Develop photos on Flickr

Small Island Developing States Coronation Event by Foreign, Commonwealth & Development Office

04/05/2023. London, United Kingdom. Lord Ahmad meets Simona Leskovar the Slovenia Ambassador to the UK at the Small Island Developing States Coronation Event. Picture by Lauren Hurley / DHSC

Snappy Snaps v Most Boring by Rob Hine

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£10.49 for a 36 exposure colour film to be developed..........I think not.

Boots.........although you're looking at 3 days, is £4.99 with 5x7 prints as well. That's just a quid more than I was getting 'developing only' at my usual place in London. Let's wait and see what the quality is like..........

"Bypass Stockholm" develops by Björn Lindberg

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Part of the less beautiful Stockholm. "Bypass Stockholm" developd. A gigantic show of building and engineering knowledge. A total of 21 km from Kungens Kurva to Häggvik, of which 18 km through tunnel. Expected to be completed in 2026.

En del av det mindre vackra Stockholm. Förbifart Stockholm växer fram. En gigantisk uppvisning av byggnations och ingenjörskonst. Totalt 21 km från Kungens Kurva till Häggvik varav 18 km genom tunnel. Beräknas vara klar år 2026.

1900 map of Hotan oasis, Xinjiang, China by Aurel Stein by centralasiatraveler

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This is a map of the Hotan Oasis developed by explorer M. Aurel Stein in 1900, which in his time was spelled Khotan. (Chinese sources use the Pinyin spelling Hetian.)

Head here for a satellite image of the Hotan oasis.

Head here for a street map of central Hotan. On the above map, central Khotan is located in the lower middle, just to the west of the Yorungkash River.

Go here for a satellite image of central Hotan.

See more maps and satellite images related to Hotan and the surrounding area in my Flickr set Maps of Hotan.

See all 200 Hotan images organized into twelve sets in my Hotan Flickr collection

Read extensive information about visiting Hotan at Central Asia Traveler on Hotan - Ancient Kingdom of Jade and Silk, including sightseeing, maps, transportation, dining and lodging.

20161214_15_SIGMA DP2x street snap by foxfoto_archives

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SIGMA DP2x

Developed by SIGMA Photo Pro 6.4.1

foxfoto.exblog.jp/26456131/

A Sketch - developed. by Brandon McKinney

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Well - what I set out to be as a Sautoir (necklace), turned out to be a devant de corsage and sautoir combined. Still - I am pleased with the result so far. The next step is to ink the design in, then it will be highlighted with silver gouache, and then touched up with the ink - and finally colored in.

IMR-68 md.2 'Condor' by Irish Warrior

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Developed in collaboration with Sweetwater, and magpul. To replace the ACR in 2016, developed for any eviroment. The IMR-68, or Infanty Modular Rifle -sixty eight, is capable of being fired underwater at a depth of 900 feet, due to Magpuls' recoil system, that takes the bullets initial firing shock and turns it into lateral motion propelling the bolt backwards. Fire modes: semi, two round burst with a rate of fire of 800 rounds per minute. The weapon fires 6.8SPC from a 22 inch barrel, using either sweetwaters' 30 round 'Garde' mag or standard STANAG mags.

This weapon is the standard model two DMR for the US Special forces. Nicknamed the 'Condor' by the operators who use it.

This weapon features my completed 'Garde' 20 round mag.

Credit to: Wes, and KevinTK

Comment, fav, suggestions, are very much appreciated

Orca + Pentax Auto 110, 18mm lens by Thomas Bayes

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Developed in Rollei D-74 5 min, 20C

Rough by Nigel Kell

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Olympus OM1, using Ilford FP4, developed in Perceptol.

53rd ADB Annual Meeting: Pacific Developing Member Countries (PDMC) Governors and ADB Management Meeting by Asian Development Bank

16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.

ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.

At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.

The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.

India - Rajasthan - Bikaner - Streetlife With Tiny Shops - 111 by Manfred Sommer

Bikaner is a city in the northwest of the state of Rajasthan in northern India. It is located 330 kilometres northwest of the state capital, Jaipur. Bikaner city is the administrative headquarters of Bikaner District and Bikaner division.

Formerly the capital of the princely state of Bikaner, the city was founded by Rao Bika in 1486 and from its small origins it has developed into the fifth largest city in Rajasthan. The Ganges Canal, completed in 1928, and the Indira Gandhi Canal, completed in 1987, facilitated its development.

HISTORY

Prior to the mid 15th century, the region that is now Bikaner was a barren wilderness called Jangladesh. In 1488 Rao Bika established the city of Bikaner. According to James Tod, the spot which Bika selected for his capital, was the birthright of a Nehra Jat, who would only concede it for this purpose on the condition that his name should be linked in perpetuity with its surrender. Naira, or Nera, was the name of the proprietor, which Bika added to his own, thus composing that of the future capital, Bikaner. Rao Bika was the first son of Maharaja Rao Jodha of the Rathor clan, the founder of Jodhpur and conquered the largely arid country in the north of Rajasthan. As the first son of Jodha he wanted to have his own kingdom not inheriting Jodhpur from his father or the title of Maharaja. He therefore decided to build his own kingdom in what is now the state of Bikaner in the area of Jungladesh. Though it was in the Thar Desert, Bikaner was considered an oasis on the trade route between Central Asia and the Gujarat coast as it had adequate spring water. Bika’s name was attached to the city he built and to the state of Bikaner ("the settlement of Bika") that he established. Bika built a fort in 1478, which is now in ruins, and a hundred years later a new fort was built about 1.5 km from the city centre, known as the Junagarh Fort.

Around a century after Rao Bika founded Bikaner, the state's fortunes flourished under the sixth Raja, Rai Singhji, who ruled from 1571 to 1611. During the Mughal Empire’s rule in the country, Raja Rai Singh accepted the suzerainty of the Mughals and held a high rank as an army general at the court of the Emperor Akbar and his son the Emperor Jahangir. Rai Singh's successful military exploits, which involved winning half of Mewar kingdom for the Empire, won him accolades and rewards from the Mughal emperors. He was given the jagirs (lands) of Gujarat and Burhanpur. With the large revenue earned from these jagirs, he built the Chintamani durg (Junagarh fort) on a plain which has an average elevation of 230 m. He was an expert in arts and architecture, and the knowledge he acquired during his visits abroad is amply reflected in the numerous monuments he built at the Junagarh fort.

Maharaja Karan Singh, who ruled from 1631 to 1639, under the suzerainty of the Mughals, built the Karan Mahal palace. Later rulers added more floors and decorations to this Mahal. Anup Singh ji, who ruled from 1669 to 1698, made substantial additions to the fort complex, with new palaces and the Zenana quarter, a royal dwelling for women and children. He refurbished the Karan Mahal with a Diwan-i-Am (public audience hall) and called it the Anup Mahal.Maharaja Gaj Singh, who ruled from 1746 to 1787 refurbished the Chandra Mahal (the Moon palace).

During the 18th century, there was internecine war between the rulers of Bikaner and Jodhpur and also amongst other thakurs, which was put down by British troops.

Following Maharaja Gaj Singh, Maharaja Surat Singh ruled from 1787 to 1828 and lavishly decorated the audience hall (see illustration) with glass and lively paintwork. Under a treaty of paramountcy signed in 1818, during Maharaja Surat Singh's reign, Bikaner came under the suzerainty of the British, after which the Maharajas of Bikaner invested heavily in refurbishing Junagarh fort.

Dungar Singh, who reigned from 1872 to 1887, built the Badal Mahal, the 'weather palace', so named in view of a painting of clouds and falling rain, a rare event in arid Bikaner.

General Maharaja Ganga Singh, who ruled from 1887 to 1943, was the best-known of the Rajasthan princes and was a favourite of the British Viceroys of India. He was appointed a Knight Commander of the Order of the Star of India, served as a member of the Imperial War Cabinet, represented India at the Imperial Conferences during the First World War and the British Empire at the Versailles Peace Conference. His contribution to the building activity in Junagarh involved separate halls for public and private audiences in the Ganga Mahal and a durbar hall for formal functions. He also built the Ganga Niwas Palace, which has towers at the entrance patio. This palace was designed by Sir Samuel Swinton Jacob, the third of the new palaces built in Bikaner. He named the building Lalgarh Palace in honour of his father and moved his main residence there from Junagarh Fort in 1902. The hall where he held his Golden Jubilee (in 1938) as Bikaner's ruler is now a museum.

Ganga Singh's son, Lieutenant-General Sir Sadul Singh, the Yuvaraja of Bikaner, succeeded his father as Maharaja in 1943, but acceded his state to the Union of India in 1949. Maharaja Sadul Singh died in 1950, being succeeded in the title by his son, Karni Singh (1924-1988).[6] The Royal Family still lives in a suite in Lalgarh Palace, which they have converted into a heritage hotel.

TRANSPORT

The internal transport system in Bikaner consists of autorickshaws and city buses. Bikaner railway station is on the Jodhpur-Bathinda line. Bikaner is connected to some of major Indian cities via broad gauge railway. The city has direct rail connections to Sri Ganganagar, Kolkata, Chennai, Delhi, Mumbai, Alwar, Bhubaneswar, Sambalpur, Bilaspur, Kanpur, Agra, Jalandhar, Baroda, Hyderabad, Guwahati, Jaipur, Surat, Gurgaon, Jalandhar, Puri, Coimbatore, Thiruvananthapuram, Chandigarh, Kota, Kollam, Jammu, Jodhpur and Ahmedabad, Pune, Indore, Vijayawada. However, there is no rail connectivity for other major Indian cities like Silchar, Indore,[clarification needed] Jhansi, Ranchi, Bhopal, Gwalior, Jabalpur, Kurukshetra, Faridabad.

Bikaner is well served with roads and is linked directly to Delhi, Jaipur , Agra , Alwar, Ludhiana, Sri Ganganagar , Bhatinda, Ambala, Ahmedabad, Haridwar, Jodhpur, and many other cities. National highways 11, 15, and 89 meet at Bikaner.

CLIMATE

Bikaner is situated in the middle of the Thar desert and has a hot desert climate (Köppen climate classification BWh) with very little rainfall and extreme temperatures. In summer temperatures can exceed 45 °C, and during the winter they may dip below freezing.

The climate in Bikaner is characterised by significant variations in temperature. In the summer season it is very hot when the temperatures lie in the range of 28–48.5 °C. In the winter, it is fairly cold with temperatures lying in the range of 5–23.2 °C. Annual rainfall is in the range of 260–440 millimetres.

JUNAGARH FORT

The Junagarh Fort and its temples and palaces are preserved as museums and provide insight into the grandiose living style of the past Maharanas of Rajasthan.

LAXMI NIWAS PALACE

The Laxmi Niwas Palace is a former residential palace built by Maharajah Ganga Singh, the ruler of the former state of Bikaner. It was designed by the British architect, Col Samuel Swinton Jacob in the year 1902. The style of architecture is Indo-Saracenic. It is now a luxury Heritage hotel owned by Golden Triangle Fort & Palace P. Ltd. The magnificent structure in red sandstone is one of the most popular destinations for tourists in Bikaner. The Shri ram heritage a unit of Rao Bikaji Groups home stay owend / heritage hotel by Brigadier Jagmal singh rathore VrC, VsM descendant of Rao Bika ji Founder of Bikaner, Rao Bikaji Camel safari a unit of Rao Bikaji Groups.

KARNI MATA TEMPLE

The world famous shrine of Karni Mata can be found in the town of Deshnoke 30 km south from Bikaner on the road to Jodhpur. Karni Mata is worshiped as an incarnation of Goddess Durga.

WIKIPEDIA

Seven-Sided Yin-Yang Dome Box Pattern by Philip Chapman-Bell

3 3

A better version, doesn't fall apart when used.

PDF available,

Selfa and her son, Obama, in their home in Mumias, Kenya by Direct Relief

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Selfa developed fistula after laboring for several days at home, unable to get to a hospital until after her child had already died. After living for many years with fistula, a condition which caused Selfa to be isolated and unable to participate in social life in her community, one of her relatives told her that her condition could be treated.

Selfa received fistula repair at MOI Teaching and Referral Hospital in Western Kenya. Following her treatment, she was welcomed into a fistula survivor support group facilitated by the community based organization WADADIA and was counseled on her reproductive health.

Several years later, she safely delivered her little boy, Obama, after she went to the hospital to deliver by cesarean section. Selfa is now engaged in poultry raising, fish farming, and banana cultivation to ensure that she and her family have sufficient income to meet their needs.

About obstetric fistula:

Obstetric fistula is a hole in the birth canal caused by prolonged and obstructed labor without prompt medical intervention.

Women who develop fistula suffer from chronic incontinence. Left untreated, the condition can lead to medical problems, including skin ulcerations and kidney disease. The persistent smell of urine is humiliating and women with fistula often become ostracized by family and friends.

Fistula occurs disproportionately among impoverished girls and women that live in remote areas, far from access to adequate medical care during childbirth. Given the hidden nature of the condition, the number of women with fistula worldwide is difficult to measure, but an estimated 50,000 to 100,000 new cases develop annually—far surpassing the global capacity for treatment.

Fistula is preventable and treatable. Fistula can be prevented when women have access to a skilled attendant during childbirth and to emergency obstetric care if complications arise during labor. For the many tragic existing cases, reconstructive fistula repair surgery can be provided by an experienced surgeon.

Many women with fistula live with the condition for many years before receiving treatment, and the ability to leave a fistula care facility completely healed and dry has a profound impact on women’s health and well-being, uplifting families and communities.

Cotton Tissue by winner medicalstore

As the Cotton Spunlace Non-woven Fabrics, were Successfully Developed, the Mission of "let Medical Products Close to Our Life, let Purcotton Take Care of Our Health",was Put Forward to Focues on People's Daily Life.

Winner Soft Dry Wipe, Made Of Cotton Only, 600 Count Unscented Cotton Tissues For Sensitive Skin,100% Pure Cotton Tissue

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CHEMICAL-FREE AND UNSCENTED PURE COTTON TISSUE - 100% naturally biodegradable, non-chemical fiber. Safe and healthy for baby's sensitive skin.

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Multi-use paper towel, very cloth-like. Can be used as facial tissue, baby dry wipe, Baby wipes, disposable hand towel, softer and gentler for babies and adult’s sensitive skin, baby nursery, personal care, skincare routine, use to wipe face and remove makeup, incontinence care, etc.

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You can use this soft cotton tissue for face cleaning, kitchen cleaning, makeup removal, cleaning glasses, cleaning furniture, baby care, etc.

Used it as a disposable face wipe, disposable hand towels, and disposable butt wash for a baby.

They are soft, strong, and absorbent. Used as baby wipes. Makes a great baby wipe. Soft and durable even when wet.

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Used it for both dry and wet ways, to clean baby's face, gums and tongue.

These are very soft, sturdy wipes so you can make your own baby wipes.

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Ford Fiesta XR2 (MkI - 1976-83) by Peter Blackert

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History

The Fiesta was originally developed under the project name "Bobcat" (not to be confused with the subsequent rebadged Mercury variant of the Ford Pinto) and approved for development by Henry Ford II in September 1972. Development targets indicated a production cost US$100 less than the current Escort. The car was to have a wheelbase longer than that of the Fiat 127 (although shorter than some other rivals, like the Peugeot 104, Renault 5 and Volkswagen Polo), but with an overall length shorter than that of the Escort. The final proposal was developed by Tom Tjaarda at Ghia. The project was approved for production in December 1973, with Ford's engineering centres in Cologne and Dunton (Essex) collaborating.

Ford estimated that 500,000 Fiestas a year would be produced, and built an all-new factory near Valencia, Spain; a trans-axle factory near Bordeaux, France; factory extensions for the assembly plants in Dagenham, UK. Final assembly also took place in Valencia.

The name Fiesta belonged to General Motors when the car was designed, as they had used the name for the Oldsmobile Fiesta in the 1950s; however, it was freely given for Ford to use on their new supermini. Ford's marketing team had preferred the name Bravo, but Henry Ford II vetoed it in favour of the Fiesta name. The motoring press had begun speculating about the existence of the Bobcat project since 1973, but it was not until December 1975 that Ford officially announced it as the Fiesta. A Fiesta was on display at the 24 Hours of Le Mans in June 1976, and the car went on sale in France and Germany in September 1976; to the frustration of UK dealerships, right hand drive versions only began to appear in the UK in January 1977.

Mechanically, the Fiesta followed tradition, with an end-on four-speed manual transmission of the Ford BC-Series mounted to a new version of the Ford Kent OHV engine, dubbed "Valencia" after the brand new Spanish factory in Almussafes, Valencia, developed especially to produce the new car. Ford's plants in Dagenham, England, and Saarlouis and Cologne (from 1979) in Germany, also manufactured Fiestas. To cut costs and speed up the research and development, the new powertrain package destined for the Fiesta was tested in Fiat 127 development "mules". Unlike several rivals, which used torsion bars in their suspension, the Fiesta used coil springs. The front suspension was of Ford's typical "track control arm" arrangement, where MacPherson struts were combined with lower control arms and longitudinal compression links. The standard rear suspension used a beam axle, trailing links and a Panhard rod, whilst an anti-roll bar was included in the sports package. All Mk1 Fiestas featured 12-inch wheels as standard, with disc brakes at the front and drum brakes at the rear.

Model history

Although not the first Ford vehicle to feature front-wheel drive (the 1960s Taunus produced by Ford of Germany laid claim to that title), the Fiesta is widely credited as being Ford's first globally successful front-wheel-drive model. UK sales began in January 1977, where it was available from £1,856 for the basic 950 cc-engined model.

It was only the second hatchback mini-car to have been built in the UK at this stage, being launched a year after the Vauxhall Chevette, but a year before the Chrysler Sunbeam and four years before the Austin Metro. The millionth Fiesta was produced in 1979.

The car was initially available in Europe with the Valencia 957 cc (58.4 cu in) I4 (high compression and low compression options), and 1,117 cc (68.2 cu in) engines and in Base, Popular, L, GL (1978 onward), Ghia and S trim, as well as a van. The U.S. Mark I Fiesta was built in Saarlouis, Germany but to slightly different specifications; U.S. models were Base, Decor, Sport, and Ghia, the Ghia having the highest level of trim.[7] These trim levels changed very little in the Fiesta's three-year run in the USA, from 1978 to 1980. All U.S. models featured the more powerful 1,596 cc (97.4 cu in) engine, (which was the older "Crossflow" version of the Kent, rather than the Valencia) fitted with a catalytic converter and air pump to satisfy strict Californian emission regulations), energy-absorbing bumpers, side-marker lamps, round sealed-beam headlamps, improved crash dynamics and fuel system integrity as well as optional air conditioning (a/c was not available in Europe). In the U.S. market, the Ford Escort replaced both the Fiesta and the compact Pinto in 1981.

A sporting derivative (1.3 L Supersport) was offered in Europe for the 1980 model year, using the 1.3 L (79 cu in) Kent Crossflow engine, effectively to test the market for the similar XR2 introduced a year later, which featured a 1.6 L version of the same engine. Black plastic trim was added to the exterior and interior. The small square headlights were replaced with larger circular ones resulting in the front indicators being moved into the bumper to accommodate the change. With a quoted performance of 0–60 mph (0–97 km/h) in 9.3 seconds and 105 mph (169 km/h) top speed, the XR2 hot hatch became a cult car beloved of boy racers throughout the 1980s.

Minor revisions appeared across the range in late 1981, with larger bumpers to meet crash worthiness regulations and other small improvements in a bid to maintain showroom appeal ahead of the forthcoming second generation.

In 1978, the Fiesta overtook the Vauxhall Chevette as Britain's best-selling supermini, but in 1981 it was knocked off the top spot by British Leyland's Austin Metro and was still in second place at the end of 1982.

[Text from Wikipedia]

en.wikipedia.org/wiki/Ford_Fiesta_(first_generation)

Marina Rolleiflex 2.8TriX400-10 by MarcoRolleiflex

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Camera: Rolleiflex 2.8F

Lens: Carl Zeiss Planar80mm/f. 2.8 with Rolleinar 1

Film: Kodak Tri-X 400

Develop: Kodak D-76 (Full Strenght)

Scan from film

Scanner: Epson V 700

2nd Regiment, Advanced Camp Cadets develop critical skills during the Platoon Situational Training Exercise. by U.S. Army Cadet Command (Army ROTC)

2nd Regiment, Advanced Camp Cadets develop critical skills during the Platoon Situational Training Exercise at Cadet Summer Training 2018. (Fort Knox, Kentucky, 24 June) Photos By: Jakob Coombes

Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã by Philipp Geist

Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã

„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”

Photo by Fred Pacífico

Rio de Janeiro / Brazil 2014

Christ statue (Cristo Redentor) – May 12

Dona Marta favela – May 15 and 16,2014

Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014

on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,

2014

Installation Philipp Geist Year of Germany in Brazil 2013/2014

Concept Time Drifts May 2014

At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)

develops two light installations in Rio this year; the first one on the world-famous Christ statue

(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the

artist presents artistic-liberal and poetic German and Brazilian themes and develops a building

and floor light installation of colored words and phrases in Portuguese, German, and in other

international languages. The installation deals with cultural characteristics and achievements of

both countries and visualizes the issues of time and space, volatility and presence in a free

artistic style. The two projects are in fact a double project which is combined. The installation

on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small

buildings and huts of the favela. The Christ statue, which has been built to protect the city and

the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The

installation in the favela will be seen not only on a facade as a large cinema projection or as a

static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the

visitor becomes a part of the installation and can immerse into the projection and the light and

introduce himself. Chalk crayons are put out on the streets in the favela and the young and old

residents and visitors can write and paint words on the street, the ground, the stairs or even on

the house walls. The residents and several institutions should be addressed to submit words and

associations dealing with Rio, Brazil and Germany.

For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the

German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.

The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various

currents and voices in cultural contexts and to provide institutions and visitors with the

opportunity of substantive participation: different personalities, visitors and institutions may be

addressed in advance and then contribute words and associations. Current and historico-cultural

topics are researched in advance by the artist and then integrated in a sensitive and subtle way.

The projection dismisses the use of screens, because concepts and associations are projected on

a large area onto the floor surface on several facades and in theater fog. Over the course of two

days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo

Redentor on May 12 for a day.

Short, tall, young and old visitors can interactively participate in the installation by tracing and

adding words with colored chalk crayons available on the streets. Thus, over the period of the

installation, a carpet of words is evolved with terms that are contributed locally by the visitors

by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this

way a dialogue between the place, the visitors and his artistic work.

The concrete, tangible projection of the architecture and the static terms on the floor area

represents the facts and visible relics that are responsible for our understanding of history. The

transparent and volatile projection in the fog reminds us that part of the history can not be

preserved and that it is created in our individual imagination in a single moment. Words are

briefly visible as a metaphor for transience and then disappear again. This interplay of the

various text and image layers in the space refers to the location and the history/-ies of Brazil

and Germany and the cultural exchange between the two countries. The visitors themselves are

part of the installation: they dive into the large floor projection. In this way, different

perspectives and experiences of space are unified. Abstract passages which are created, then

overlapped and displaced by each other symbolize the constant changes in history, the passage

of time and the transience of existence. Even the understanding of the past is in the flux. The

modern writings and formations created on the computer establish a connection to the present

and the possibilities of today's technology and show that the perception of history and culture

depends always on the possibilities and constraints of the present.

'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent

years by Philipp Geist, and which are always re-developed site-specifically and adapted to the

local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer

Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012

the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000

visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the

'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the

Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in

Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3

million visitors saw his facade installation at the royal throne in Bangkok. Other projects

include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'

at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop

(Germany, 2008).

Geist's projects are primarily characterized by their complexity concerning the integration of

space, sound and motion images. His video mapping installations waive screens and transform a

wide range of architectures in moving, picturesque light sculptures which challenge the viewer's

perception of two- and three-dimensionality.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil

2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de

2014

Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014

Conceito Time Drifts Maio 2014

No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá

duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do

Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros

de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e

no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas

internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países

e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.

Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na

estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos

pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para

proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma

favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de

cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e

nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar

na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e

visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas

escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão

convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a

Alemanha.

Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o

'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria

Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias

correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a

oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser

contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos

e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma

sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são

projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em

fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e

em 12 de maio, por um dia, no Cristo Redentor.

Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com

giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta

maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras

serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.

Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.

A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do

solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A

área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não

pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.

Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,

desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se

à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois

países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção

do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens

abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças

contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do

passado também está no fluxo. As fontes e formações modernas criadas no computador

estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a

percepção da história e da cultura sempre dependende das capacidades e limitações do

presente.

'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas

durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições

locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça

Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower

(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt

onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em

2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver

bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing

foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do

aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do

artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado

museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;

Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).

Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de

espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam

telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que

desafiam a percepção do espectador de duas e três dimensões.

www.alemanha-brasil.org/br/node/8542

www.alemanha-brasil.org/Programme/Dia/2014-05-12

www.alemanha-brasil.org/Programme/Dia/2014-05-15

www.alemanha-brasil.org/Programme/Dia/2014-05-16

---------------

Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014

an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014

Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014

Konzept Time Drifts Mai 2014

Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler

Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue

(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation

greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und

entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in

portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert

kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit

und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt

es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von

Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten

der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu

schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die

Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches

Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf

den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die

Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide

ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den

Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und

verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,

Brasilien und Deutschland stehen einzureichen.

Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen

Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet

sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und

Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die

Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,

Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen

beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert

und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von

Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf

mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die

Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai

für einen Tag zu sehen sein.!

Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger

Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an

der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus

Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'

der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog

zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !

Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der

Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis

ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,

dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen

Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und

verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im

Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen

Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die

großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven

und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig

verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und

die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die

modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung

zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit

von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart

abhängig ist.

'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten

Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch

weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer

Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die

Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen

und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts

in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die

Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen

anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine

Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'

am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,

'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).

Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von

Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und

verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die

Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.

53rd ADB Annual Meeting: Pacific Developing Member Countries (PDMC) Governors and ADB Management Meeting by Asian Development Bank

16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.

ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.

At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.

The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.

We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle by Cer Po

We do learn and develop when we are exposed to those who are greater than we are. Perhaps this is the chief way we mature. - Madeleine L'Engle

XO - One Laptop Per Child Project by Suvi Korhonen

6

Most of the nearly two–billion children in the developing world are inadequately educated, or receive no education at all. One in three does not complete the fifth grade.

The individual and societal consequences of this chronic global crisis are profound. Children are consigned to poverty and isolation—just like their parents—never knowing what the light of learning could mean in their lives. At the same time, their governments struggle to compete in a rapidly evolving, global information economy, hobbled by a vast and increasingly urban underclass that cannot support itself, much less contribute to the commonweal, because it lacks the tools to do so.
It is time to rethink this equation.

Given the resources that developing countries can reasonably allocate to education—sometimes less than $20 per year per pupil, compared to the approximately $7500 per pupil spent annually in the U.S.—even a doubled or redoubled national commitment to traditional education, augmented by external and private funding, would not get the job done. Moreover, experience strongly suggests that an incremental increase of “more of the same”—building schools, hiring teachers, buying books and equipment—is a laudable but insufficient response to the problem of bringing true learning possibilities to the vast numbers of children in the developing world.
Standing still is a reliable recipe for going backward.

Any nation's most precious natural resource is its children. We believe the emerging world must leverage this resource by tapping into the children's innate capacities to learn, share, and create on their own. Our answer to that challenge is the XO laptop, a children's machine designed for “learning learning.”

XO embodies the theories of constructionism first developed by MIT Media Lab Professor Seymour Papert in the 1960s, and later elaborated upon by Alan Kay, complemented by the principles articulated by Nicholas Negroponte in his book, Being Digital.

Extensively field-tested and validated among some of the poorest and most remote populations on earth, constructionism emphasizes what Papert calls “learning learning” as the fundamental educational experience. A computer uniquely fosters learning learning by allowing children to “think about thinking”, in ways that are otherwise impossible. Using the XO as both their window on the world, as well as a highly programmable tool for exploring it, children in emerging nations will be opened to both illimitable knowledge and to their own creative and problem-solving potential.

OLPC is not, at heart, a technology program, nor is the XO a product in any conventional sense of the word. OLPC is a non-profit organization providing a means to an end—an end that sees children in even the most remote regions of the globe being given the opportunity to tap into their own potential, to be exposed to a whole world of ideas, and to contribute to a more productive and saner world community.

Find out more at laptop.org/

Old Port of Rotterdam by silentdeer film photography

Pentax 67 + 105 f/2.4

Kodak Tri-X 400

Developed in Kodak D-76

Scanned with Epson V800

Color developing went nuts by Gerard Epema

4

Sometimes it's not working out with developing but still a nice result. Shot with a Mamiya 645M on Kodak Porta 400

Developing Spring Leaflets by Dan Davis

2

Project Morpheus by Develop Conference

Morning Glory Vase by Philip Chapman-Bell

4 1

A combination of straight lines, circle arcs and s-curves on a circle divided in 10.

I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.

Arches, with light leaks by Jacki Vance-Kuss

6 2

Mmm, light leaky goodness!

Taken with the Exposed Pinhole Camera in September, 2009 using expired (10-2006) Kodak Ektachrome 100 Plus film. Developed at home using an Arista E6 processing kit.

Develop your dream. Develop the Gold business. #Gold #Business #onlinegoldshop #gold4business #GlobalInterGold #GoldBars #financialstatus #financialfreedom by Global InterGold

Zorki 4K First Colour Developing by Blogger Photography

Finally make the attempt at colour developing and it was easier than I thought certainly no more difficult than black and white.

The Post War House (Home of Tomorrow) - 4950 Wilshire Blvd, Los Angeles, CA - Built: 1946 by MidCentArc

1

Developed by Fritz B. Burns Research Division for Housing

Architects: Walter Wurdeman and Welton Becket

Landscape Architects: Eckbo, Royston & Williams

laist.com/2009/02/07/laistory_the_post-war_house.php

Sun Flowers by HawkEyes0v0

1

Camera: Agfa Isolette L

Test Roll after rebuild and calibration of focus.

A very obscure format of 3cm wide by 6cm tall is available in this camera by way of a built-in mask that flips onto the film plane.

Normally the camera is a 6x6 format camera and 12 photos per roll. I was able to squeeze out 25 photos at 3x6 format.

Developed using 60 minute stand in Caffenol CL:

9.6g washing soda

6g vitamin C

42g iodized salt

24g instant coffee

600mL water

Ilford Fixer

Shanghai GP3 100 (type 120) film shot on Agfa Isolette L, 3x6 built-in mask.

Scanned on Epson V600 @ 3200dpi

Developing thunderstorm by Mathew Brust

Developing thunderstorm, photographed near Ardmore, South Dakota, on May 28, 2016.

Developing with Web Standards by Richard Clark

HTML5 Doctor gets a mention in the resources section.

Africa.jpg by Charlotte Wilson Photos

3

1975 FORD Escort Mk1 1100 L Estate Interior View by Sander Toonen

8

The Escort MKI was developed in the UK and introduced there late 1967. She had her debut on the continent at the Jan. 1968 Brussels Motor Show.

This Escort Mk1 was built simultaneously in the UK, Portugal, Genk (Belgium) and Saarlouis (Germany) and also at other locations in the world.

1098 cc L4 engine.

Ca. 870 kg.

Production Ford Escort Series: Nov. 1967-July 2002.

Production Escort Mk1 version: Nov. 1967-March 1975.

Production Escort this estate version: March 1968-March 1975.

This Escort Estate was for sale since May 19, 2022 by Veteráni na Truc s.r.o., Bernartice (Kraj Jihočeský), Czech Republic.

The asking prize 320 000 Kč .

Originally this car was coming most probably from Portugal. More info at www.veteraninatruc.cz.

Screenshot, found at rajveteranu.cz

Halfweg, May 23, 2022.

Lime tree by w guy b

2

Developing nicely after a very mild winter...

KodaGold2019-10-21-0001c by Jan de Jong

2 3

Pushing Kodak Gold 200 @ 800

Developed with Compard C41 - 3part developer.

Camera Minolta Dynax 60 with ISO set to 800.

Development time at 40 degrees C @ 3 minutes per Stop so 9 minutes in total, Bleach and Fix as normal, also at 40 degrees.

Results look very usable, grain comparable to normal exposure. I am pleasantly surprised by the result.

Fresh film is requirement i think

National Railway Museum, York, West Riding of Yorkshire, England by Billy Wilson

2

"The National Railway Museum is a museum in York forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society. It is the home of the national collection of historically significant railway vehicles such as Mallard, Stirling Single, Duchess of Hamilton and a Japanese bullet train. In addition, the National Railway Museum holds a diverse collection of other objects from a household recipe book used in George Stephenson’s house to film showing a "never stop railway" developed for the British Empire Exhibition. It has won many awards, including the European Museum of the Year Award in 2001.

As of 2019 the museum is about to embark on a once-in-a-generation site development. As part of the York Central redevelopment which will divert Leeman Road, the National Railway Museum will be building a new entrance building to connect the two separate parts of the museum together. At the same time, the space around the museum will be landscaped to provide public spaces.

In 2020 architectural practice Feilden Fowles won an international competition to create the museum’s new £16.5 million Central Hall building—a key element of the museum’s Vision 2025 masterplan.

York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017[citation needed] and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.

The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.

The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon.

Three Ginkgo Leaves by Philip Chapman-Bell

4

It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.

PDF of the crease pattern.

Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)

Jack Heath 7 or 8 Years old by Gregory Heath

6

Developed with Gimp 2.10. This is a negative scan of 4x5 sheet film. I scanned it using this process youtu.be/oOKmjXIz2Uw

Squall developing by Jamie McGuinness

A squall developing over the Konmaru La.

Quiet women don't make history/Picture by Phillis Kwentoh by Hello m.

Developing a sense of identity can be challenging for young Nigerian women. They’re taught to know their place, and there are rigid expectations about which careers they should choose. Photographer Phillis Kwentoh, 25, rejects that. “Many people have told me that I should have been born a boy. I won’t hinder myself because of someone else’s opinion,’’ she says.

Her parents expected Phillis to be a doctor, but at the University of Connecticut, she switched her major from pre-med to print journalism to photojournalism. For a whole semester, she didn’t tell her parents. When they found out, they weren’t pleased. Her mother told her she was going to end up homeless and living in a box. “Nigerian parents don’t understand the liberal arts world,” Phillis explains. “They want their children to pursue something practical and safe.”

“I showed my mother some of my writings in college about Hurricane Katrina and my mother said, ‘I hope you know you can’t have the kind of journalism career in Nigeria that you can have in America. They will kill you’,” Phillis says, describing the corruption and lack of equality rampant in Africa. “It’s that serious there.”

But Phillis was inspired to become a photographer when she saw Robin Romano’s Stolen Childhood photos about child labor while interning at the William Benton Museum of Art, which specialized in human rights work.

Ambitious but still uncertain about her abilities, she bought a digital SLR camera and returned to her native Nigeria later that summer. Originally born in Texas, it had been fifteen years since she had been back. She was captivated by the vibrancy of her homeland and developed her photos into a series about Africa. “I just felt everything around me was so beautiful and that was reflected in the pictures. Even when I went to the market, even shooting the poor people out there, there’s a beauty in them and there was color everywhere.”

The museum later exhibited her work and after a successful first show in Brooklyn curated by Kareem Black at Harriet’s Alter Ego, she decided photography more than print journalism was the path she wanted to take. “I’m into portraits because they capture who a person is in that moment and it’s great storytelling. That’s part of the reason why I wanted to be a photojournalist. I think storytelling is what attracted me to journalism in the first place. It’s true when they say a picture says a thousand words. Actually it says way more.”

Currently, Phillis works for Essence Magazine shooting street fashion and as production assistant on cover shoots. Her work has also been featured in Parlour Magazine and Vogue Italia. “I’m very picky about how I shoot for Street Style. I’m not so much into fashion, but I really love style - how someone adorns themselves and accessories themselves. Its not a façade that they put on, it’s a dressing up of who they are. Fashion is here and now and style is timeless. But no matter what they are wearing, she always tells her subjects to be natural. Better than posing, be yourself. I just want to capture who you are.”

After four years of shooting professionally, she still feels new in the game and hopes to use her voice and creativity to become an international philanthropist. “In America there is a definite struggle for the poor but there are so many government programs that can help you. In Nigeria if you’re poor, you are shit out of luck. There’s no welfare, there’s no WIC. There are people who live in dirty dug out ditches on the side of the road.”

Her advice to aspiring photographers: Don’t call yourself aspiring. Either you’re doing it or you’re not. If you’re serious then, pick up a camera and shoot. “I definitely believe all my experiences were a part of my destiny and I made the right decision in not becoming a doctor. I know my parents are still a little nervous but they see that I’m consistent about it and I am successful so they support me and I’m truly grateful.”

On December 25, 2011 a sect known as Boko Hakram bombed a Catholic church in Lagos, Nigeria killing at least 39 people with the majority dying on the steps of the church after celebrating Christmas Mass. Boko Haram has carried out increasingly sophisticated and bloody attacks in its campaign to implement strict Shariah law across Nigeria, a multiethnic nation of more than 160 million people. The group, whose name means "Western education is sacrilege", is responsible for at least 504 killings this year alone, according to an Associated Press count. Phillis' story is dedicated to the lives lost, Nigeria’s unseen beauty and hopes for a more peaceful future.

Words by fayemi shakur & Images by Phillis Kwentoh

hycide.com/QUIET-WOMEN-DON-T-MAKE-HISTORY

Pringles Pano Developed by David Pearson

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Here's my first attempt at unfolding the sphere and an homage to this work of Seb Przd's, "Cut and fold..." I think I'm finally beginning to get this. This, too, can be printed out and folded together with no distortion (i.e., it's developable). Images output exclusively with Hugin and laid out with Photoshop (to add the pretty stroke and drop shadow).

For some reason, the final 3D object struck me as resembling a Pringles potato chip snack packs, hence the name.

[FYI: the shot is the lobby of my office. I haven't posted this pano yet. It's a 360°x180° view].

Developing time for Rinn long last solutions by lungstruck

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My friend owns a restaurant in a building that used to house a dentist's office upstairs. It's been gone for decades but some remnants of the business still remained, including these X-Ray developing instructions.

Developing Spring Leaflets by Dan Davis

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Sunset waterhead by lakeslover2010

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Developing cirrus sky at Waterhead

02242011 Mamiya RZ 67 001 by FabioVentura

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scan and develop by RPL

180mm WN at 4.5

New Portra 400

gmg833 by maskedmario

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Leica III Leitz Summar 5cm F2 Kodak Tri-X400 self developed in D76

Atlanticwall Regelbau S75 & S80 - 38 cm S.K.C/34 Naval Gun - The Adolf Gun Bunker by AtlanticWall Bunker

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Atlanticwall Regelbau S75 & S80 - 38 cm S.K.C/34 Naval Gun - The Adolf Gun Bunker.

YouTube Video

YouTube Video in 360°

YouTube Channel

S75 is the ammunition depot of the Bunker and

The S80 is the for machine room and room for crew.

The 38 cm SK C/34 naval gun was developed by Germany mid to late 1930s. It armed the Bismarck-class battleships and was planned as the armament of the O-class battlecruisers and the re-armed Scharnhorst-class battleships. Six twin-gun mountings were also sold to the Soviet Union and it was planned to use them on the Kronshtadt-class battlecruisers, however they were never delivered. Spare guns were used as coastal artillery in Denmark, Norway and France. One gun is currently on display at Møvig Fortress outside Kristiansand.

Ammunition

It used the standard German naval system of ammunition where the base charge was held in a metallic cartridge case and supplemented by another charge in a silk bag. Both cartridges were rammed together.

Propellant charge

Main charge: 38 cm HuelsKart34 – GefLdG – 108 kg (238 lb) RPC 38 (16/7)

Fore charge: 38 cm VorKart34 – GefLdG – 104 kg (229 lb) RPC 38 (16/7)

Shell

Four types of shells were used by the 38 cm SK C/34 although the Siegfried-Granate could only be used by the coast defense versions. Almost 40 percent lighter, this latter shell could be fired with a reduced charge at 920 metres per second (3,000 ft/s) out to 40 kilometres (44,000 yd). With a full charge it reached 1,050 metres per second (3,400 ft/s) and could travel 55.7 kilometres (60,900 yd) – over 34 miles.

Naval gun

The data given is according to Krupp datasheet 38 cm S.K.C/34 e WA52-453(e). This gun was mounted in pairs in the Drh.L. C/34e turret which allowed elevation from -5° 30' to +30°. Each gun had an individual cradle, spaced 3.5 metres (11 ft) apart, but they were normally coupled together. In general the turret was hydraulically powered, but the training gear, auxiliary elevation, auxiliary hoists and some loading gear was electrically powered. The turrets weighed 1,048 tonnes (1,031 long tons; 1,155 short tons) to 1,056 tonnes (1,039 long tons; 1,164 short tons), rested on ball bearings on a 8.75 metres (28.7 ft) diameter track, could elevate 6° per second and traverse 5.4° per second. The guns were loaded at +2.5° and used a telescoping chain-operated rammer. According to German manuals the required permanent capacity for the loading equipment for ammunition was 2.5 shells per minute. During testing period at the Baltic Sea the AVKS Report states an output of the ammunition delivery system up to 3.125 shells per minute. Under battle conditions Bismarck averaged roughly one round per minute in her battle with HMS Hood and Prince of Wales.

These guns were modified with a larger chamber for coast defense duties to handle the increased amount of propellant used for the special long-range Siegfried shells. Gander and Chamberlain quote a weight of 105.3 tonnes (103.6 long tons; 116.1 short tons) for these guns, presumably accounting for the extra volume of the enlarged chamber. An armored single mount, the Bettungsschiessgerüst ("Firing platform") C/39 was used by these guns. It had a maximum elevation of 60° and could traverse up to 360°, depending on the emplacement. The C/39 mount had two compartments; the upper housed the guns and their loading equipment, while the lower contained the ammunition hoists, their motors, and the elevation and traverse motors. The mount was fully powered and had an underground magazine. Normally these were placed in open concrete barbettes, relying on their armor, but Hitler thought that there was not enough protection for the guns of Battery Todt emplaced on Cap-Gris-Nez in the Pas de Calais near Wimereux and ordered a concrete casemate 3.5 m (11 ft) thick built over and around the mounts. This had the unfortunate effect of limiting their traverse to 120°. Other C/39 mounts were installed at the Hanstholm fortress in Denmark, and the Vara fortress in Kristiansand, Norway.

Four Drh LC/34 turrets, three of which were originally intended to re-arm the Gneisenau and one completed to the Soviet order, modified for land service, were planned to be emplaced at Paimpol, Brittany and on the Cap de la Hague on the Cotentin Peninsula, but construction never actually began. Construction for two of those turrets was well underway at Blaavand-Oksby, Denmark when the war ended.

how is a Regelbau

Before and during World War II, the Wehrmacht built several standardised bunkers and weapon positions in Germany and German-occupied countries. These buildings were called Regelbau, i.e. standardised buildings.

The Regelbau (German for "standard design") were a series of standardised bunker designs built in large numbers by the Germans in the Siegfried Line (German: Westwall) and the Atlantic Wall as part of their defensive fortifications prior to and during the Second World War.

#Bunker #WorldWar2 #Atlanticwall

develop art career by shankar gallery Richard Lazzara

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Art for the Soul by Richard Lazzara

www.shankar-gallery.com/contact.html

shankar@shankar-gallery.com

www.shankar-gallery.com

www.myspace.com/richardlazzara

www.absolutearts.com/portfolios/s/shankargallery/

is.gd/7nKW

www.artscad.com/@/RichardLazzara

www.artscad.com/@/ShankarGallery