View allAll Photos Tagged Generosity
Dear Father,
help us to give cheerfully and to be generous in all things,
as YOU are generous with us.
Amen.
** Taken on June 28th, 2010 at Tomb Garden - Israel, with a Canon EOS 500D
An associate on another forum, Hugh (he's on here too somewhere) offered me a 'care package' when he heard that i was ill.
I accepted, expecting perhaps a bottle of his homemade wine.
This morning, a big box arrived. Well, I was right about the parsnip wine. What I disn't expect was the raspberry wine, chilli jam, sloe jelly, garlic heads, bunch of carrots, big bunch of parsnips, 2 red onions, two large white onions, and four smaller onions, bowl of dried apple slices, and bowl of dried strawberries that came with it.
I am astounded, espcially as he told me beforehand that "it won't be anything dramatic".
The generosity of some people is astonishing. It will all be very much enjoyed.
Thanks Hugh.
To mark the end of crew operations (driver and conductor) at Catford garage, the powers that be very generously let this RM and preserved RT1702 out on a variety of routes for the final few days. RM2046 and RT1702 were both used in service on Route 75 (9th), 47 (10th), 185 (11th), 54 (12th) and the 36B on the 13th March - the final day of crew operations.
As I took time out at Shoreditch for photographs of star player RM2046 working for one day only on Route 47, the driver of RT1702 obliged by offering me a side-by-side comparison view of the 1930s/40s RT design and the 'futuristic' 1950s Routemaster :)
I had travelled up from Catford on RM2046 on the outward journey, and was looking forward to the return ride back to Lewisham. The Routemaster was looking very smart on the day, and became SELKENT's last operational Routemaster.
RT1702 was looking quite immaculate considering its 40+ years on the road! Interestingly, the bus was allocated to Catford (TL) garage from 1966 to its withdrawal in 1972. It was also one of the buses that took part in a pre-Festival of Britain tour of Europe.
RM2046 (ALM 46B)
new: 2/5RM9, AEC AV690
10/64 new to Aldenham
11/64 N into service
65-6 N
11/67 N to Aldenham repaint, and return
1968 N
from last bodyswap with B2008
PD w/d from service
1980s-90s TL allocated?
6/94 exported to Argentina
RT1702 (KYY 529) 4/50
new, body 3675: Park Royal 3RT8
upper window surrounds repainted cream, fitted with GB plate
7/50 embarked on SS Embio from Hull for visit to Europe
8/50 Tour of Norway, Sweden, Denmark, Holland, Belgium, Luxembourg, West Germany, France
10/50 return to UK
1/51 AV into normal service (Mortlake)
*/51 P used on Circular Tour of London during Festival of Britain
1953 J used on 134
1957 GM (Victoria)
5/58 GM to Aldenham overhaul
5/58 GM from o/h, unlicensed, still body 3675
8/58 GM relicensed
8/59 SW transfer into store..
8/59 AP ..change store, ..and out (Seven Kings)
8/59 used on 169A
60-1 AP
7/62 AP to Aldenham overhaul
7/62 AP from o/h, unlicensed
10/62 RD transfer (Hornchurch)
63-5 RD
8/66 RD to Aldenham overhaul
8/66 TL from o/h, unlicensed (Catford), still body 3675
9/66 TL relicensed
67-8 TL
11/69 TL to Aldenham repaint, and return
1970 TL
7/71 TL into store, and out again
7/72 BX into store (Bexleyheath)
8/72 bought by R.Denton, Orpington
preserved by RT1702 Preservation Society
And more on Route 47 here: www.londonbuses.co.uk/_routes/current/047.html
As an aside, Catford garage (TL) was one of the original garages operated by Thomas Tilling:
TL - Tilling Lewisham, TC - Tilling Croydon, TB - Tilling Bromley survived into London Transport days.
Catford garage was opened on 11th May 1914 and was not very old when requisitioned for the war effort. It did not re-open until 1920 when Thomas Tilling's Lewisham operation moved there due to space constraints at his other garage.
Thomas Tilling gained an agreement in 1923 to double the size of Catford and in addition the roof has been raised twice, first in 1930 to enable double deck buses to use the garage and again in 1948 to accommodate AEC Regent III RTs. The garage was modernised again in 1970.
Taken with a Nikon F-501 SLR and 75-200mm zoom lens [Scanned from an original Kodachrome slide with no digital restoration]
You can see a random selection of my bus photographs here on Flickriver: www.flickriver.com/photos/southallroutemaster/random/
Divided reverse. Letter generously translated by Alpenkorps1915; authored in Mühlhausen on 1.6.1916 and sent to a Joh. Kaiser in Kussel, the author Martin Kaiser asks his brother to keep this photograph safe for him. Records indicate a Wehrmann Martin Kaiser died on the Western Front on 10.5.1917 but currently there is no way to tell if it is the same fellow depicted above. Postage cancelled in Mühlhausen (Th.) on 1.6.1916.
In 1905 and 1906, Prussia produced large numbers of these "experimental" helmets, with what was essentially the shell of a regular M.95 helmet covered with a layer of felt. The front and rear visors were left uncovered.
"Mühlhausen 1.6.1916,
Dear brother Joh. I am sending you my photograph, I hope you like it. Otherwise I'm still doing well, what I also hope for you. Farewell and many greetings from your brother Martin. To a hurried reunion! Please keep this photo for me in good hands."
________________________________________________
Notes:
In late 1917 and 1918 the 2nd Landwehr Div. participated in the fighting in the Argonne Forest. Late in the war, it faced the American offensive in the region.
The Bara Gumbad, or "big dome," is a large domed structure grouped together with the Friday mosque of Sikander Lodi and a mehman khana (guesthouse), located in New Delhi's Lodi Gardens. The buildings were constructed at different times during the Lodi era and occupy a common raised platform. Formerly an outlying area of Delhi, the Lodi Gardens are a British-planned landscaped garden which includes a number of monuments (primarily tombs) from the Sayyid and the Lodi dynasties. Originally called Willingdon Park, the gardens were located in the former village of Khairpur, now on the edge of Lutyen's Delhi, the colonial capital built by the British in the early 20th century. The gardens, which cover approx. 70 acres, have come to be surrounded by institutional buildings and some of contemporary Delhi's most expensive real estate.
Although they were built under the same dynasty, each of the three structures was undertaken separately. The Bara Gumbad, completed in 1490, is considered to have the first full dome constructed in Delhi. Its original purpose is contested; although it appears to be a freestanding tomb, it contains no tombstone. This causes the speculation that the building might have been intended as a gateway for the Friday mosque; however, their respective placements, stylistic differences, and construction dates do not support this theory. The Friday mosque, completed in 1494, is the first example of the new mosque type that developed during the Lodi era. Characterized by a relatively simple five bay prayer hall building adjacent to a simple open courtyard, this type was an important precedent for mosque architecture in the Lodi and Mughal eras.
The complex can be accessed from various points along the roads bordering the Lodi Gardens, with the access from the Lodi road towards the south most prominent. The buildings are situated at a distance of about 300 meters from Muhammad Shah's tomb towards the south and about 380 meters from Sikander Lodi's tomb towards the north. Another prominent structure, the Shish Gumbad, is located facing the Bara Gumbad at a distance of about seventy-five meters towards the north. The area surrounding the buildings is landscaped with manicured grass lawns. Few trees are planted in the immediate vicinity, leaving the view of the structures unobscured. The path winding through the Lodi Gardens approaches the buildings axially from the north, although the building plinth is accessible all from all sides.
The buildings are sited on a three-meter-high platform, measuring approximately 30 meters (east-west) by 25 meters (north-south). The Friday mosque is located along the western edge of the platform; the guesthouse is sited opposite it, occupying the eastern edge, while the Bara Gumbad is located along the southern edge. Stone masonry walls, about six meters high, connect the three structures along the southern edge. The northern edge is provided with staircases for accessing the platform. A centrally located straight flight comprising of eight steps, about ten meters wide, connects the ground to a generous mid landing. Another 'C' shaped flight of eight steps wraps around the landing, creating an amphitheatre-like space and reaching the top of the platform. The current arrangement of steps appears to be more recent, and the remains of walls adjoining the southern face of the guesthouse and the mosque indicate that the northern edge might have originally been walled. In the center of the raised court, with its southern edge along the staircase, are the remains of a square shaped platform, 8 meters wide, which appears to be a grave.
Friday mosque:
The Friday mosque is a single aisled, rectangular building, approx. 30 meters (north-south) by 8 meters (east-west). The mosque is organized in five unequal bays, which correspond to the five arched doorways on the eastern (entry) elevation. The width of the arched doorways decreases from the center towards the sides. The arches span across grey granite piers. The central arch is framed within a projecting rectangular portal, measuring about 8 meters in height by 6 meters wide. The piers of the rectangular frame are cased in dressed granite and have three shallow arched niches in red sandstone, occurring vertically above the springing point of the arch, on either side. The doorway itself is described by four receding planes of ogee arches, the outermost one being in line with the external face of the rectangular portal. The doorways immediately to the side of the central portal are about 5 meters wide, while those at the two ends are approx. 1.5 meters wide with two receding planes of ogee arches, adding to the prominence of the central doorway. The apex of each innermost arch is constant, measuring approx. 5 meters from the top of the platform. Each arch is finished in plaster and embellished with intricate carved Arabic inscriptions. The spandrels are also heavily carved with geometric motifs, and their the corners are adorned with round inscribed plaster medallions. Red sandstone eaves (chajjas) on stone brackets top the arches, interrupted only by the central projecting portal that extends above them. There is a blank plastered frieze above the eaves, followed by the projecting horizontal bands of the cornice that is topped by a blind masonry parapet adorned with petal shaped crenellations with inscribed plaster medallions.
The interior of the prayer hall reflects the five bay division of the eastern elevation. It is a rectangular space, measuring about 27 meters (north-south) by about 7 meters (east-west). Additional arches spanning between the piers on the eastern elevation and the engaged piers of the western wall emphasize the demarcation of the interior space into bays. These internal ogee arches reach a height of about five meters. They are finished in plaster and profusely decorated with carvings of Arabic inscriptions. The piers are unornamented, dressed gray granite.
The qibla (western) wall of the prayer hall is a blind wall divided into five unequal bays expressed as recessed ogee arched niches, reflecting the arched openings on the eastern wall. The two bays adjacent to the central bay have three equal niches carved out from the portion below the springing line of the main arch. These niches are separated by granite piers, which have smaller arched niches in the top third of their elevation. The three niches are made of two layers of ogee arches framed by the piers. The external layer is in gray-yellow granite, while the interior arch is made of red sandstone. The central niche is mildly distinguishable from the others because its arched portion is curved and the imposts are engraved, while those of the adjacent arches are plain. The innermost rectangular portion of the central niche is blank, while that of the adjoining niches has the carving of a vase and flora inscribed in it. The tympanum of the main outer arch is finished in plaster and has an additional niche directly above the central niche which is embellished heavily with plaster carvings of Arabic inscriptions. A band of similar inscriptions runs along the interior perimeter of the arch and around the upper niche in a closed loop. The voussoirs of the outer arch are plastered and embellished with another layer of carvings. The central bay of the western wall also has three niches, each made of four recessed planes of alternating rectangular and arched profiles. The central mihrab niche is taller and wider. It is also shallower and the innermost plane is blank, while the other two niches are deeper set with relief work. A stone minbar with three steps has been provided abutting the northern pier of the central niche.
Hemispherical domes cover the three central bays, while the terminal bays are covered by low flat vaulted ceilings. The square plan of the three central bays transitions into an octagonal drum through the application of corbelled pendentives at the corners. The corbelling occurs in four layers, which increases in width from the bottom up. The layers are further embellished with curved niches set into rectangular frames, which also increase in number, the lowest corbel having one and the last corbel having five such niches. The last layers of the pendentives form alternate edges of the octagonal drum; the remaining edges being formed by the extension of the walls and are also provided with similar curved niches. The octagonal drum transitions into a hexadecagon, followed by a thirty-two-sided polygon by the provisions of small struts. Each face of the hexadecagon is provided with shallow niches, while the thirty-two-sided polygon is described by a projecting band of red sandstone, followed by a band of inscriptions finally topped by the hemispherical dome. The dome is finished in plain plaster. The voussoirs of the arches, the pendentives and the tympanum are all covered by intricate stucco Arabic inscriptions. The central dome is relatively higher that the other two domes.
The northern and southern walls of the mosque are punctured by ogee arch doorways below the springline of the main arch. Each opening leads to a projecting balcony, comprising of red sandstone posts supporting a tiered roof. The balconies protrude out from the faade and are supported on red sandstone brackets, whose profiles and carvings are characteristic of Hindu architecture. An elaborately carved arched niche is provided above each opening on the interior wall. It is set into a rectangular frame embossed with Arabic text.
The plasterwork on the external northern and southern walls of the mosque has fallen off, exposing the stone masonry, while that on the western wall has survived. The central bay of the western wall projects out and is marked by two solid towers at the corners. These towers are divided vertically into four layers; the first two layers from the bottom are orthogonal, while the third layer has alternating curved and angular fluting; the top layer, extending over the parapet of the mosque, has a circular section. The corners of the mosque are marked by similar tapering towers, which are divided into four layers. Each layer is circular in plan except the third layer, which is described by alternating curved and angular fluting. All the towers have the remains of finials at their apex. The central projecting wall has four red sandstone brackets in its upper third portion, which may have supported a projecting balcony similar to those on the north and south elevations.
The plasterwork on the walls of the plinth is now gone, exposing the rubble masonry construction below. The western face of the plinth is punctured by five ogee arch openings set into rectangular frames, one in the center and two each on the sides. These openings provide access to the basement within the plinth.
The roof has three domes corresponding to the three central bays of the prayer hall and the three central arches on the eastern elevation. The extrados of the domes are finished in plaster. The octagonal drums supporting the domes protrude out over the roof level, above which the circular bases of the domes are decorated with blind crestings having floral motifs. The central dome is marginally larger than the adjacent domes and all three have the remains of lotus finials at their apex.
Bara Gumbad:
Square in plan, the Bara Gumbad measures approx. 20 meters per side. Set on a plinth 3 meters high, it joins the common plinth on the north and projects beyond it to the south. Its plinth is decorated on the east, south, and west with ogee arch openings set into rectangular frames. These provide access to a basement.The walls of the Bara Gumbad are approx. 12 meters tall, above which a hemispherical dome on a hexadecagonal drum extends another 14 meters from the roof level, for a total building height of 29 meters above ground level.
Each of its elevations is nearly identical and divided into 2 horizontal sections. A projecting portal composed of an ogee arch set in a rectangular frame (approx. 8 meters wide), is centered in each elevation and rises approximately 75 cm above the parapet line of the building. The 1.5 meter wide frame is made of dressed gray granite. Each vertical pier of the frame has six shallow red sandstone niches arranged atop one another at varying heights; nine niches continue in a line along the horizontal portion of the frame. The portal is described by two receding planes of grey granite ogee arches; the spandrels are cased with black granite with a thin projecting edge of red sandstone. Two round plaster medallions adorn the spandrels. The lower layer of the portal has a central doorway, spanned by two red sandstone brackets that form a trabeated arch supporting a black granite lintel. These brackets are supported on grey granite posts. An intricately carved red sandstone frame adorns the brackets and the lintel; it starts at the springing point of the arch and frames the lintel of the doorway. The entire composition is set in a rectangular yellow sandstone frame. An ogee arch window has been provided above the trabeated entrance. The portal is crowned by the arched crenellations of the blind parapet. Solid turrets mark the projecting corners of the portal.
The remainder of the elevation, that flanking the central portal on either side and recessed behind it, is divided vertically into two equivalent parts by projecting horizontal bands of stone. Each part is described by two equal arched panels set into rectangular frames. Both the panels of the upper part on either side of the portal are blind and filled with granite masonry. The lower panels located adjacent to the portal are windows, while the lower panels at the edges are filled in. The parapet, like the portal, is decorated with arched crenellations, and the roof has solid turrets at each corner.
A single hemispherical dome surmounted on a sixteen-sided drum crowns the building. Each face of the drum is described by an ogee arched niche set in a rectangular frame. The voussoirs of the arches are gray granite, while the spandrels are clad with red sandstone. The top edge of the drum is decorated with a band of arched crenellations, similar to those on the roof parapets, running above a projecting band of stone that surrounds the drum. Below this projection is band of leaves carved in relief. The extrados of the dome are finished in smooth plaster. The lotus base, possibly for a vanished calyx finial, is still extant.
The structure can be entered either from the raised courtyard via the north elevation or from a double flight of steps located on the western elevation. Inside, the square building measures about seven meters per side. An 80 cm high, 45 cm wide solid seat runs continuously along the interior perimeter of the building. Light streams in from all four walls, which are punctured by the openings of the doorway at the ground level and the ogee arch window above. The interior surfaces of the Gumbad are unornamented and finished in dressed granite. The square plan of the room transitions into an octagon via squinches, which then support the thirty-two-sided drum and the dome. The apex of the dome has two bands of floral inscriptions; otherwise, the dome is finished in plaster. The absence of historical inscriptions has contributed to the confusion over the original purpose of the Bara Gumbad.
Mehman Khana:
The third structure in the group is rectangular in plan, measuring about 27 meters (north-south) by 7 seven meters (east-west). Located along the eastern edge of the common plinth, it faces the mosque and is connected to the Bara Gumbad by a masonry wall along its northern face. The structure is believed to have either been a mehman khana, (guesthouse) or a majlis khana (assembly hall).
The building is accessed from the common plinth through its western wall, which is divided into five bays, mirroring the eastern elevation of the mosque opposite it. The three central bays are considerably larger and have ogee arch doorways, giving access to the interior, while windows puncture the smaller end bays. The arches are set in rectangular frames, which are recessed from the face of the elevation. Each opening is composed of two recessed planes of arches. The spandrels are clad in red sandstone, contrasting with the gray granite of the elevation, and are decorated with round plaster medallions with lotus motifs. The window openings have an additional tie beam or lintel at the springline. The tympanum of the window towards the south has been filled with stone, while that of the window towards the north has been left open. A continuous chajja, supported on equidistant stone brackets, projects from the western wall above the rectangular frame. The cornice is unornamented and is topped by the projecting horizontal band of the parapet, which reaches a height of approximately five meters from the top of the raised plinth. The roof of the structure is flat. The exterior of the building lacks decoration and is finished in dressed granite.
The interior is divided into seven chambers occurring from north to south; the central chamber is the largest, measuring about 5 meters (north-south) long. It is abutted by relatively narrow chambers (approx. 2.5 meters long). The outside chambers which flank the 2.5 meter wide chambers on either side are approximately the size of the central chamber, and correspond to the arched openings in the western wall. The chambers are separated from each other by gray granite walls, punctured by simple ogee arched doorways set in rectangular frames. Square in plan, the outer rooms are separated from the adjacent chambers by stone walls with rectangular door openings with blind ogee arches and rectangular frames. Each doorway has shallow rectangular recesses on either side, as well as a small arched window set into a rectangular recess and a stone jali screen set above the doorway within the tympanum of the main arch. The eastern wall of the building has blind ogee arches, occurring as two successive planes, reflecting the arched openings of the western elevation.
The roof of the central chamber is flat and supported on arches located on four sides; flat stone brackets appear at the corners. The two adjacent rooms are covered by shallow domes supported on squinches. The interior domes are finished in plaster with carved concave fluting. The exterior of the domes has been filled to blend with the flat roof of the central room.
Certain stylistic continuities are recognizable in the three buildings; each was constructed with (local) gray granite and lime mortar. However, the degree and type of embellishment, both interior and exterior, on the mosque differs substantially from that found on the other two, relatively unadorned, buildings.
Apart from the grouping of the three structures and their stylistic similarities, the buildings do not appear to have been planned as a complex. The Friday mosque is the first example of the panchmukhi building type, where "panch" (five) and "mukhi " (facade) characterize a five-bay prayer hall. This approach was influential in both the Lodi and the Mughal periods. The Bara Gumbad is significant for having the first complete hemispherical dome in Delhi.
The differences in the surface ornament of the buildings suggest that the buildings were constructed at different times, with the Bara Gumbad and the guesthouse being similar in style and decoration, without the multilayered arches of the Friday mosque. The function of the Bara Gumbad is still unknown; its geometry and form aligns with the predominant tomb architecture of the period (like the neighboring Shish Gumbad). However, there is no grave or cenotaph in the building, and rather than being blank, its qibla wall (like its other walls) is punctured by an entrance. While the continuous stone bench in the interior is also found in gateway architecture, (as in the Alai Darwaza at the Quwat-ul-Islam Mosque in Mehrauli), the size of the Bara Gumbad vis-a-vis the Friday mosque does not support this conjecture. Some scholars surmise that the structure might have been a gateway to the larger complex of tombs within the Lodi Gardens.
Lodi Dynasty
-----------------
The Lodi dynasty in India arose around 1451 after the Sayyid dynasty. The Lodhi Empire was established by the Ghizlai tribe of the Afghans. They formed the last phase of the Delhi Sultanate. There were three main rulers in the history of Lodi dynasty. All three of them have been discussed in detail in the following lines. So read on about the Lodi dynasty history.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi. He was an Afghan noble who was a very brave soldier. Buhlul Khan seized the throne without much resistance from the then ruler, Alam Shah. His territory was spread across Jaunpur, Gwalior and northern Uttar Pradesh. During his reign in 1486, he appointed his eldest son Barbak Shah as the Viceroy of Jaunpur. Though he was an able ruler, he really couldn't decide as to which son of his should succeed him as the heir to the throne.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire. His empire extended from Punjab to Bihar and he also signed a treaty with the ruler of Bengal, Alauddin Hussain Shah. He was the one who founded a new town where the modern day Agra stands. He was known to be a kind and generous ruler who cared for his subjects.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death. Due to the demands of the nobles, his younger brother Jalal Khan was given a small share of the kingdom and was crowned the ruler of Jaunpur. However, Ibrahim's men assassinated him soon and the kingdom came back to Ibrahim Lodhi. Ibrahim was known to be a very stern ruler and was not liked much by his subjects. In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the ruler of Kabul, Babur to invade his kingdom. Ibrahim Lodhi was thus killed in a battle with Babur who was the founder of the Mughal dynasty in India. With the death of Ibrahim Lodhi, the Lodhi dynasty also came to an end.
Since my first photo on October 5, 2012 I hit on December 30 2013 the 500.000 views and now a month later and with 845 photos I hit the seven hundred and fifty thousand views this morning!
Thanks to each and everyone who has taken the time to view, comment, fave or support and encourage, you have been very generous!
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Note on reverse generously translated by Immanuel Voigt..
"Observation balloon ready for ascent. It will be winched back and forth by 6 horses as soon as we are fired upon by the enemy."
Third of a number of photographs taken from an album belonging to a member of Feldluftschiffer-Abteilung 36, Ballon-Zug 92, depicting the aerial and terrestrial activities of the unit on the Western Front in 1917.
Each Armeekorps had one FLA assigned to it and within that formation were 2 to 5 Ballonzüge.
·
Thanks to the amazing generosity of Michael Tompkins I have had much enjoyment recommissioning a gorgeous Retina IIIC Type 028 with a little drop damage. Michael described it as a 'little extra' something sent to me with an equally lovely Retina IIF box and matching camera that I will share a separate post when I have it sorted.
The camera details are:
S/N. 57596
L/N. 5298818
Shut. 3017735
So the symptoms were that the shutter button didn't return properly and the camera locked out not allowing the camera to be wound on again without pressing the film release. I was hoping it might simply be that the little indent/shaft actuated by the shutter button might not be fully depressing... this proved not to be the case.
With regard to the drop damage there was minimal cosmetic evidence, just a little bit of deformation in the bottom of the front door, a visible bend in the bottom hinge plate and a bit of deformation in the black surround that the shutter/front plate lock buttons act against (it looks as though the button was forced backward into the housing) other than that everything appeared to be in good shape.
With the top housing off I discovered that the camera must have taken a direct hit on the shutter button (perhaps it had an extension or soft release button in place?). The little screw in the top of the release shaft below the shutter button was bent right over?! - I have never seen this before (see pics). I hoped that simply replacing the screw might sort it, but no...
I stripped the camera down further and found the following:
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1) The release shaft was also bent and to add to that the spring on its base was not correctly located.
2) The screw in the top of the wind shaft was sitting loose (I have seen this a number of times) - I don't think this had anything to do with the issue.
3) The screws in the bottom chrome trim plate were all sitting loose. I wonder if it had been that way from new as there was no evidence of new adhesive on the bottom leatherette.
4) The top housing, although not obviously dented, was distorted causing it to lift upward and backward fractionally and in turn bind on the shutter button.
5) The shutter shaft itself while not apparently bent was binding slightly in its bush down the side of the shutter and as a result not easily returning.
Fixes as follows:
=============
1) Removed the wind lever, bottom leatherette and plate and replaced release shaft, screw and spring
2) Tightened the wind shaft main screw.
3) Removed the front door and straightened the hinge plates.
4) Replaced the bottom hinge screw as the thread and head were in poor condition.
5) Straightened out the bottom edge of the front door and reattached.
6) Lubricated and exercised the shutter button/shaft until it moved freely.
7) Twisted the top housing until it sat flush on a flat surface before refitting.
8) cleaned inner viewfinder surfaces and lubricated as required and then reassembled base and top of camera.
All now working nicely!
There are couple of minor things left to look-at at some point:
===============================================
1) The bottom closing button on the front plate doesn't snap into place quite as positively as I would have liked. It is better than it was but I suspect the little locating pin on the back of the button is slightly bent.
2) The slower shutter speeds are a bit too slow - I will give it a shutter CLA at some point when I'm feeling so inclined but not right now.
3) The position '1' lockout isn't locking out. I have a suspicion this might be due to the shaft top being slightly distorted from the drop and not quite engaging with the cut-out in the underside of the film counter. I have absolutely ZERO intention of fixing this as I consider it a 'happy accident' and functional improvement!
This Lion is named M2 Sam... I saw him sitting on the cross roads,as I was waiting to see some action from him,.....to my surprise he started yawning very generously.and he was very close too.
Note on reverse generously translated by Immanuel Voigt..
„Die Fliegerbeobachter auf ihrem Posten, während der Ballon hoch steht..“ (The flight observers at their post while the balloon is high.)
Eleventh of a number of photographs taken from an album belonging to a member of Feldluftschiffer-Abteilung 36, Ballon-Zug 92, depicting the aerial and terrestrial activities of the unit on the Western Front in 1917.
Each Armeekorps had one FLA assigned to it and within that formation were 2 to 5 Ballonzüge.
When Robert and I moved to Nova Scotia We were lucky enough to find a rental place with some good neighbours. From the get go, Gord and Christine were always there to give us advice and lend us stuff we didn't have. Gord was diagnosed with terminal Pancreatic Cancer in May and he died in Christine's arms this morning. Such a generous and kind hearted, gentle giant of a man, he will be missed by all who knew him. R.I.P. Gord, there's a Harley waiting for you on the other side!
View larger in lightbox for the larger, less 'over sharpened by flickr' version.
“We, the generous and rich in spirit, who stand at the sides of the streets like open fountains and would hinder no one drinking from us. . . .”
Friedrich Nietzsche
I was lucky enough recently to get to borrow quite a special lens - the new Sony 400mm f/2.8 - thanks to a very generous friend.
Other than its eye watering price tag, this new behemoth is special in one quite appealing way. It weighs much less than my smaller 300mm f/2.8!
Here is the first of the shots that resulted... 560mm at f/4.0 in beautiful light. I hope you approve!
Sony A7SII | Sony 400mm f/2.8 | Sony 1.4x teleconverter
Divided reverse. Letter very generously translated by Nettenscheider, penned in München on 25 April 1915, the author tells friends he had a visit from his brother Anton and provides his address for future correspondences. Postage cancelled in München the same day.
Infanterist Johann Güll, 2 Kompagnie, bayer. Reserve-Infanterie-Regiment No. 1 (München).
________________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 1 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I., II.) und Rosenheim (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Lammerer (Topographisches Büro des b. Generalstabes München)
I.:Major Füger (Kriegsschule München)gef.: 23.8.17
II.:Major v. Lachemair (Kriegsschule München)
tödl. verw. : 8.8.14.
III.:Major Klug (1. b. I.R.)
Verluste:53 Offz., ca. 2700 Uffz. und Mannschaften.
Well, very generously I've just received a couple of complimentary copies of Rob Langham's "Bloody Paralyser" and just a chapter in, I think it's bloody terrific. Congratulations Rob on a first-class book, sure to become one of the must-have titles for every military-aviation enthusiast.
In case you were wondering, I have a few pictures in there, hence the complimentary copies.
The official schpeel:
"Bloody Paralyser: The Giant Handley Page Bombers of the First World War tells the story of the largest British bombers of the First World War and the men who flew them. In 1915, the biggest plane ever seen in Britain took flight for the first time a twin-engine monster with a 100- foot wingspan, designed to be a Bloody Paralyser to the Germans. Operating mainly at night, the Handley Page bombers attacked Germany and Germanoccupied towns and cities, disrupting the enemy s industry and transport and targeting U-boats that were causing heavy losses to merchant shipping. The men that flew in the Bloody Paralysers were the forerunners of the crews of Bomber Command in the Second World War, and now their story is told in their own words."
Letter generously translated by xiphophilos; penned in Posen on 31.10.1915 and addressed to Unteroffizier E. Kilian serving with Infanterie Regiment Nr. 341. The author tells his friend he has been given a new command. Einheitsstempel: Verkehrs-Offizier vom Platz Posen. Postage cancelled the same day in Posen.
Vizewachtmeister (staff sergeant) Reinhard Rabe stares intensely into the camera lens for an impeccable portrait.
Generous packaging the small paper box, with approx. 4.4 x 4-4 x. 7.4 cm, an volume of approx. 139 ml, includes the instructions, and a small pills can.
Within the pills can, there is a small cylinder to keep try and 7 medicine capsules. The tablet can has in the lower part below the neck a diameter of 3.8 x 2.2 cm, the volume of 25 ml The drying cylinder with approx. the radius of 14 mm and a hight of 18 m, volume approx. 2.77 ml. The tablet capsule is 1, 4 x 0.5 cm, volume approx. 0.18 ml.
Just in case you are wondering about the relation volume of one pill to drying matter, this is 2.77 ml vs 0.18 ml, pills can to 1 pill this is 25 ml to 0.18 ml, paper box to one pill this is 139 ml to 0.18 ml.
No, I will not the math for you, but including instructions, the pill can, the trying cylinder there is still place for more than 700 tablets. Or the ratio of package volume to content is approx. 1:100.
Lots of air, in that package so to say approx. 99 %, This is like working 1 month and getting a salary for 2 hours.
Ok there are the reason for the minimal size of the packaging, for example, to put in the necessary documentation, simple handling, and I am sure many more, they are profit-oriented, nevertheless, this is, in my opinion, there is no reasonable relation between the size of the tablets and packaging.
On display 2 out of 7 pills.
the quality of mercy is not strain'd
it droppeth as a gentle rain from heaven
upon the place beneath
it is twice blest:
it blesseth him that gives and him that receives
~ william shakespeare
portia, the merchant of venice
*
In Bukovina along all roads the peasants sell a generous harvest.
Chernivtsi reg., Ukraine.
SLR Camera: Nikon F5
Lens: AF Zoom-Nikkor 28-105mm f/3.5-4.5D
Film: Kodak ColorPlus 200
Filter: Promaster Spectrum 7 UV
----------------------------------------------------------------
-- focal length - 85 mm
-- aperture - 5.6
Film was processed and scanned by "Mark" Studio Lab. in Chernivtsi. I am happy with the results.
To see the pictures taken with this camera click here.
Thank you for your comments and Fav's.
"Remember how generous the Lord Jesus was: he was rich, but he became poor for your sake, to make you rich out of his poverty."
– 2 Cor 8:9, which is part of today's epistle at Mass.
Going beyond sunset is like catching bended, filtered sunlight rays, corrupted or enhanced by bouncing off all the surfaces it can get hold off and then finding its way onto your tiny camera sensor. Simply magical process which results in an image in your head, and all you have to do is just click.
Letter(s) generously translated by bw-collector; penned 20.11.1916 in Siegmar (Chemnitz) by three of the Fräulein in the photograph.
A wonderful group photograph sent to "Otto". One of the authors is his sister, perhaps the Fräulein taking the photograph? His cousin writes „Liebes Ottel! Gefällt Dir der Gefreite? Den möchst Du wohl gerne verhauen?“ - would you like to spank the corporal, so I suspect she might be the one wearing his uniform.
Magical Light of Shwedagon Panorama at Yangon
Be the first to kick start your generous support and fund my production with more amazing images!
Currently, I'm running a crowd funding activity to initiate my personal 2016 Flickr's Project. Here, I sincerely request each and every kind hearted souls to pay some effort and attention.
No limitation, Any Amount and your encouraging comments are welcome.
Crowd funding contribution can be simply direct to my PayPal account if you really appreciate and wish my forthcoming photography project to come alive.
Please PayPal your wish amount to : men4r@yahoo.com
Email me or public comments below your contribution amount for good records with your comments and at final day, at random, I shall sent out my well taken care canon 6D with full box n accessory during random draw to one thankful contributor as my token of appreciation.
Now, I cordially invite and look forward with eagerness a strong pool of unity zealous participants in this fundermental ideology yet sustainable crowd fund raising task.
Basically, the substantial gather amount is achievable with pure passion n love heart in photography and not necessary be filty rich nor famous to help me accomplish raising my long yearning photography career, a sucking heavy expense that been schedules down my photography making journey had inevitably, some circumstances had badly fall short behind racing with time and inability to fulfill as quickly in near future consolidating good fund .
Honestly, with aspiration and hope, I appeal to urge on this media for a strong humanity mandate through good faith of sharing and giving generously on this particular crowd funding excercise to achieve my desire n is not just purely a dread dream , is also flickers first starter own crowds funding strength turning impossible into reality through this pratical raising method that I confidently trust it will turn fruitful from all your small effort participation, every single persistency will result consolidating piling up every little tiny bricks into an ultimate huge strong living castle.
In reality, I have trust and never look down on every single peny efforts that been contributed as helpful means, turning unrealistic dream alive is the goal in crowd funding excercise, No reason any single amount is regard to be too small when the strength of all individual wish gather to fulfill my little desire to make exist and keep alive. .
I sincerely look forward each and every participants who think alike crowds funding methodlogy works here no matter who come forwards with regardless any capital amount input be big or small , please help gather and pool raise my objective target amount as close to USD$10K or either acquisition from any donated item listed below:
1- ideally a high mega pixel Canon 5DS ( can be either new or use ok)
2- Canon 70-200mm F2.8 L IS lens ( can be either new or use ok)
Last but not least, a photography journey of life time for a trip to explore South Island of New Zealand and Africa.
.
My intended schedule may estimate about 1 month round trip self drive traveling down scenic Southern Island of New Zealand for completing the most captivating landscape photography and wander into the big five, the wilderness of untamed Africa nature for my project 2016 before my physical body stamina eventually drain off.
During the course, I also welcome sponsor's to provide daily lodging/accommodation, car rental/transportation, Fox Glacier helicopter ride and other logistic funding expenses, provide photographic camera equipments or related accessories .
Kindly forward all sponsors request terms of condition n collaboration details for discussion soon.
Great Ocean Drive- the 12 Apostle's
Please Click Auto Slide show for ultimate viewing pleasure in Super Large Display .to enjoy my photostream . ..
Due to copyright issue, I cannot afford to offer any free image request. Pls kindly consult my sole permission to purchase n use any of my images.You can email me at : men4r@yahoo.com.
Don't use this image on Websites/Blog or any other media
without my explicit permission.
For Business, You can find me here at linkedin..
Follow me on www.facebook.com here
Myanmar Landscape
Be the first to kick start your generous support and fund my production with more amazing images!
Currently, I'm running a crowd funding activity to initiate my personal 2016 Flickr's Project. Here, I sincerely request each and every kind hearted souls to pay some effort and attention.
No limitation, Any Amount and your encouraging comments are welcome.
Crowd funding contribution can be simply direct to my PayPal account if you really appreciate and wish my forthcoming photography project to come alive.
Please PayPal your wish amount to : men4r@yahoo.com
Email me or public comments below your contribution amount for good records with your comments and at final day, at random, I shall sent out my well taken care canon 6D with full box n accessory during random draw to one thankful contributor as my token of appreciation.
Now, I cordially invite and look forward with eagerness a strong pool of unity zealous participants in this fundermental ideology yet sustainable crowd fund raising task.
Basically, the substantial gather amount is achievable with pure passion n love heart in photography and not necessary be filty rich nor famous to help me accomplish raising my long yearning photography career, a sucking heavy expense that been schedules down my photography making journey had inevitably, some circumstances had badly fall short behind racing with time and inability to fulfill as quickly in near future consolidating good fund .
Honestly, with aspiration and hope, I appeal to urge on this media for a strong humanity mandate through good faith of sharing and giving generously on this particular crowd funding excercise to achieve my desire n is not just purely a dread dream , is also flickers first starter own crowds funding strength turning impossible into reality through this pratical raising method that I confidently trust it will turn fruitful from all your small effort participation, every single persistency will result consolidating piling up every little tiny bricks into an ultimate huge strong living castle.
In reality, I have trust and never look down on every single peny efforts that been contributed as helpful means, turning unrealistic dream alive is the goal in crowd funding excercise, No reason any single amount is regard to be too small when the strength of all individual wish gather to fulfill my little desire to make exist and keep alive. .
I sincerely look forward each and every participants who think alike crowds funding methodlogy works here no matter who come forwards with regardless any capital amount input be big or small , please help gather and pool raise my objective target amount as close to USD$10K or either acquisition from donation item list below:
1- ideally a high mega pixel Canon 5DS ( can be either new or use ok)
2- Canon 70-200mm F2.8 L IS lens ( can be either new or use ok)
Last but not least, a photography journey of life time for a trip to explore South Island of New Zealand and Africa.
.
My intended schedule may estimate about 1 month round trip self drive traveling down scenic Southern Island of New Zealand for completing the most captivating landscape photography and wander into the big five, the wilderness of untamed Africa nature for my project 2016 before my physical body stamina eventually drain off.
During the course, I also welcome sponsor's to provide daily lodging/accommodation, car rental/transportation, Fox Glacier helicopter ride and other logistic funding expenses, provide photographic camera equipments or related accessories .
Kindly forward all sponsors request terms of condition n collaboration details for discussion soon.
Great Ocean Drive- the 12 Apostle's
Please Click Auto Slide show for ultimate viewing pleasure in Super Large Display .to enjoy my photostream . ..
Due to copyright issue, I cannot afford to offer any free image request. Pls kindly consult my sole permission to purchase n use any of my images.You can email me at : men4r@yahoo.com.
Don't use this image on Websites/Blog or any other media
without my explicit permission.
For Business, You can find me here at linkedin..
Follow me on www.facebook.com here
Letter generously translated by xiphophilos, the author writes to his brother and sends him a photograph taken in Saarburg sometime during 1915.
A Bavarian Unteroffizier poses with the son of a passing Feldwebel who wanted to be in the photograph,
These miniature uniforms were hand-made and often used the same materials as the regular size ones. They were relatively expensive too, most commonly being purchased by the officer-class for their children.
I placed ads in FreeCycle asking for clippings for succulents. I'm starting a succulent garden - Look at how generous these two people were with me. This guy's yard is full of beautiful plants and has been lovingly decorated (I'll post pix) 0- feel free to tag and leave me any kind of advice that you have :-)
Letter generously translated by xiphophilos; penned in Gnesen on 29.1.1915 and addressed to the family of Karl Zimmermann in Schwelm, the author sends his regards. Postage cancelled in Gnesen the same day. Photogr. H. Chr. Hansen, Gnesen.
Telegraphist Emil Reinhoff and other members of Fernsprechabteilung Ober Ost pose with a field telephone in the Prussian city of Gnesen (now Gniezno in Poland).
"Ober Ost is short for Oberbefehlshaber der gesamten Deutschen Streitkräfte im Osten, German for "Supreme Commander of All German Forces in the East" during World War I. In practice it refers not only to said commander, but also to his governing military staff and the district they controlled: Ober Ost was in command of the German section of the Eastern Front." - Wiki.
For our anniversary, my wife and I took a Navajo-led trip into some back country in the Navajo Nation on the Colorado Plateau. It was just us and our guides.
We drove and toured in a 4 wheel drive truck for about 4 hours on an old 1940’s uranium mining road to get to our campsite. It’s generous to call it a road. Most of the way there was no road at all, having washed away decades ago. Our Navajo guide, Shaye Holiday, scrambled us up steep boulders, slid us down stomach-churning sand dunes, crept along harrowing ledges, slid through bright red mud and scaled bony sandstone staircases. At times he had to get out of the truck and scout the path to see if we could even make it, since it had stormed here two days prior; often I was convinced we wouldn’t make it but we always did. At one point we all got out and did a little road building by piling rocks into crevices that were too deep for the truck. It would have been a scary trip, but it was clear that Shaye knew what he was doing and where he was going. Ok, it was still a little scary. During the drive we talked about Navajo culture and our personal lives and fell into an easy camaraderie. The conversation was thoughtful and interesting.
Eventually we arrived at this rocky ledge near the top of the mesa, overlooking the entire Monument Valley. Shaye built a fire, set up a couple of chairs, pitched a tent for Steph and me and one for himself and his wife Nizhoni and proceeded to grill a scrumptious dinner of steak, beans, corn, squash, and bread. Shaye and Nizhoni did everything they could to make sure we were happy and comfortable and they succeeded. Both of them are respectful, kind, and relaxed. Everything we needed, aside from a toothbrush, clothing, and flashlights, was provided.
A few years ago, Shaye’s dad built this fire pit and brought a table up here, but that’s all there is. This is nowhere…There’s no bathroom… you have to make do. The litter box in this picture is where you wash your hands. There is absolutely no one else and nothing else on this mesa. Yet, since it overlooks Monument Valley, there is a cell signal here (though there isn’t for most of the drive up).
We watched the sun set, ate dinner with Shaye and Nizhoni, and went to sleep. While sleeping, I left my camera out on the edge of the mesa with the shutter open for about 900 thirty second exposures to capture some star trails. You can leave your gear out in the open, out of view, yards away, while you sleep.
The next morning we toured some more, hiking a slot canyon where there was no trail and no other foot traffic to a triple sandstone arch, and saw some ancient cliff dwellings. To visit any of these places, you have to be a Navajo, or be with a Navajo guide. The Navajo Nation forbids travel alone by outsiders except in a very limited area around the monuments on the valley floor. From what we could tell, the Navajo don’t really visit them much either, because they are so remote.
Shaye and Nizhoni brought us back to our vehicle about 24 hours after starting. We bought them lunch and talked about them coming to visit us in California. I hope they do.
It was an amazing experience, highly recommended. If you’re interested, here’s the webpage to get started:
www.monumentvalleysafari.com/hunts-mesa
You want the 18 hour overnight tour. It’s longer than 18 hours because the road has changed since the website was made. Don’t bother with the day trip… it’s not much cheaper and it’s way too much off roading for a single day. The people at Monument Valley Safari are very flexible so if you want something different and it’s possible, they will do it for you.
for The Endless Book
"Nada lhe posso dar que já não exista em você mesmo. Não posso abrir-lhe outro mundo de imagens, além daquele que há em sua própria alma. Nada lhe posso dar a não ser a oportunidade, o impulso, a chave. Eu o ajudarei a tornar visível o seu próprio mundo, e isso é tudo."
(H.H.)
A note of appreciation to visitors
Thank you very much for visiting and for your supportive comments and favorites, Also, a big thanks to those following my Photostream. I understand that to do so means you've taken time out from your busy day, so please know that I am very grateful. I always try my best to return your generosity.
BUT PLEASE, no badges in comments. I call it dumping on the lawn.
Cheers!
Bob
p.s. Unless otherwise noted in my image Tags, all the images I post here are taken with an iPhone and processed entirely on an iPad using a wide variety of apps. Certainly not as capable as using a "real" camera and Photoshop, but I'm enjoying the liberation of simply seeing, capturing, fiddling, and posting a wider variety of images than was otherwise possible for me in the past.
Generous Horizons.
servizi non vere terrena schiavi paradiso sfondi condanna sospetti innocenti,
pasáistí tubaiste ordaigh flogged naoimh búistéirí isteach theagasc dlíthe damhsa,
تحذيرات الإعدام تعذيب الخناجر دوافع صاخبة أشرعة القاتلة البؤس الرعن في,
Beschlagnahme abgehende Anrufe unnötige Expedition nachfolgende Szenen korrigieren Dämonen opera,
discursuri rele plângând în viață servitorii dimineață vechi de băut uitare lecții otrăvitoare de răspândire,
utrpela modrice zgodbe borijo tovariši sive valovite vode polna jezen popoldne veslanje smrad,
לאבד תמותה עייפה לחשוד שיניים מבעיתות שריקות נשמות מסע ריסוק רצונות אדומים לגזרים,
優雅な祈り熱烈な栄光キリストは明るい王国は本当にすべて提供しています嘆願与えられた様々な贈り物を聞きます.
Steve.D.Hammond.