto, Domenico di Bartolo and Fra Bartolomeo.
Main sights
The Siena Cathedral (Duomo), begun in the 12th century, is a masterpiece of Italian Romanesque–Gothic architecture. Its main façade was completed in 1380 with a nave oriented northeast–southwest. A proposed expansion of the eastern transept would have transformed the church into an ambitiously massive basilica, the largest then in the world, with an east–west nave. However, the scarcity of funds, in part due to war and the Black Death, truncated the project. Two walls of this expanded eastern transept remain; through an internal staircase, visitors can climb for a grand view of the city.
The Siena Cathedral Pulpit is an octagonal 13th-century masterpiece sculpted by Nicola Pisano with lion pedestals and biblical bas-relief panels. The inlaid marble mosaic floor of the cathedral, designed and laboured on by many artists, is among the most elaborate in Italy. The Sacristy and Piccolomini library have well-preserved Renaissance frescos by Ghirlandaio and Pinturicchio respectively. Other sculptors active in the church and in the subterranean baptistry are Donatello, Lorenzo Ghiberti, Jacopo della Quercia and others. The Museo dell'Opera del Duomo contains Duccio's famous Maestà (1308–11) and various other works by Sienese masters. More Sienese paintings are to be found in the Pinacoteca, e.g. 13th-century works by Dietisalvi di Speme.
The Piazza del Campo, the shell-shaped town square, unfurls before the Palazzo Pubblico with its tall Torre del Mangia. This is part of the site for the Palio horse race. The Palazzo Pubblico, itself a great work of architecture, houses yet another important art museum. Included within the museum is Ambrogio Lorenzetti's frescoes depicting the Allegory and Effects of Good and Bad Government and also some of the finest frescoes of Simone Martini and Pietro Lorenzetti.
The Palazzo Salimbeni, located in a piazza of the same name, was the original headquarters and remains in possession of the Monte dei Paschi di Siena, one of the oldest banks in continuous existence in Europe.
Housed in the notable Gothic Palazzo Chigi-Saracini on Via di Città is the Accademia Musicale Chigiana, Siena's conservatory of music.
Other churches in the city include:
Basilica dell'Osservanza
San Domenico
San Francesco
San Martino
Santa Maria dei Servi
Santa Petronilla
Santi Niccolo e Lucia
Santo Spirito
Sant'Andrea Apostolo
Sanctuary of Santa Caterina, incorporating the old house of St. Catherine of Siena. It houses the miraculous Crucifix (late 12th century) from which the saint received her stigmata, and a 15th-century statue of St. Catherine.
The historic Siena synagogue is also preserved and open to visitors.
The city's gardens include the Orto Botanico dell'Università di Siena, a botanical garden maintained by the University of Siena.
The Medicean Fortress houses the Siena Jazz School, with courses and concerts throughout the year, and a festival during the International Siena Jazz Masterclasses.
In the neighbourhood are numerous patrician villas, some of which are attributed to Baldassarre Peruzzi:
Villa Chigi
Castle of Belcaro
Villa Celsa
Villa Cetinale
Villa Volte Alte
(Wikipedia)
Siena (italienische Aussprache [ˈsjɛːna]) ist der Name einer italienischen Stadt mit 53.922 Einwohnern (Stand 31. Dezember 2019) und eines früheren Stadtstaates im Zentrum der Toskana.
Siena ist Hauptstadt der Provinz Siena und gilt als eine der schönsten Städte der Toskana und Italiens. Schon von jeher befindet sie sich in Rivalität mit Florenz, in politischer, wirtschaftlicher oder künstlerischer Hinsicht. Während Florenz als Paradebeispiel einer Renaissance-Stadt vor allem durch die schiere Masse und Größe seiner Bauwerke und Kunstwerke beeindruckt, hat Siena den mittelalterlichen Charakter der italienischen Gotik erhalten. Die historische Altstadt gehört seit 1995 zum UNESCO-Welterbe. Die Universität Siena, gegründet 1240, gehört zu den ältesten Universitäten Italiens und wird heute von etwa 16.000 Studenten besucht. Aus Siena stammt die Heilige Katharina von Siena.
Siena ist auch bekannt für den Palio di Siena, ein Pferderennen, das am zentralen Platz Piazza del Campo ausgetragen wird. Bei dem Rennen, das seit dem Mittelalter eine sehr große Bedeutung für Siena hat, treten zweimal im Jahr jeweils zehn der 17 Bezirke (Contrade) der Stadt gegeneinander an.
Siena ist Sitz der Banca Monte dei Paschi di Siena, der ältesten noch existierenden Bank der Welt, die gleichzeitig drittgrößte Bank Italiens ist.
Geografie
Siena liegt etwa 50 km südlich der Regionalhauptstadt Florenz und rund 185 km nordwestlich von Rom. Sie liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone D, 1943 GR/G. Sie grenzt nördlich an den Chianti, südöstlich an die Crete Senesi, südwestlich an die Maremma und nordwestlich an die Montagnola Senese.
Zu den wichtigsten Flüssen im Gemeindegebiet gehören der Tressa (13 km im Gemeindegebiet), der Bozzone (11 km), der Arbia (9 km) und der Sorra (9 km). Keiner der Flüsse durchquert das Stadtzentrum, wobei der Tressa der dem Stadtzentrum am nächsten gelegene Fluss ist. Die Flüsse Sorra und Tressa entspringen im Gemeindegebiet von Siena, der Arbia und der Bozzone quellen nördlich von Siena im Chiantigebiet.
Die bevölkerungsstärksten Ortsteile (Frazioni) von Siena sind Taverne d’Arbia (ca. 2350 Einwohner, 185 m), Isola d’Arbia (ca. 900 Einwohner, 176 m) und Sant’Andrea a Montecchio (ca. 900 Einwohner, 273 m). Weitere Ortsteile sind Le Scotte (ca. 60 Einwohner, 319 m, Standort des Krankenhauses) und Monteliscai.
Die Nachbargemeinden sind Asciano, Castelnuovo Berardenga, Monteriggioni, Monteroni d’Arbia und Sovicille.
Stadtgliederung
Die historische Altstadt ist gegliedert in drei Terzi (Drittel), in denen mehrere Contrade (Stadtteile) zusammengefasst sind (insgesamt 17) und die alle innerhalb der Stadtmauern von Siena liegen. Die Contraden sind nach ihren Wappen (meist Tieren) benannt und sind Gegner beim berühmten Pferderennen Palio, das jährlich einmal im Juli und einmal im August stattfindet. Die Organisationsform der Contraden als demokratisch und sozial verfasste überschaubare Wohnviertel wurde als Grund für die sehr niedrige Kriminalitätsrate in Siena angeführt. Finanziert wurde das System vor allem von der ortsansässigen Banca Monte dei Paschi di Siena und ihrer Stiftung, die allerdings im Zuge der Eurokrise ab 2011 die jährlichen Zahlungen in dreistelliger Millionenhöhe einstellte.
Zum Terzo di Città zählen die Contrade Aquila (Adler), Chiocciola (Schnecke), Onda (Welle), Pantera (Panther), Selva (Wald) und Tartuca (Schildkröte).
Zum Terzo di San Martino gehören die Contrade Civetta (Eule), Leocorno (Einhorn), Nicchio (Muschel), Valdimontone (Widder) und Torre (Turm).
Zum Terzo di Camollia gehören die Contrade Bruco (Raupe), Drago (Drache), Giraffa (Giraffe), Istrice (Stachelschwein), Lupa (Wölfin) und Oca (Gans).
Geschichte
Siena geht vermutlich auf eine etruskische Siedlung mit Namen Saena zurück und wurde unter römischer Herrschaft eine Kolonie mit dem Namen Saena Iulia. Ihre eigentliche Bedeutung erlangte die Stadt aber erst im Mittelalter. Wie andere italienische Städte wurde sie allmählich unabhängig und hatte im 12. Jahrhundert eine Konsularregierung.
Im Streit zwischen Kaiser und Papsttum stand Siena – im Gegensatz zu Florenz – auf ghibellinischer Seite und erhielt dadurch verschiedene Privilegien. Im Wesentlichen verbarg sich aber hinter diesem Konflikt eine wirtschaftliche Rivalität zwischen den beiden Handelsstädten. In der Schlacht von Montaperti 1260 wurden die Florentiner geschlagen. Die folgenden Jahre brachten aber einen Niedergang der Ghibellinen mit sich. Im Inneren kam es immer wieder zu politischen Machtkämpfen, die aber eine wirtschaftliche Blüte der Stadt nicht verhinderten.
1389 schlossen die Senesen ein Bündnis mit Gian Galeazzo Visconti, das sie für einige Jahre in Abhängigkeit von Mailand brachte.
1487 ergriff Pandolfo Petrucci die Macht und regierte despotisch, wenn er auch formell die Regierungsformen nicht antastete. Anders als den auf ähnliche Weise in Florenz herrschenden Medici gelang es ihm aber nicht, eine Dynastie zu gründen, und nach seinem Tod 1512 stellte sich die Stadt bald unter den Schutz Karls V. Die Bürger lehnten sich gegen die zunehmende Tyrannei der Spanier auf, aber 1555 wurde Siena nach langer Belagerung eingenommen und zwei Jahre später als Lehen an Cosimo I. de’ Medici gegeben, unter dem es Teil des Großherzogtums Toskana wurde.
Sehenswürdigkeiten
Dom
Der Dom aus schwarzem und weißem Marmor, heute eines der bedeutendsten Beispiele der gotischen Architektur in Italien, entstand aus einer dreischiffigen romanischen Basilika. Heute präsentiert sich der Bau immer noch als solche, jedoch mit gotisch erhöhtem und eingewölbtem Mittelschiff, kompliziertem, mehrschiffigen Querhaus und einem gotischen Chor. Romanisch blieb die unregelmäßig sechseckige Kuppel über der Vierung, die für viele der Unregelmäßigkeiten des Baues verantwortlich ist. Der Bau wurde Anfang des 13. Jahrhunderts begonnen und zog sich bis in das 14. Jahrhundert hinein.
Eine letzte Vergrößerung wurde 1339 begonnen, aber wegen Geldmangels und Problemen mit der Statik nie zu Ende geführt; heute sind nur Nordseitenschiff und Fassade des sog. „Duomo Nuovo“ zu sehen, die die Großartigkeit des unvollendeten Plans andeuten. Die Kirche, die den heutigen Dom als Querhaus weitergenutzt hätte, sollte in den Dimensionen Alt St. Peter, damals eine der größten Kirchen der Welt, übertreffen. Zu dem Baukörper gehört auch das Baptisterium San Giovanni, das in den Substruktionen des Domchores eingerichtet ist.
Weitere Kirchen
Basilica dell’Osservanza, einzige der vier Basiliken, die außerhalb der Stadtmauern liegt.
Basilica di San Clemente in Santa Maria dei Servi im Ortsdrittel Terzo di San Martino.
Basilica di San Domenico im Ortsdrittel Terzo di Camollia.
Basilica di San Francesco im Ortsdrittel Terzo di Camollia.
Sant’Agostino, Kirche im Ortsdrittel Terzo di Città.
San Martino, Kirche im Ortsdrittel Terzo di San Martino.
Santuario di Santa Caterina, Geburtshaus, Oratorium und Kirche zu Ehren der hl. Katharina von Siena im Ortsdrittel Terzo di Camollia.
Museo dell’Opera del Duomo
Die Opera del Duomo enthält neben dem Fenster des Domchores auch Duccios berühmte Madonna, die 1308–1311 für die Kathedrale gemalt wurde, sowie andere Kunstwerke, die aus dem Kontext der Kathedrale stammen. Durch das Museum kann man die Fassade (facciatone) des „Duomo Nuovo“ betreten, der nie vollendet wurde (s. o.).
Ospedale Santa Maria della Scala
Gegenüber dem Dom befindet sich dieses schon kurz nach 1000 gegründete Pilgerhospiz, das etwa das vierfache Bauvolumen der Kathedrale besitzt. Im Obergeschoss sind verschiedene Säle und Kapellen von Interesse: neben dem Eingang blickt man in die Kapelle der SS. Annunziata, die im 15. Jh. errichtet und im 18. Jh. durch ein grandioses Fresko in der Apsis ausgeschmückt wurde. Daran schließt die sog. Sagrestia an, die von Vecchietta ausgemalt wurde. Der große Saal im Zentrum des Hospizes (Pellegrinaio) ist vollständig ausgemalt, die meisten der Fresken stammen von Domenico di Bartolo, aber auch Vecchietta und Priamo della Quercia führten einzelne Szenen aus. Von hohem Interesse sind die beiden Untergeschosse, die höhlenähnlichen Charakter besitzen. Sie sind zum Teil in verschiedenen Epochen ausgestattet worden, beherbergen heute außerdem viele Kunstwerke, darunter eine große Sammlung antiker Urnen und ein Altarretabel von Taddeo di Bartolo.
Palazzo Pubblico (Palazzo Comunale)
Der Palazzo Pubblico (das Rathaus) ist ein Palast, dessen Bau im Jahre 1297 begann, als Sitz der republikanischen Regierung, der Podestà und des Konzils der Neun.
Der Palast liegt zentral an Sienas Hauptplatz, der Piazza del Campo; der Platz wurde im 14. Jahrhundert am Ort eines antiken Theaters angelegt; 1347 erhielt er seine charakteristische rote Backstein-Pflasterung, die von hellen Streifen aus Travertin segmentiert wird. Hier findet auch der Palio di Siena statt, ein alljährliches lokales Pferderennen.
Im Palast selbst befinden sich zahlreiche berühmte Fresken wie zum Beispiel dasjenige, das Guidoriccio da Fogliano im Saal der Landkarten (Sala del Mappamondo) zeigt. Das Fresko stammt wahrscheinlich von Simone Martini. Die Wand des Saals zeigt außerdem Reste der Zeichnung einer Weltkarte von Pietro Lorenzetti. Eines der berühmtesten Werke im Palast ist die Darstellung der Guten und der Schlechten Regierung im Saal der Neun (Sala della Pace) von Ambrogio Lorenzetti.
Der 102 Meter hohe Turm des Palastes (Torre del Mangia) wurde zwischen 1325 und 1344 errichtet, seine Spitze wurde von Lippo Memmi entworfen. Er ist der Öffentlichkeit zugänglich und bietet von seiner Spitze einen sehr guten Rundblick über die Stadt und ihre Umgebung.
Accademia Musicale Chigiana
Die Institution ist eine angesehene Musik- und Kunstakademie aus dem ersten Viertel des 20. Jahrhunderts. Sie veranstaltet u. a. im September die Musikwoche Siena und weitere Kurse zur Weiterbildung junger Musiker. Ihr Sitz ist der historische Palazzo Chigi-Saracini.
Pinacoteca Nazionale di Siena
Das 1932 eingeweihte Kunstmuseum enthält Werke aus dem 13. bis zum 16. Jahrhundert bedeutender seneser Künstler.
Banca Monte dei Paschi di Siena
Die 1472 gegründete Bank mit der Zentrale in Siena im Palazzo Salimbeni gilt als älteste Bank der Welt.
Palazzo Tolomei
Der Palazzo Tolomei in der Straße Banchi di Sopra wurde um 1205 gebaut und ist der älteste Stadtpalast von Siena. Er wurde später aufgestockt und umgebaut. Die Cassa di Risparmio di Firenze hat hier heute ihren Sitz.
Palazzo Piccolomini-Clementini
Bottini di Siena
Unterirdisches Tunnelsystem zur (ehemaligen) Wasserversorgung von Siena.
Canale del Granduca
Unterirdisches Tunnelsystem zur Entwässerung des Pian del Lago.
Sport
Das bekannteste Sportereignis der Stadt ist der Palio di Siena, ein Pferderennen, das seit dem Mittelalter veranstaltet wird.
Siena ist Ziel des Radklassikers Strade Bianche, welcher auf dem Piazza del Campo endet.
(Wikipedia)
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Rochester is a town and historic city in the unitary authority of Medway in Kent, England. It is situated at the lowest bridging point of the River Medway about 30 miles (50 km) from London.
Rochester was for many years a favourite of Charles Dickens, who owned nearby Gads Hill Place, Higham,[1] basing many of his novels on the area. The Diocese of Rochester, the second oldest in England, is based at Rochester Cathedral and was responsible for the founding of a school, now The King's School in 604 AD,[2] which is recognised as being the second oldest continuously running school in the world. Rochester Castle, built by Bishop Gundulf of Rochester, has one of the best preserved keepsin either England or France, and during the First Barons' War (1215–1217) in King John's reign, baronial forces captured the castle from Archbishop Stephen Langton and held it against the king, who then besieged it.[3]
Neighbouring Chatham, Gillingham, Strood and a number of outlying villages, together with Rochester, nowadays make up the MedwayUnitary Authority area. It was, until 1998,[4]under the control of Kent County Council and is still part of the ceremonial county of Kent, under the latest Lieutenancies Act.[5]
Toponymy[edit]
The Romano-British name for Rochester was Durobrivae, later Durobrivis c. 730 and Dorobrevis in 844. The two commonly cited origins of this name are that it either came from "stronghold by the bridge(s)",[6] or is the latinisation of the British word Dourbruf meaning "swiftstream".[7]Durobrivis was pronounced 'Robrivis. Bede copied down this name, c. 730, mistaking its meaning as Hrofi's fortified camp (OE Hrofes cæster). From this we get c. 730 Hrofæscæstre, 811 Hrofescester, 1086 Rovescester, 1610 Rochester.[6] The Latinised adjective 'Roffensis' refers to Rochester.[7]
Neolithic remains have been found in the vicinity of Rochester; over time it has been variously occupied by Celts, Romans, Jutes and/or Saxons. During the Celtic period it was one of the two administrative centres of the Cantiaci tribe. During the Roman conquest of Britain a decisive battle was fought at the Medway somewhere near Rochester. The first bridge was subsequently constructed early in the Roman period. During the later Roman period the settlement was walled in stone. King Ethelbert of Kent(560–616) established a legal system which has been preserved in the 12th century Textus Roffensis. In AD 604 the bishopric and cathedral were founded. During this period, from the recall of the legions until the Norman conquest, Rochester was sacked at least twice and besieged on another occasion.
The medieval period saw the building of the current cathedral (1080–1130, 1227 and 1343), the building of two castles and the establishment of a significant town. Rochester Castle saw action in the sieges of 1215 and 1264. Its basic street plan was set out, constrained by the river, Watling Street, Rochester Priory and the castle.
Rochester has produced two martyrs: St John Fisher, executed by Henry VIII for refusing to sanction the divorce of Catherine of Aragon; and Bishop Nicholas Ridley, executed by Queen Mary for being an English Reformation protestant.
The city was raided by the Dutch as part of the Second Anglo-Dutch War. The Dutch, commanded by Admiral de Ruijter, broke through the chain at Upnor[8] and sailed to Rochester Bridge capturing part of the English fleet and burning it.[9]
The ancient City of Rochester merged with the Borough of Chatham and part of the Strood Rural District in 1974 to form the Borough of Medway. It was later renamed Rochester-upon-Medway, and its City status transferred to the entire borough. In 1998 another merger with the rest of the Medway Towns created the Medway Unitary Authority. The outgoing council neglected to appoint ceremonial "Charter Trustees" to continue to represent the historic Rochester area, causing Rochester to lose its City status – an error not even noticed by council officers for four years, until 2002.[10][11]
Military History
Rochester has for centuries been of great strategic importance through its position near the confluence of the Thames and the Medway. Rochester Castle was built to guard the river crossing, and the Royal Dockyard's establishment at Chatham witnessed the beginning of the Royal Navy's long period of supremacy. The town, as part of Medway, is surrounded by two circles of fortresses; the inner line built during the Napoleonic warsconsists of Fort Clarence, Fort Pitt, Fort Amherst and Fort Gillingham. The outer line of Palmerston Forts was built during the 1860s in light of the report by the Royal Commission on the Defence of the United Kingdomand consists of Fort Borstal, Fort Bridgewood, Fort Luton, and the Twydall Redoubts, with two additional forts on islands in the Medway, namely Fort Hoo and Fort Darnet.
During the First World War the Short Brothers' aircraft manufacturing company developed the first plane to launch a torpedo, the Short Admiralty Type 184, at its seaplane factory on the River Medway not far from Rochester Castle. In the intervening period between the 20th century World Wars the company established a world-wide reputation as a constructor of flying boats with aircraft such as the Singapore, Empire 'C'-Class and Sunderland. During the Second World War, Shorts also designed and manufactured the first four-engined bomber, the Stirling.
The UK's decline in naval power and shipbuilding competitiveness led to the government decommissioning the RN Shipyard at Chatham in 1984, which led to the subsequent demise of much local maritime industry. Rochester and its neighbouring communities were hit hard by this and have experienced a painful adjustment to a post-industrial economy, with much social deprivation and unemployment resulting. On the closure of Chatham Dockyard the area experienced an unprecedented surge in unemployment to 24%; this had dropped to 2.4% of the local population by 2014.[12]
Former City of Rochester[edit]
Rochester was recognised as a City from 1211 to 1998. The City of Rochester's ancient status was unique, as it had no formal council or Charter Trustees nor a Mayor, instead having the office of Admiral of the River Medway, whose incumbent acted as de facto civic leader.[13] On 1 April 1974, the City Council was abolished under the Local Government Act 1972, and the territory was merged with the District of Medway, Borough of Chatham and most of Strood Rural District to form a new a local government district called the Borough of Medway, within the county of Kent. Medway Borough Council applied to inherit Rochester's city status, but this was refused; instead letters patent were granted constituting the area of the former Rochester local government district to be the City of Rochester, to "perpetuate the ancient name" and to recall "the long history and proud heritage of the said City".[14] The Home Officesaid that the city status may be extended to the entire borough if it had "Rochester" in its name, so in 1979, Medway Borough Council renamed the borough to Borough of Rochester-upon-Medway, and in 1982, Rochester's city status was transferred to the entire borough by letters patent, with the district being called the City of Rochester-upon-Medway.[13]
On 1 April 1998, the existing local government districts of Rochester-upon-Medway and Gillingham were abolished and became the new unitary authority of Medway. The Department of Environment, Transport and the Regions informed the city council that since it was the local government district that officially held City status under the 1982 Letters Patent, the council would need to appoint charter trustees to preserve its city status, but the outgoing Labour-run council decided not to appoint charter trustees, so the city status was lost when Rochester-upon-Medway was abolished as a local government district.[15][16][17] The other local government districts with City status that were abolished around this time, Bath and Hereford, decided to appoint Charter Trustees to maintain the existence of their own cities and the mayoralties. The incoming Medway Council apparently only became aware of this when, in 2002, it was advised that Rochester was not on the Lord Chancellor's Office's list of cities.[18][19]
In 2010, Medway Council started to refer to the "City of Medway" in promotional material, but it was rebuked and instructed not to do so in future by the Advertising Standards Authority.[20]
Governance[edit]
Civic history and traditions[edit]
Rochester and its neighbours, Chatham and Gillingham, form a single large urban area known as the Medway Towns with a population of about 250,000. Since Norman times Rochester had always governed land on the other side of the Medway in Strood, which was known as Strood Intra; before 1835 it was about 100 yards (91 m) wide and stretched to Gun Lane. In the 1835 Municipal Corporations Act the boundaries were extended to include more of Strood and Frindsbury, and part of Chatham known as Chatham Intra. In 1974, Rochester City Council was abolished and superseded by Medway Borough Council, which also included the parishes of Cuxton, Halling and Cliffe, and the Hoo Peninsula. In 1979 the borough became Rochester-upon-Medway. The Admiral of the River Medway was ex-officio Mayor of Rochester and this dignity transferred to the Mayor of Medway when that unitary authority was created, along with the Admiralty Court for the River which constitutes a committee of the Council.[21]
Like many of the mediaeval towns of England, Rochester had civic Freemen whose historic duties and rights were abolished by the Municipal Corporations Act 1835. However, the Guild of Free Fishers and Dredgers continues to the present day and retains rights, duties and responsibilities on the Medway, between Sheerness and Hawkwood Stone.[22] This ancient corporate body convenes at the Admiralty Court whose Jury of Freemen is responsible for the conservancy of the River as enshrined in current legislation. The City Freedom can be obtained by residents after serving a period of "servitude", i.e. apprenticeship (traditionally seven years), before admission as a Freeman. The annual ceremonial Beating of the Boundsby the River Medway takes place after the Admiralty Court, usually on the first Saturday of July.
Rochester first obtained City status in 1211, but this was lost due to an administrative oversight when Rochester was absorbed by the Medway Unitary Authority.[10] Subsequently, the Medway Unitary Authority has applied for City status for Medway as a whole, rather than merely for Rochester. Medway applied unsuccessfully for City status in 2000 and 2002 and again in the Queen's Diamond Jubilee Year of 2012.[23] Any future bid to regain formal City status has been recommended to be made under the aegis of Rochester-upon-Medway.
Ecclesiastical parishes[edit]
There were three medieval parishes: St Nicholas', St Margaret's and St Clement's. St Clement's was in Horsewash Lane until the last vicar died in 1538 when it was joined with St Nicholas' parish; the church last remaining foundations were finally removed when the railway was being constructed in the 1850s. St Nicholas' Church was built in 1421 beside the cathedral to serve as a parish church for the citizens of Rochester. The ancient cathedral included the Benedictine monastic priory of St Andrew with greater status than the local parishes.[24] Rochester's pre-1537 diocese, under the jurisdiction of the Church of Rome, covered a vast area extending into East Anglia and included all of Essex.[25]
As a result of the restructuring of the Church during the Reformation the cathedral was reconsecrated as the Cathedral Church of Christ and the Blessed Virgin Mary without parochial responsibilities, being a diocesan church.[26] In the 19th century the parish of St Peter's was created to serve the burgeoning city with the new church being consecrated in 1859. Following demographic shifts, St Peter's and St Margaret's were recombined as a joint benefice in 1953 with the parish of St Nicholas with St Clement being absorbed in 1971.[27] The combined parish is now the "Parish of St Peter with St Margaret", centred at the new (1973) Parish Centre in The Delce (St Peter's) with St Margaret's remaining as a chapel-of-ease. Old St Peter's was demolished in 1974, while St Nicholas' Church has been converted into the diocesan offices but remains consecrated. Continued expansion south has led to the creation of an additional more recent parish of St Justus (1956) covering The Tideway estate and surrounding area.[28]
A church dedicated to St Mary the Virgin at Eastgate, which was of Anglo-Saxon foundation, is understood to have constituted a parish until the Middle Ages, but few records survive.[29]
Geography
Rochester lies within the area, known to geologists, as the London Basin. The low-lying Hoo peninsula to the north of the town consists of London Clay, and the alluvium brought down by the two rivers—the Thames and the Medway—whose confluence is in this area. The land rises from the river, and being on the dip slope of the North Downs, this consists of chalksurmounted by the Blackheath Beds of sand and gravel.
As a human settlement, Rochester became established as the lowest river crossing of the River Medway, well before the arrival of the Romans.
It is a focal point between two routes, being part of the main route connecting London with the Continent and the north-south routes following the course of the Medway connecting Maidstone and the Weald of Kent with the Thames and the North Sea. The Thames Marshes were an important source of salt. Rochester's roads follow north Kent's valleys and ridges of steep-sided chalk bournes. There are four ways out of town to the south: up Star Hill, via The Delce,[30] along the Maidstone Road or through Borstal. The town is inextricably linked with the neighbouring Medway Towns but separate from Maidstone by a protective ridge known as the Downs, a designated area of Outstanding Natural Beauty.
At its most limited geographical size, Rochester is defined as the market town within the city walls, now associated with the historic medieval city. However, Rochester historically also included the ancient wards of Strood Intra on the river's west bank, and Chatham Intra as well as the three old parishes on the Medway's east bank.
The diocese of Rochester is another geographical entity which can be referred to as Rochester.
Climate[edit]
Rochester has an oceanic climate similar to much of southern England, being accorded Köppen Climate Classification-subtype of "Cfb" (Marine West Coast Climate).[31]
On 10 August 2003, neighbouring Gravesend recorded one of the highest temperatures since meteorogical records began in the United Kingdom, with a reading of 38.1 degrees Celsius (100.6 degrees Fahrenheit),[32]only beaten by Brogdale, near Faversham, 22 miles (35 km) to the ESE.[33] The weather station at Brogdale is run by a volunteer, only reporting its data once a month, whereas Gravesend, which has an official Met Office site at the PLA pilot station,[34] reports data hourly.
Being near the mouth of the Thames Estuary with the North Sea, Rochester is relatively close to continental Europe and enjoys a somewhat less temperate climate than other parts of Kent and most of East Anglia. It is therefore less cloudy, drier and less prone to Atlanticdepressions with their associated wind and rain than western regions of Britain, as well as being hotter in summer and colder in winter. Rochester city centre's micro-climate is more accurately reflected by these officially recorded figures than by readings taken at Rochester Airport.[35]
North and North West Kent continue to record higher temperatures in summer, sometimes being the hottest area of the country, eg. on the warmest day of 2011, when temperatures reached 33.1 degrees.[36]Additionally, it holds at least two records for the year 2010, of 30.9 degrees[37] and 31.7 degrees C.[38] Another record was set during England's Indian summer of 2011 with 29.9 degrees C., the highest temperature ever recorded in the UK for October.
North and North West Kent continue to record higher temperatures in summer, sometimes being the hottest area of the country, eg. on the warmest day of 2011, when temperatures reached 33.1 degrees.[36]Additionally, it holds at least two records for the year 2010, of 30.9 degrees[37] and 31.7 degrees C.[38] Another record was set during England's Indian summer of 2011 with 29.9 degrees C., the highest temperature ever recorded in the UK for October.
Building
Rochester comprises numerous important historic buildings, the most prominent of which are the Guildhall, the Corn Exchange, Restoration House, Eastgate House, as well as Rochester Castle and Rochester Cathedral. Many of the town centre's old buildings date from as early as the 14th century up to the 18th century. The chapel of St Bartholomew's Hospital dates from the ancient priory hospital's foundation in 1078.
Economy
Thomas Aveling started a small business in 1850 producing and repairing agricultural plant equipment. In 1861 this became the firm of Aveling and Porter, which was to become the largest manufacturer of agricultural machinery and steam rollers in the country.[39] Aveling was elected Admiral of the River Medway (i.e. Mayor of Rochester) for 1869-70.
Culture[edit]
Sweeps Festival[edit]
Since 1980 the city has seen the revival of the historic Rochester Jack-in-the-Green May Day dancing chimney sweeps tradition, which had died out in the early 1900s. Though not unique to Rochester (similar sweeps' gatherings were held across southern England, notably in Bristol, Deptford, Whitstable and Hastings), its revival was directly inspired by Dickens' description of the celebration in Sketches by Boz.
The festival has since grown from a small gathering of local Morris dancesides to one of the largest in the world.[40] The festival begins with the "Awakening of Jack-in-the-Green" ceremony,[41] and continues in Rochester High Street over the May Bank Holiday weekend.
There are numerous other festivals in Rochester apart from the Sweeps Festival. The association with Dickens is the theme for Rochester's two Dickens Festivals held annually in June and December.[42] The Medway Fuse Festival[43] usually arranges performances in Rochester and the latest festival to take shape is the Rochester Literature Festival, the brainchild of three local writers.[44]
Library[edit]
A new public library was built alongside the Adult Education Centre, Eastgate. This enabled the registry office to move from Maidstone Road, Chatham into the Corn Exchange on Rochester High Street (where the library was formerly housed). As mentioned in a report presented to Medway Council's Community Services Overview and Scrutiny Committee on 28 March 2006, the new library opened in late summer (2006).[45]
Theatre[edit]
There is a small amateur theatre called Medway Little Theatre on St Margaret's Banks next to Rochester High Street near the railway station.[46] The theatre was formed out of a creative alliance with the Medway Theatre Club, managed by Marion Martin, at St Luke's Methodist Church on City Way, Rochester[47] between 1985 and 1988, since when drama and theatre studies have become well established in Rochester owing to the dedication of the Medway Theatre Club.[48]
Media[edit]
Local newspapers for Rochester include the Medway Messenger, published by the KM Group, and free newspapers such as Medway Extra(KM Group) and Yourmedway (KOS Media).
The local commercial radio station for Rochester is KMFM Medway, owned by the KM Group. Medway is also served by community radio station Radio Sunlight. The area also receives broadcasts from county-wide stations BBC Radio Kent, Heart and Gold, as well as from various Essex and Greater London radio stations.[49]
Sport[edit]
Football is played with many teams competing in Saturday and Sunday leagues.[50] The local football club is Rochester United F.C. Rochester F.C. was its old football club but has been defunct for many decades. Rugby is also played; Medway R.F.C. play their matches at Priestfields and Old Williamsonians is associated with Sir Joseph Williamson's Mathematical School.[51]
Cricket is played in the town, with teams entered in the Kent Cricket League. Holcombe Hockey Club is one of the largest in the country,[52]and is based at Holcombe Park. The men's and women's 1st XI are part of the England Hockey League.[53] Speedway was staged on a track adjacent to City Way that opened in 1932. Proposals for a revival in the early 1970s did not materialise and the Rochester Bombers became the Romford Bombers.[54]
Sailing and rowing are also popular on the River Medway with respective clubs being based in Rochester.[55][56]
Film[edit]
The 1959 James Bond Goldfinger describes Bond driving along the A2through the Medway Towns from Strood to Chatham. Of interest is the mention of "inevitable traffic jams" on the Strood side of Rochester Bridge, the novel being written some years prior to the construction of the M2 motorway Medway bypass.
Rochester is the setting of the controversial 1965 Peter Watkins television film The War Game, which depicts the town's destruction by a nuclear missile.[57] The opening sequence was shot in Chatham Town Hall, but the credits particularly thank the people of Dover, Gravesend and Tonbridge.
The 2011 adventure film Ironclad (dir. Jonathan English) is based upon the 1215 siege of Rochester Castle. There are however a few areaswhere the plot differs from accepted historical narrative.
Notable people[edit]
Charles Dickens
The historic city was for many years the favourite of Charles Dickens, who lived within the diocese at nearby Gads Hill Place, Higham, many of his novels being based on the area. Descriptions of the town appear in Pickwick Papers, Great Expectations and (lightly fictionalised as "Cloisterham") in The Mystery of Edwin Drood. Elements of two houses in Rochester, Satis House and Restoration House, are used for Miss Havisham's house in Great Expectations, Satis House.[58]
Sybil Thorndike
The actress Dame Sybil Thorndike and her brother Russell were brought up in Minor Canon Row adjacent to the cathedral; the daughter of a canon of Rochester Cathedral, she was educated at Rochester Grammar School for Girls. A local doctors' practice,[59] local dental practice[60] and a hall at Rochester Grammar School are all named after her.[61]
Peter Buck
Sir Peter Buck was Admiral of the Medway in the 17th century; knightedin 1603 he and Bishop Barlow hosted King James, the Stuart royal familyand the King of Denmark in 1606. A civil servant to The Royal Dockyardand Lord High Admiral, Buck lived at Eastgate House, Rochester.
Denis Redman
Major-General Denis Redman, a World War II veteran, was born and raised in Rochester and later became a founder member of REME, head of his Corps and a Major-General in the British Army.
Kelly Brook
The model and actress Kelly Brook went to Delce Junior School in Rochester and later the Thomas Aveling School (formerly Warren Wood Girls School).
The singer and songwriter Tara McDonald now lives in Rochester.
The Prisoners, a rock band from 1980 to 1986, were formed in Rochester. They are part of what is known as the "Medway scene".
Kelly Tolhurst MP is the current parliamentary representative for the constituency.
Strolling through Old Aberdeen on my way to the University this beauty caught my eye, just had to capture the image to archive on Flickr.
Vehicle make: LAND ROVER
Date of first registration: October 2012
Year of manufacture: 2012
Cylinder capacity (cc): 2198 cc
CO₂Emissions: 266 g/km
Fuel type: DIESEL
Export marker: No
Vehicle status: Tax not due
Vehicle colour: BLUE
Vehicle type approval: N1
Wheelplan: 2 AXLE RIGID BODY
Revenue weight: 2505kg
The Land Rover Defender (initially called the Land Rover Ninety and Land Rover One Ten) is a British four-wheel-drive off-road SUV developed from the original Land Rover Series launched in June 1948.
In October 2013 Land Rover announced that production would end in December 2015 after a continuous run of 67 years.
Production finally ended on 29 January 2016 when the last Defender, H166 HUE, rolled off the production line at 9:22.
Jaguar Land Rover announced their intention to launch a replacement new Defender, which motoring journalists speculate will be different from the original version.
The model was introduced in 1983 as "Land Rover One Ten", and in 1984 the "Land Rover Ninety" was added - the numbers representing the respective wheelbases in inches. (In fact the Ninety was nearer 93 inches at 92.9".)
The number was spelled in full in advertising and in handbooks and manuals, and the vehicles also carried badges above the radiator grille which read "Land Rover 90" or "Land Rover 110", with the number rendered numerically.
The Ninety and One Ten replaced the earlier Land Rover Series, and at the time of launch, the only other Land Rover model in production was the Range Rover.
In 1989, a third model was brought out by Land Rover to be produced in parallel with the other two: the Land Rover Discovery.
To avoid possible confusion, from 1991 the Ninety and the One Ten were renamed the "Defender 90" and "Defender 110". These carried front badges that said "Defender", with a badge on the rear of the vehicle saying "Defender 90" or "Defender 110".
The most recent model, from 2007-2016, still featured the space above the radiator for the badge but was blank. Instead had "Land Rover" spelled across the leading edge of the bonnet in raised individual letters, in keeping with the Discovery and Freelander. At the rear was a new style of '"Defender" badge with an underlining "swoosh". On these last models there are no badges defining the wheelbase model of the vehicle.
The 127-inch (3,226 mm) wheelbase Land Rover 127, available from 1985, was always marketed with the name rendered numerically. Following the adoption of the Defender name, it became the "Defender 130", although the wheelbase remained unchanged.
The North American Specification (NAS) Defender 110 sold for the 1993 model year carried a badge above the radiator grille which read "Defender," whereas the NAS Defender 90 sold for the 1994 to 1997 model years had "Land Rover" spelled across the top of the radiator grille in individual letter decals. NAS Defenders also carried a cast plaque on the rear tub in the original style of the Series Station wagons with "Defender 110" or "Defender 90" below the Land Rover lozenge and the vehicle's unique limited edition production run number.
Production of the model now known as the Defender began in 1983 as the Land Rover 110, a name which reflected the 110-inch (2,800 mm) length of the wheelbase. The Land Rover 90, with 93-inch (2,362 mm) wheelbase, and Land Rover 127, with 127-inch (3,226 mm) wheelbase, soon followed.[4]
Outwardly, there is little to distinguish the post-1983 vehicles from the Series III Land Rover. A full-length bonnet, revised grille, plus the fitting of wheel arch extensions to cover wider-track axles are the most noticeable changes. Initially the Land Rover was also available with a part-time 4WD system familiar to all derivatives produced since 1949. The part-time system failed to sell and was quickly dropped from the options list by 1984. While the engine and other body panels carried over from the Series III, mechanically the 90 and 110 were modernized, including:
Coil springs, offering a more comfortable ride and improved axle articulation
A permanent four-wheel-drive system derived from the Range Rover, featuring a two-speed transfer gearbox with a lockable centre differential
A modernised interior
A taller one-piece windscreen
A new series of progressively more powerful and modern engines
The 110 was launched in 1983, and the 90 followed in 1984. From 1984, wind-up windows were fitted (Series models and very early 110s had sliding panels), and a 2.5-litre (153 cu in), 68 horsepower (51 kW) diesel engine was introduced. This was based on the earlier 2.3-litre (140 cu in) engine, but had a more modern fuel-injection system as well as increased capacity. A low compression version of the 3.5-litre (214 cu in) V8 Range Rover engine transformed performance. It was initially available in the 110 with a four-speed transmission with integral transfer case, then later in conjunction with a high strength "Santana" five-speed transmission.[5]
This period saw Land Rover market the utility Land Rover as a private recreational vehicle. While the basic pick-up, 4x4 and van versions were still working vehicles, the County 4x4s were sold as multi-purpose family vehicles, featuring improved interior trim and more comfortable seats. This change was reflected in Land Rover starting what had long been common practice in the car industry — detail changes and improvements to the County model from year to year in order to attract new buyers and to encourage existing owners to trade in for a new vehicle. These changes included different exterior styling graphics and colour options, and the introduction of new options, such as radio-cassette players, styled wheels, headlamp wash and wipe systems, as well as accessories such as surfboard carriers and bike racks. The switch from leaf spring to coil spring suspension was a key part of the new model's success. It offered improved off-road ability, load capacity, handling, and ride comfort.
The 127 (and 130)
From 1983, Land Rover introduced a third wheelbase to its utility line-up, a 127-inch (3,226 mm) wheelbase vehicle designed to accommodate larger, heavier loads than the 110. Called the "Land Rover 127", it was designed specifically with use by utility and electrical companies in mind, as well as military usage.
In its standard form, it is a four-door six-seater consisting of the front half of a 110 4x4, and the rear of a 110 high-capacity pick up (HCPU).
The logic was that this allowed a workcrew and their equipment to be carried in one vehicle at the same time. The 127 could carry up to a 1.4 tonnes (1.4 long tons; 1.5 short tons) payload, compared to the 1.03 tonnes (1.01 long tons; 1.14 short tons) payload of the 110 and the 0.6 tonnes (0.59 long tons; 0.66 short tons) of the 90
Land Rover 127s were built on a special production line, and all started life as 110 4x4 chassis (the model was initially marketed as the 110 crew cab, before the more logical 127 name was adopted). These were then cut in two and the 17 inches (432 mm) of extra chassis length welded on before the two original halves were reunited. These models did not receive their own dedicated badging like the other two models, instead they used the same metal grille badges as used on the Series III 109 V8 models, that simply said "Land-Rover".
Land Rover Defender 130; fully equipped car in the desert
Although the standard body-style was popular, the 127 was a common basis for conversion to specialist uses, such as mobile workshops, ambulances, fire engines and flatbed transports. In South Africa, the Land Rover assembly plant offered a 127 4x4 with seating for 15. Land Rover also offered the 127 as a bare chassis, with just front bodywork and bulkhead, for easy conversion.
127" chassis with double cab and bimobil camper module
Initially held back by the low power of the Land Rover engines (other than the thirsty petrol V8 engine), the 127 benefited from the improvements to the line-up, and by 1990 was only available with the two highest power engines, the 134 hp (100 kW) 3.5-litre V8 petrol, and the 85 hp (63 kW) 2.5-litre turbo diesel .
Engine development
The original 110 of 1983 was available with the same engine line-up as the Series III vehicles it replaced, namely 2.25-litre (137 cu in) petrol and diesel engines, and a 3.5-litre (210 cu in) V8 petrol unit, although a small number of 3.2-litre (200 cu in) V8s were produced.
In 1981 the 2.25 l engines were upgraded from three- to five-crankshaft bearings in preparation for the planned increases in capacity and power.
The 2.5-litre version of the diesel engine, displacing 2,495 cubic centimetres (152.3 cu in) and producing 68 hp (51 kW), was introduced in both the 110 and the newly arrived 90. This was a long-stroke version of the venerable 2.25-litre unit, fitted with updated fuel injection equipment and a revised cylinder head for quieter, smoother and more efficient running. A timing belt also replaced the older engine's chain.
In 1985 the petrol units were upgraded. An enlarged four-cylinder engine was introduced. This 83 hp (62 kW) engine shared the same block and cooling system (as well as other ancillary components) as the diesel unit. Unlike the diesel engine, this new 2.5-litre petrol engine retained the chain-driven camshaft of its 2.25-litre predecessor. At the same time, the 114 hp (85 kW) V8 was also made available in the 90- the first time a production short-wheelbase Land Rover had been given V8 power.
The V8 on both models was now mated to an all-new five-speed manual gearbox.
The year 1986 saw improvements in engines to match the more advanced offerings by Japanese competitors. The "Diesel Turbo" engine was introduced in September, a lightly turbocharged version of the existing 2.5-litre diesel, with several changes to suit the higher power output, including a re-designed crankshaft, teflon-coated pistons and nimonic steel exhaust valves to cope with the higher internal temperatures.[4][6] Similarly, an eight-bladed cooling fan was fitted, together with an oil cooler.
The changes for the turbo diesel were kept as slight as possible, in the aim of making the car saleable in Land Rover's traditional export markets across the globe.
The 2.5 diesel, 2.5 petrol and Diesel Turbo engines all shared the same block castings and other components such as valve-gear and cooling system parts, allowing them to be built on the same production line. The Diesel Turbo produced 85 hp (63 kW), a 13% increase over the naturally aspirated unit, and a 31.5% increase in torque to 150 lb·ft (203 N·m) at 1800 rpm.
Externally, turbo-diesel vehicles differed from other models only by having an air intake grille in the left-hand wing to supply cool air to the turbo. The engine was adopted as the standard engine for UK and European markets.
Early turbo-diesel engines gained a reputation for poor reliability, with major failures to the bottom-end and cracked pistons. A revised block and improved big end bearings were introduced in 1988, and a re-designed breather system in 1989. These largely solved the engine's problems, but it remained (like many early turbo-diesels) prone to failure if maintenance was neglected.
At the same time that the Diesel Turbo was introduced, the V8 engine was upgraded. Power was increased to 134 hp (100 kW), and SU carburettors replaced the Zenith models used on earlier V8s.
Sales turnaround
The new vehicles with their more modern engines, transmissions, and interiors reversed the huge decline in sales that took place in the 1980s (a 21% fall in a single year, 1980–1981). This growth was mainly in the domestic UK market and Europe. African, Australian and Middle-Eastern sales failed to recover significantly - Land Rover had not been immune to the poor reputation caused by poor build quality and unreliability which had afflicted the rest of British Leyland, of which Land Rover was still part. In these markets Japanese vehicles such as the Toyota Landcruiser and Nissan Patrol gradually took over what had been a lucrative export market for Land Rover for decades. Meanwhile, the company itself adopted more modern practices, such as using marketing campaigns to attract new buyers who would not previously have been expected to buy a Land Rover. The operation was streamlined, with most of the satellite factories in the West Midlands that built parts for the Land Rover being closed and production brought into the Solihull factory, which was expanded.
To maximise sales in Europe, Land Rover set up the Special Vehicles Division, which handled special low-number conversions and adaptations to the vehicles. The bulk of the division's work was the construction of stretched-wheelbase mobile workshops and crew carriers for British and European utility companies, often including six-wheel-drive conversions, but more unusual projects were undertaken, such as the construction of an amphibious Land Rover 90 used by the company as part of its sponsorship of Cowes Week from 1987 to 1990.
The Special Projects Division also handled specialised military contracts, such as the building of a fleet of 127-inch (3,226 mm)
V8-powered Rapier missile launchers for the British Army. The Rapier system actually consisted of three Land Rovers: a 127 which carried the launching and aiming equipment, and two 110s which carried the crew and additional equipment.
Land Rover Defender
The biggest change to the Land Rover came in late 1990, when it became the Land Rover Defender, instead of the Land Rover 90 or 110. This was because in 1989 the company had introduced the Discovery model, requiring the original Land Rover to acquire a name.
The Discovery also had a new turbodiesel engine, the 200TDi. This was also loosely based on the existing 2.5-litre turbo unit, and was built on the same production line, but had a modern alloy cylinder head, improved turbocharging, intercooling and direct injection.
It retained the block, crankshaft, main bearings, cambelt system, and other ancillaries as the Diesel Turbo. The breather system included an oil separator filter to remove oil from the air in the system, thus finally solving the Diesel Turbo's main weakness of re-breathing its own sump oil. The 200Tdi, produced 107 hp (80 kW) and 195 lb·ft (264 N·m) of torque, which was nearly a 25% improvement on the engine it replaced (although as installed in the Defender the engine was de-tuned slightly from its original Discovery 111 hp (83 kW) specification due to changes associated with the turbo position and exhaust routing).
This engine finally allowed the Defender to cruise comfortably at high speeds, as well as tow heavy loads speedily on hills while still being economical.
In theory it only replaced the older Diesel Turbo engine in the range, with the other four-cylinder engines (and the V8 petrol engine) still being available. However, the Tdi's combination of performance and economy meant that it took the vast majority of sales. Exceptions were the British Army and some commercial operators, who continued to buy vehicles with the 2.5-litre naturally aspirated diesel engine (in the army's case, this was because the Tdi was unable to be fitted with a 24 volt generator). Small numbers of V8-engined Defenders were sold to users in countries with low fuel costs or who required as much power as possible (such as in Defenders used as fire engines and ambulances).
Along with the 200Tdi engine, the 127's name was changed to the "Land Rover Defender 130". The wheelbase remained the same; the new figure was simply a tidying up exercise. More importantly, 130s were no longer built from "cut-and-shut" 110s, but had dedicated chassis built from scratch. The chassis retained the same basic structure as the 90 and 110 models, but with a longer wheelbase.
1994 saw another development of the Tdi engine, the 300Tdi. Although the 200Tdi had been a big step forward, it had been essentially a reworking of the old turbocharged diesel to accept a direct injection system. In contrast the 300Tdi was virtually new, despite the same capacity, and both the Defender and the Discovery had engines in the same state of tune, 111 bhp (83 kW), 195 lbf·ft (264 N·m).
Throughout the 1990s the vehicle attempted to climb more and more upmarket, while remaining true to its working roots. This trend was epitomised by limited-edition vehicles, such as the SV90 in 1992 with roll-over protection cage, alloy wheels and metallic paint and the 50th anniversary 90 in 1998, equipped with automatic transmission, air conditioning and Range Rover 4.0-litre V8 engine.
A new variant was the Defender 110 double cab, featuring a 4x4-style seating area, with an open pick up back. Although prototypes had been built in the Series days, it was not until the late 1990s that this vehicle finally reached production.
2012 updates
In August 2011, Land Rover announced an update of the Defender for the 2012 model year. By this time, Land Rover publicly acknowledged that it was working on a project to produce an all-new replacement for the Defender. This would lead to the unveiling of the first DC100 concept vehicle in September that year. While emissions and safety regulations have threatened the Defender since the early 2000s, these had either been avoided or Land Rover had found ways to modify the vehicle to economically meet the new requirements. However, safety regulations due for introduction in 2015 requiring minimum pedestrian safety standards and the fitment of airbags to commercial vehicles cannot be met without a wholesale redesign of the Defender.
The main change for the 2012 models was the installation of a different engine from the Ford Duratorq engine range. Ford decided, due to cost reasons, not to modify the 2.4-litre engine introduced in 2007 to meet the upcoming Euro V emissions standards and so the engine was replaced with the ZSD-422 engine, essentially a 2.2-litre variant of the same engine. Although smaller than the existing unit the power and torque outputs remained unchanged and the same six-speed gearbox was used as well.
The engine included a diesel particulate filter for the first time on a Defender. The only other change was the reintroduction of the soft top body style to the general market. This had been a popular option for the Land Rover Series but by the introduction of the Defender had been relegated to special order and military buyers only. Land Rover stated that the option was being brought back due to customer feedback.
The last Defender, a soft-top "90" rolled off the Solihull production line at 9:22 on Friday 29 January 2016. The BBC reports that the Defender's replacement is due to be launched in 2018/2019.
The timber tram/bus shelters are important for their association with the development of public transport in Brisbane, particularly the tramway system. The shelters are important for remaining in continuous use as waiting shelters for the public transport system in Brisbane since the early 20th century. The shelters are important as evidence of the former tram routes and of a form of public transport no longer in existence in Brisbane. In form, materials, arrangement of elements and location these shelters are representative of tram/bus waiting shelters. Robust functional structures with simple elegant lines the shelters are distinctive visual elements in the streetscape. The tram/ bus shelters are important for their association with the work of the Brisbane City Council’s Transport Department, responsible for the operation of the tramway system from 1925 to 1969.
Shelter Design Trams were a feature of Brisbane streets from 1885 until 1969. From the 1920s to the 1950s The Brisbane Tramway Trust and then the Brisbane City Council erected a number of timber waiting shelter sheds along the tram/bus routes. Most shelters were constructed by Brisbane City Council in response to petitioning by community groups or progress associations. A survey of usage was undertaken by BCC to determine the most viable locations for the shelters. Waiting sheds promoted the use of the tram/bus system by providing a comfortable waiting area with some protection from the elements. Some shelters were large and purpose-built for the site but most were free-standing shelters constructed to standard designs. In this survey three standard shelter types used during this period were identified – P.1008 Standard Waiting Shelter (hipped roof pavilion shelter); Standard Small Type Tramway Shelter Shed No. 2512 (skillion roof shelter); and the gable roof shelter. Only drawings for the P.1008 and No. 2512 types were located during this study.
The gable roof shelter design may have been from a shelter constructed earlier in the 20th century during the time The Brisbane Tramway Company owned and operated the tramway network. The shelter in Chatsworth Road near the corner with Upper Cornwall Street was constructed in 1915 to shelter Greenslopes tram patrons. It had points for lights that the tram drivers would turn on at sunset and off when the last tram left. The P.1008 drawings were drawn up by the Brisbane City Council Department of Works, Planning and Building Branch and signed by City Architect F.G. Costello in 1946. The Standard Small Type Shelter No. 2512 was drawn up by the Transport Department of the Planning and Building Branch and signed by City Architect F.G. Costello in 1945. The P.1008 type shelter closely resembles the shelters constructed by the Brisbane Tramway Trust in the 1920s and 1930s. No drawings for these earlier shelters have been located and this study has been unable to confirm that the 1946 drawings were based on these earlier shelters but the physical evidence suggests that this is the case. The designs for the shelters are uncharacteristic of work designed by Costello which may indicate that the shelter designs are continuing an earlier idiom.
Brisbane Tramway History:
In 1884 a private company, the Metropolitan Tramway and Investment Company, laid Brisbane’s first tram tracks along approximately 10.5 kilometres from Woolloongabba to Breakfast Creek, with branches to the Exhibition Building and New Farm. The company began the operation of a horse-drawn passenger tram system in 1885 with the trams running on rails from the North Quay to the Exhibition Building and Breakfast Creek and later extending the routes to Bulimba Ferry, New Farm, Logan Road and West End.
A power station to supply current to electric trams was constructed in Countess Street in 1897 and The Brisbane Tramways Company introduced the first electric trams to Brisbane that year after purchasing the early horse car system, converting it to electric operation and expanding and extending the routes. Brisbane’s tramway system experienced rapid expansion in response to the growth in the City’s population. From a population of 101,554 in 1891 Brisbane had expanded to a population of 139,480 in 1911, which then doubled to 209,168 by 1921. The number of cars in operation increased from 20 in 1897 to 172 in 1916. At the conclusion of the First World War there was general support for the notion that the tramway system be owned and operated by a public authority rather than a private company. In 1922, the Brisbane Tramway Trust was inaugurated by an Act of Parliament and the Trust assumed ownership and control of the tramways in January 1923. The tramway system had failed to keep pace with the expansion of Brisbane so the Trust faced a considerable backlog of work. It undertook the construction of repair workshops and car depots, laying of additional tracks, purchase of additional cars and the introduction of remote control of points at busy intersections. Innovations introduced by the Trust included the construction of passenger waiting shelter sheds, advertising in trams and a suggestions board scheme. The 1920s and 1930s was a period of tramways expansion following the Brisbane City Council acquisition of the tramways system from the Brisbane Tramways Trust in 1925. The Council continued with the upgrading and extension of the system. During the first half of the 20th century public transport was important in Brisbane and remained the principal form of transport for most residents. By the 1950s Brisbane had one of the highest levels of public transport usage in Australia. The tram system was the principal form of public transport in Brisbane until the 1960s. It is thought that the hipped roof and skillion roof shelters identified in this study were constructed between the 1920s and 1950s by the Brisbane Tramway Trust and then by Brisbane City Council. Most of the routes on which these shelters have been identified were constructed during this period. Further research is required to establish construction dates for the gable roof shelters. As the tram routes to Windsor and Coorparoo were established in 1914 and 1915, the shelter construction post dates this. The construction of the hipped roof waiting shelter in Merthyr Road, New Farm was approved by the Trust in 1924 and probably constructed in 1925.
In 1924 the Brisbane Tramway Trust extended the tram service to Ashgrove, demonstrating a confidence in the future of the suburb. The release of 855 allotments in the Glenlyon Gardens estate in 1924 was the catalyst for the development of Ashgrove as a residential suburb. It is thought that the waiting shelters along Waterworks Road (Ithaca Bridge, Oleander Drive and Stewart Place) were constructed at sometime between the mid-1920s and the 1940s. The Rosalie line opened along Elizabeth Street, Rosalie in 1904 and was extended in 1930 to Rainworth, terminating in Boundary Road adjacent to Rainworth Primary School. The shelters on Boundary Road were built after this 1930 extension of the line. Between 1937 and 1939 the tramline extended to Bardon and the Simpsons Road shelter was built some time after this. From 1940 the Brisbane City Council trialed the use of buses with diesel engines in areas not serviced by trams. In 1940 a diesel bus service ran from Kelvin Grove through Herston and along Butterfield Street to the City. The shelter on Butterfield Street remains as evidence of the diesel bus service which became the backbone of Brisbane City Council public transport after the closure of the tramway system in 1969.
Following the Second World War, Brisbane experienced a housing boom which encouraged the Council to extend its electric tramway network. At this time the Monday to Friday the morning peak services had 246 tram cars operating and 296 cars were required to meet the evening peak traffic. During the day each route was serviced by a tram every ten minutes. However from the 1950s various factors converged to influence a decline in the patronage of the tram system. An increasing reliance on the private motor car reduced the number of tram passengers and the growth of the Brisbane City Council’s bus fleet gradually outstripped that of the tram system. Urban sprawl saw more and more families move to outer suburbs not connected to the tram system, and a lack of investment in the technological development of trams compared with increasing expenditure on diesel buses contributed to the conversion of Brisbane’s public transport system from trams to buses. In 1962 the Paddington tram depot was burned to the ground with the loss of 65 trams (20% of the fleet). In 1965 the Wilbur Smith Plan, a report on the future transport and traffic requirements of Brisbane, recommended the closure of the tramway system and a conversion to a bus program. As a result of all these various influences and events, the tram system in Brisbane was discontinued in 1969. The tram waiting shelters remain, providing evidence of a mode of transport no longer in use.
Source: Brisbane City Council Heritage Register.
A skyscraper is a tall, continuously habitable building of many stories, usually designed for office and commercial use. There is no official definition or height above which a building may be classified as a skyscraper. One common feature of skyscrapers is having a steel framework that supports curtain walls. These curtain walls either bear on the framework below or are possibly suspended from the framework above, rather than load-bearing walls of conventional construction. Some early skyscrapers have a steel frame that enables the construction of load-bearing walls taller than of those made of reinforced concrete. Modern skyscrapers' walls are not load-bearing, and most skyscrapers are characterized by large surface areas of windows made possible by the concept of steel frame and curtain walls. However, skyscrapers can have curtain walls that mimic conventional walls and a small surface area of windows. Today, skyscrapers are an increasingly common sight where land is expensive, as in the centres of big cities, because they provide such a high ratio of rentable floor space per unit area of land. They are built not just for economy of space; like temples and palaces of the past, skyscrapers are considered symbols of a city's economic power. Not only do they define the skyline, they help to define the city's identity. In some cases, exceptionally tall skyscrapers have been built not out of necessity, but to help define the city's identity and presence or power as a city.
Amtrak 664 leads a westbound train through NJ Transit's New Brunswick station. This was one of the few times I've had to set my camera to Continuous Shooting: Hi+ to ensure I captured the locomotive between the fences here!
The yacht “Kaizen” is over 150 feet long… it’s number 1112 on the list of the largest yachts in the world. I’ll bet it looks nice with the sail up.
16.08.2016
Tak prezentują się jeszcze gorące kęsy będące produktem uzyskanym w instalacji ciągłego odlewania w warszawskiej Stalowni. Fragmenty gorącego pasma, po odcięciu palnikami tlenowo-gazowymi na pożądaną długość, kierowane są na chłodnie celem osiągnięcia temperatury umożliwiającej ich transport suwnicą. Jak widać na zdjęciu, stygnące kęsy zmieniają swoją barwę. Pasmo wychodzące z COS-u ma białą bądź jasno żółtą barwę, następnie stygnąc staje się pomarańczowe, czerwone, bordowe aż finalnie osiąga metaliczną barwę. Najbardziej żółty kęs na fotografii właśnie jest transportowany na chłodnię, zaś każdy kolejny w prawą stronę ma niższą temperaturę. Najszybciej kęsy tracą temperaturę na powierzchni i na krawędziach, dlatego na nich widoczna jest najszybciej zmiana barwy. Nieregularne zaciemnienia na kęsach to warstwy zgorzeliny utworzonej z tlenków żelaza, będące produktem korozji gazowej. Powstawanie zgorzeliny zwanej też zendrą jest charakterystycznym procesem dla powierzchni nagrzanych metali, które znajdują się w atmosferze powietrza. Zgorzelina jest produktem niepożądanym dlatego jest usuwana w walcowniach z półwyrobów przed poddaniu ich procesowi walcowania. Operację niniejszą wykonuje się w tzw. zbijaczach zgorzeliny - oczywiście zaprezentuję Wam w przyszłości kilka tego typu urządzeń ;)
Dzisiaj Wszystkich Świętych, dzień wspomnienia Wszystkich, którzy odeszli z doczesności, a w bieżącym roku odeszli także Ludzie, którzy tworzyli przemysłowy świat. Był wśród nich między innymi Pan Tadeusz Malarski, zastępca kierownika Wydziału Wielkich Pieców i kierownik działu Programowania Rozwoju Huty Częstochowa. Znany mi szczególnie z wybitnej pozycji książkowej "Huta Częstochowa 1896-2002", której był współautorem. Kolejną Postacią, która odeszła w bieżącym roku, był Pan Ryszard Gabriel, kierownik Wydziału Koksowni Huty Częstochowa w latach 1974-1988. Przed miesiącem odeszli Pan Józef Wypych, dyrektor i prezes Huty Częstochowa w latach 1985-1999, przewodniczący Rady Nadzorczej w latach 1999-2002 oraz Pan Piotr Pełka wieloletni wiceprezes, główny księgowy i prokurent Huty Częstochowa. Pamiętajmy o tych, którzy odeszli, cześć ich pamięci.
Our Daily Challenge: Continuous
Or is it? Most reputable scientists believe that the human race is creating dire harm to the earth. There is no question that the world climates are changing. Many in the power to do something about it, refuse to take the steps that would help lessen the effects of climate change, but for the love of money, they choose not to. Some may argue that the human race is not to blame, but I would like to suggest to them to consider that they may be wrong, and that ignoring the problem can cause irreparable harm to our planet. Others may argue that some countries are not doing enough, but rather than join them in their irresponsibility, we should lead the way and pursue responsible solutions for the good of society and the safety of future generations ........Just my two cents.
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