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An elderly man struggling to walk up one of the steep, narrow roads in Cospicua as a couple of young girls look on and greet him.
A pair of contrasting single deckers in June 2015. 69442 WX59BYU is a Wright Eclipse working their customary route to Street. Meanwhile, 816SHW is an Optare Tempo of Abus working their increasingly infrequent 57 to Stockwood. Seen outside Bristol Temple Meads.
Snapped with my sony tx5 at a local Japanese restaurant...I desaturated it and cranked up the contrast with the gimp.
An old C&O coaling tower provides the backdrop as a modern Amtrak passenger train pulls into the Thurmond, WV station. Thurmond was once one of the busiest depots on the C&O line now just a whistlestop for Amtrack and a place for tourist to see.
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In this picture you can see the grand mosque ( muslim worship place) and Gurdwara ( Sikh worship place ) Both in showing their beautiful architecture and elegance.
A very low contrast shot of the Golden Gate and a ship passing under. You can make out the San Francisco skyline in the background with Coit Tower toward the left and the Trans-America building close to the center. Shot just after sunrise when it was too bright for a direct shot.
30 St Mary Axe (the Gherkin) towers over and dwarf's the old church of St Andrews Undershaft.
(Leadenhall Street / St Mary Axe).
All Rights Reserved © 2011 Frederick Roll ~ fjroll.com
Please do not use without permission
I have absolutely no idea what these flowers are called, certainly not an Australian Native!
I loved the contrast between the dead undergrowth and the vibrant green leaves.
If you look closely at the flowers the petals seem to fold downwards and then there is almost like another little flower inside the petal.
I think this is one place the Fairies avoid as it's very prickly!
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
Kongensgate, Trondheim. Prepared for One Weekly Challenge 1.
The idea here was to explore contrasts created by people on the street, those in movement and those still. There are a number of contrasts present in this picture, some of them due to the properties of the subjects, others due to how the picture was taken. In particular, I can identify the following:
static vs dynamic -- the sitting woman stayed still for quite some minutes, while a crowd (yes, in Trondheim that's a crowd) of people were in continuous movement across the pavement;
organized vs chaotic -- the far left side shows, as a background to the sitting figure, the geometrical shapes of windows, with clear perspective, while the rest of the image is appears fairly disorganized, with no obvious pattern;
single vs multiple -- the woman was sitting alone, with no one to talk to, while the passersby were often in groups (as in this picture, the front figures presumably formed a company of three);
turned back vs facing -- the woman saw me setting up the camera and immediately changed her position; the people were walking in both directions, but here specifically they were coming towards the camera (arguably, it would be more interesting if the woman were facing the camera, and the people were walking towards her);
poor vs rich -- this is, of course, pure stipulation, but the woman was begging for money, while the passersby were carrying shopping bags, and the way they were dressed also differed, which makes the stipulation plausible;
stranger vs local -- as far as I know, the woman came from Romania, while the passersby were mostly Norwegians (another educated guess);
far vs close -- the woman was about 10 meters from the camera, while the passersby are closer than 1 meter;
small vs large -- as an obvious consequence, the woman's figure occupies only a small fragment of the frame, while the front figures are considerably larger;
whole vs cropped -- as another consequence, the woman's figure fits entirely into the frame, while the front figures extend well beyond the crop;
in focus vs out of focus -- the picture does have a relatively large depth of field, but, as it was focused specifically on the sitting woman, the front figures appear out of focus;
sharp vs blurred -- a relatively long exposure was used so that passersby appear as blurred figures, while the woman did not make noticeable moves while the picture was being taken;
bright vs dark -- somewhat arguably, the far left side of the image is brighter than the rest because the wall and the windows are lit by and reflect the horizontal afternoon light, while the figures occupying the rest of the frame are not lit so well, wear dark clothes, and cast shadows on the pavement.
It may not be noticeable, but this monochrome image was split-toned in post-processing, with shadows having a slight green cast and highlights having a slight red cast -- which adds to the difference between the far left and the rest of the frame.
Depending on the fantasy of the audience, there may be other contrasts here which I failed to notice.
Technical details: 1/6 sec f/16 at ISO 100, 1.6x crop DSLR with 28mm non-stabilized prime lens on a tripod, controlled remotely. Exposure and contrast slightly boosted, while shadows reduced in post-processing.