Zinc TA536 is pictured at Clapham Junction Station having just completed its trip from Surbiton whilst working on South Western Railway Rail Replacement

It's not very often that you can incorporate ten locos, of which eight were in steam, into a photo composition at a loco-shed, but this was possible at Berlin-Schöneweide depot during the evening of 28th September 2007. But there were more locos than this each side of the frame!. This was an event to mark 15 years since the end of steam traction there, with a line-up (right to left) of DR 2-10-0s 52 8017-7, 52 8075-5, 52 8079-7 and 52 8029-2, 52 6666, 52 1360-8, 52 8047-4, 50 3708-0, 52 8184-5 and Pacific 03 1010. An important motive power depot in Berlin, its final upgraded facility boasted 20 roads from a 23-metre turntable. During its latter years, in the era of the Berlin wall, it was an important depot for providing locomotives for freight and transfer traffic to the West Berlin yards, such as at Berlin-Grünewald. To mark the farewell to DR steam at the depot, several Class '52.80' were gathered there for send-off. This event in 2007 was the 15-year anniversary of the event, and several 'Rekolok' Class '52.80s' were assembled as well as other 2-10-0s and the popular Pacific 03 1010, arriving from locations from around the former GDR, some even under their own steam.

www.translatetheweb.com/?from=de&to=en&ref=SERP&a...

© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission

The most distinctive feature of Herero women's dress is their horizontal horned headdress, the otjikaiva, which is a symbol of respect, worn to pay homage to the cows that have historically sustained the Herero. The headdresses can be formed from rolled-up newspaper covered in fabric. They are made to match or coordinate with dresses, and decorative brooches and pins attached to the centre front.

The main Herero group in central Namibia (sometimes called Herero proper) was heavily influenced by Western culture during the colonial period, creating a whole new identity. The missionaries considered the shape of the traditional headdress Ekori, which symbolized the horns of cows (the main source of wealth of the people), as a symbol of the devil and rejected it. The dress of the Herero proper, and their southern counterparts the Mbanderu, incorporates and appropriates the styles of clothing worn by their German colonizers. Though the attire was initially forced upon the Herero, it now operates as a new tradition and a point of pride.

During the 1904-07 war, Herero warriors would steal and wear the uniforms of German soldiers they had killed, believing that this transferred the dead soldiers' power to them. Today, on ceremonial occasions, Herero men wear military-style garb, including peaked caps, berets, epaulettes, aiguillettes and gaiters, "to honour the fallen ancestors and to keep the memories alive."

Herero women adopted the floor-length gowns worn by German missionaries in the late 19th century, but now make them in vivid colors and prints. Married and older Herero women wear the dresses, locally known as ohorokova, every day, while younger and unmarried women wear them mainly for special occasions. Ohorokova dresses are high-necked and have voluminous skirts lavishly gathered from a high waist or below the bust, incorporating multiple petticoats and up to ten metres of fabric. The long sleeves display sculptural volume: puffed from the shoulders or frilled at the wrists. Coordinating neckerchiefs are knotted around the neck. For everyday wear, dresses are ingeniously patchworked together from smaller pieces of fabric, which may be salvaged from older garments. Dresses made from a single material are reserved for special occasions.

This dress style continues to evolve. In urban Windhoek, fashion designers and models are updating Herero dress for modern, younger wearers, including glamorous sheer and embellished fabrics. "Change is difficult, I understand, but people need to get used to the change," says designer McBright Kavari. "I'm happy to be a part of the change, to be winning souls of people and making people happy when they are wearing the Herero dress." Kavari has won the Best Herero Dress competition three times in a row, but has been criticised for raising the hem of the garment to the knee

I enjoyed the sunsets in Camaguey. Here is one setting behind the tree. The truth is... couldn't get to the sunset without the tree so I thought I would incorporate the tree into the shot.

This is the wonderful three-tiered tower arch, each tier featuring a different style but all of them typically Norman, with zigzags, lozenges and fluting. Built in the 12th century, by 1600 the tower was in a state of collapse and had to be completely rebuilt, incorporating a lot of its decorative stonework. They also took the opportunity to move the tower at least a couple of yards towards the east end, which required moving this tower arch as well, and reassembling it.

The church incorporates in its chancel arch masonry dating from c.1200. To this early building a south aisle and south chapel were added in the earlier 13th century; the chancel may also have been lengthened at this time. By the early 19th century a south porch and west tower, constructed of timber, had been added. Restoration of the church took place in 1854-5 under the direction of T.H. Wyatt, when the external walls were rebuilt. In 1933 the south chapel was extended eastwards and an aisle was added to the northern side of the church.

St. Andrew's Church was a chapelry within Downton ecclesiastical parish until 1915 when it was annexed to Odstock parish. Arguments by the inhabitants of Nunton and Bodenham that the church should be detached from Downton parish had arisen since the latter half of the 16th century; at numerous points in the 17th to 19th centuries the scarcity of services was noted.

In 1553 there were three bells, which remain in the church today. Parish registers date from 1672; baptism registers from this date to 1906 are held at the Wiltshire & Swindon History Centre in Chippenham, as are marriage registers from 2000, with a brief gap between 1764 and 1759. Burial registers held at the Centre date from 1672 to 1965. Later registers than those cited here remain with the church.

Ruth 'over-the-knee' Boots - Exclusive for Uber.

Available in 8 single colours and a 19 colour Boutique Collection incorporating our Winter 2020/21 colour palette.

Rigged for Maitreya, Belleza, Slink & Legacy.

________________________________________________________________________________________________________

1930 Cord L-29 Cabriolet

Following the initial success of Harry Miller’s front wheel drive race car in the 1925 Indianapolis 500-mile race, E.L. Cord approached Miller with the idea of incorporating the front-wheel drive configuration into a passenger car. With Miller’s assistance, the Cord L-29 was introduced in August of 1929.It became America’s successfully first mass-produced front-wheel drive automobile. The Lycoming straight-eight engine was installed in reverse, which placed the transmission and differential in front of the engine to power the front wheels. The elimination of a lengthy drive-train allowed the Cord to sit eleven inches lower than similar automobiles of the day.

Auburn Automobile Company stylist, Alan Leamy masterfully designed the low and sleek Cord. A revolution both stylistically and mechanically, the Cord L-29 led the way for future automotive design.

Specifications

Model: ——————— Cabriolet

Wheelbase: —————137.5 inches

Engine: —————-— Lycoming in-line eight cylinder

Transmission: ——-— Three speed manual

Displacement: ——-— 299 cubic inches

Horsepower: ———— 125 @ 3,400 rpm

Weight: —————-—- 4,300 lbs.

Price when new: ——- $3,195

Note: A Cord L-29 was the official pace car for the 1930 Indianapolis 500-mile race, driven by racer Wade Morton.

Source - Display placard

……….. one final comment. If you look closely enough you should be able to see the ghost of the ACD Museum in the picture.

Hope you’all enjoy…………………

The Kirk of St Nicholas is arguably the most important and undervalued building in the royal burgh of Aberdeen. The present structure is mainly of 18th and 19th century date, but incorporates portions of the 12th century church and stands on the site of the 15th century building, which was one of the largest and most prestigious burgh churches in Scotland. The archaeological significance of the Kirk and its precinct has several facets: Surviving remains of upstanding structures in the transepts dating from the 12th century are of major significance to the study of Scottish mediaeval parish and burgh churches. Fragments of architectural and decorative stonework from earlier church buildings are located at various places within the present structure and are worthy of further study and interpretation. Excavations within Collinson’s Aisle (North transept) in 1974 and evaluation work more recently in 2004 and 2005 have amply demonstrated that archaeological deposits dating to the period of 12th and 15th century structures remain below the present building. It is possible that evidence may also exist below ground of an even earlier church building. It is vital that all these features are protected and, should the opportunity arise, be explored further. Very little is known from archaeological evidence about the form and construction of pre-15th century Scottish burgh churches. The Kirk and Kirkyard have been used for burial for at least 900 years. Several fine monuments of the 17th century and later date survive within the Kirk and Kirkyard, while others have been discovered during recent archaeological work inside the Kirk. Many of the external memorials are in a poor state of repair and there is a need for a programme of detailed recording and conservation work. www.kirk-of-st-nicholas.org.uk/archaeological/

Narcissus is a genus of predominantly spring perennial plants in the Amaryllidaceae (amaryllis) family. Various common names including daffodil, daffadowndilly, narcissus, and jonquil are used to describe all or some members of the genus. Narcissus has conspicuous flowers with six petal-like tepals surmounted by a cup- or trumpet-shaped corona. The flowers are generally white or yellow (orange or pink in garden varieties), with either uniform or contrasting coloured tepals and corona. en.wikipedia.org/wiki/Narcissus_(plant)

in Explore 2021-12-30 (#359)

The main Herero group in central Namibia (sometimes called Herero proper) was heavily influenced by Western culture during the colonial period, creating a whole new identity. The missionaries considered the shape of the traditional headdress Ekori, which symbolized the horns of cows (the main source of wealth of the people), as a symbol of the devil and rejected it. The dress of the Herero proper, and their southern counterparts the Mbanderu, incorporates and appropriates the styles of clothing worn by their German colonizers. Though the attire was initially forced upon the Herero, it now operates as a new tradition and a point of pride.

During the 1904-07 war, Herero warriors would steal and wear the uniforms of German soldiers they had killed, believing that this transferred the dead soldiers' power to them. Today, on ceremonial occasions, Herero men wear military-style garb, including peaked caps, berets, epaulettes, aiguillettes and gaiters, "to honour the fallen ancestors and to keep the memories alive."

Herero women adopted the floor-length gowns worn by German missionaries in the late 19th century, but now make them in vivid colors and prints. Married and older Herero women wear the dresses, locally known as ohorokova, every day, while younger and unmarried women wear them mainly for special occasions. Ohorokova dresses are high-necked and have voluminous skirts lavishly gathered from a high waist or below the bust, incorporating multiple petticoats and up to ten metres of fabric. The long sleeves display sculptural volume: puffed from the shoulders or frilled at the wrists. Coordinating neckerchiefs are knotted around the neck.

For everyday wear, dresses are ingeniously patchworked together from smaller pieces of fabric, which may be salvaged from older garments. Dresses made from a single material are reserved for special occasions.

The most distinctive feature of Herero women's dress is their horizontal horned headdress, the otjikaiva, which is a symbol of respect, worn to pay homage to the cows that have historically sustained the Herero. The headdresses can be formed from rolled-up newspaper covered in fabric. They are made to match or coordinate with dresses, and decorative brooches and pins attached to the centre front.

This dress style continues to evolve. In urban Windhoek, fashion designers and models are updating Herero dress for modern, younger wearers, including glamorous sheer and embellished fabrics. "Change is difficult, I understand, but people need to get used to the change," says designer McBright Kavari. "I'm happy to be a part of the change, to be winning souls of people and making people happy when they are wearing the Herero dress." Kavari has won the Best Herero Dress competition three times in a row, but has been criticised for raising the hem of the garment to the knee

Aston Martin DBS is a 6.0-litre V12 powered, race-bred, two-seater shaped by the aerodynamic demands of high performance, with an exquisite interior that marries beautifully hand-finished materials with the very latest in performance technology. Race-derived materials and components and Aston Martin’s unrivalled hand-build expertise makes the DBS a luxury sports car without equal.

Aston Martin DBS Specifications:

Body:

- Two-door coupe body style with 2+0 seating

- Bonded aluminium VH structure

- Aluminium, magnesium alloy and carbon-fibre composite body

- Extruded aluminium door side-impact beams

- High Intensity Discharge headlamps (dipped beam)

- Halogen projector headlamps (main beam)

- LED rear lamps and side repeaters

Engine:

- All-alloy, quad overhead camshaft, 48-valve, 5935 cc V12. Compression ratio 10.9:1

- Front-mid mounted engine, rear-wheel drive

- Fully catalysed stainless steel exhaust system with active bypass valves

Projected Performance figures:

- Maximum power: 380 kW (510 bhp/517 PS) @ 6500 rpm

- Maximum torque: 570 Nm (420 lb ft) @ 5750 rpm

- Maximum speed: 307 km/h (191 mph)

- Acceleration: 0-100 km/h (0-62 mph) in 4.3 seconds

Transmission:

- Rear-mid mounted, six-speed manual gearbox

- Alloy torque tube with carbon-fibre propeller shaft

- Limited-slip differential

- Final-drive ratio 3.71:1

Steering:

- Rack and pinion

- Servotronic speed-sensitive power-assisted steering

- 3.0 turns lock-to-lock

- Column tilt and reach adjustment

Wheels & Tyres

Wheels:

- Front: 8.5" x 20"

- Rear: 11" x 20"

Tyres:

Pirelli P Zero

- Front: 245/35

- Rear: 295/30

Suspension:

Front:

- Independent double wishbone incorporating anti-dive geometry

- Coil springs

- Anti-roll bar and monotube adaptive dampers

Rear:

- Independent double wishbones with anti-squat and anti-lift geometry

- Coil springs

- Anti-roll bar and monotube adaptive dampers

Adaptive Damping System (ADS) with Track mode

Brakes:

Front: Ventilated carbon ceramic discs, 398 mm diameter with six-piston calipers

Rear: Ventilated carbon ceramic discs, 360 mm diameter with four-piston calipers

Dynamic Stability control (DSC) with Track mode, including anti-lock braking system (ABS), electronic brakeforce distribution (EBD), emergency brake assist (EBA) and traction control.

Dimensions:

Length: 4721 mm

Width: 1905 mm excluding door mirrors, 2060 mm including door mirrors

Height: 1280 mm

Wheelbase: 2740 mm

Fuel tank capacity: 78 litres

Weight: 1695 kg

Interior:

- Semi-aniline leather and Alcantara interior

- Matrix alloy facia trim and Iridium Silver centre console finish

- Carbon-fibre door trims and door pulls

- Auto-dimming rear-view mirror & garage door opener (USA and Canada only)

- Sports seats with ten-way electric adjustment, including height, tilt and lumbar adjustment

- Memory seats & exterior mirrors (three positions)

- Dual-stage driver/passenger front airbags

- Side airbags (sports seats only)

- Heated seats (sports seats only)

- Heated rear screen

- Automatic temperature control

- Organic Electroluminescent (OEL) displays

- Trip computer

- Cruise control

- Hard Disk Drive (HDD) satellite navigation system*1,2

- Bluetooth telephone preparation*1

- Powerfold exterior mirrors

- Front and rear parking sensors

- Tyre-pressure monitoring*1

- Alarm and immobiliser

- Remote-control central door locking and boot release

- Battery disconnect switch

- Battery conditioner

- Tracking device (UK only)

- Boot-mounted umbrella

*1 Not available in all markets

*2 Includes Traffic Messaging Channel (TMC) in Continental Europe

In-car entertainment:

- Aston Martin 700 W premium audio system with Dolby® Pro Logic II®

- MP3 player connectivity

Optional Equipment:

- Lightweight seats with six-way adjustment, including front and rear height adjust (Does not include side airbags or heated seats feature. Not available in USA or Canada)

- 20" alloy wheels with graphite finish

- Satellite radio system (USA only)

- Piano Black facia trim and centre console finish

- Leather storage saddle

- Personalised sill plaques

- Auto-dimming interior rear-view mirror*1

- Auto-dimming interior rear-view mirror with garage door opener (Europe only)

- Alarm upgrade (volumetric and tilt sensor)

- Tracking device*3

- First-aid kit

- Ashtray and cigar lighter

*1 Not available in all markets

*3 Complies with UK Thatcham Category 5 requirements. Excludes subscription. Standard in UK.

Wall art in Union Lane, Melbourne, Victoria.

HD PENTAX-DA 20-40mm f2.8-4 Limited

This significant weaving incorporates the artist’s contemporary designs in a manner she describes as harmonious with ancestral robes. It is both a meditation on the strength of community in Haida culture and a reminder of the importance of extending collective work into global contexts. The bold yet intricate patterns honour the waters of Haida Gwaii, recalling the nurturing rains, the rivers and streams and the oceans she describes as “connecting us all.”

Domino Park sits on land that was once part of the Domino Sugar Refinery in Brooklyn. The park incorporates these screw conveyors as sculptural elements.

BEAULIEU BEAULIEU MANOR ESTATE SU 3802/3902 17/18 Palace House 8.10.59 GV I Medium-sized country house incorporating monastic gatehouse. Mid C14 gatehouse, converted to hunting lodge c1540 for Lord Wriothesley, extended early C18 when moat and turreted wall built around site, restored and much enlarged 1872 by A Blomfield. Coursed rubble stone, stone dressings, old plain tile roof. Plan of large usual gatehouse of 2 storeys and attic, 2 span by 2 bays deep, set gables on with 1 x 1 bay part set back on one side; Blomfield added to far corner of projection 4 storey stair tower (to serve his main range), on other side single storey addition with projecting porch over moat and behind projecting slightly lower wing, with C16 turret on junction; behind gatehouse Blomfield built long double pile slightly lower range with crosswings either end, built on side and end walls above moat and incorporating turrets raised to 2 storey (this range projects 3 bays beyond stair tower against gatehouse). South elevation has gatehouse part to LH and set-back to RH C19 main range. Gatehouse has, in centre, stonework of 2 moulded order pointed archway, filled in with C19 hipped stone-roofed oriel window with light either side, each light ogee trefoil with transom. Each side tall sloping-topped buttress, and square-headed window of 2-trefoiled-lights under one and 2 x ½ quatrefoils. Above archway tall canopied niche between pointed 2-trefoiled light windows. Over corbel table and 2 kneelered gables with 3-light mullion windows. On roof ridges C19 square-shafted stacks with moulded heads. To LH of gatehouse single storey part with 5-transomed-light mullioned window and 4-centred doorway and corbelled crenellated parapet. Inside gatehouse front part was originally a porch to central carriageway and footway on its LH, both arches visible in central wall of gatehouse proper, RH doorway C16. Both parts vaulted with tierceron star vaults. RH part of porch was room with C15 fireplace and square-headed 3-trefoiled light window and pointed door. On 1st floor were 2 chapels with, originally 2 pointed arches between, and piscinas and C14 east windows. VCH; Vol IV; 1911; p652. Buildings of England, Hampshire, Pevsner; Penguin; 1966; p96-7. Country Life, 1906, p702-7.

Excerpt from en.wikipedia.org/wiki/Kinkaku-ji:

Kinkaku-ji (金閣寺, 'Temple of the Golden Pavilion'), officially named Rokuon-ji (鹿苑寺, lit. 'Deer Garden Temple'), is a Zen Buddhist temple in Kyoto, Japan. It is one of the most popular buildings in Kyoto, attracting many visitors annually. It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.

The Golden Pavilion (金閣, Kinkaku) is a three-story building on the grounds of the Rokuon-ji temple complex. The top two stories of the pavilion are covered with pure gold leaf. The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto. When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.

The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of the Kinkaku uses a different architectural style.

The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ), is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon. The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.

The roof is in a thatched pyramid with shingles. The building is topped with a bronze hōō (phoenix) ornament. From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.

The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園, kaiyū-shiki-teien, lit. a landscape garden in the go-round style). The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池, Mirror Pond), that reflects the building. The pond contains 10 smaller islands. The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature. Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion. A small fishing hall (釣殿, tsuri-dono) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it. The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth. The largest islet in the pond represents the Japanese islands. The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.

The garden complex is an excellent example of Muromachi period garden design. The Muromachi period is considered to be a classical age of Japanese garden design. The correlation between buildings and its settings were greatly emphasized during this period. It was an artistic way to integrate the structure within the landscape. The garden designs were characterized by a reduction in scale, a more central purpose, and a distinct setting. A minimalistic approach was brought to the garden design by recreating larger landscapes in a smaller scale around a structure.

The books are a 1902 edition of different characters in drama, fiction, etc. It incorporates some interesting sketches, this one of Ophelia. I attempted to "lift" her off the page.

Salts Mill (sometimes spelled Salt's Mill) is a former textile mill, now incorporating an art gallery, shops, restaurant and spaces to rent in Saltaire, Bradford, West Yorkshire, England. It was commissioned and financed by Sir Titus Salt and opened in 1853. The construction involved multiple firms, including J and W Beanland, a respected Bradford building company known for their skilled craftsmanship. At that point, the mill was the largest industrial building in the world by total floor area. The present-day 1853 Gallery takes its name from that date. The mill has many paintings by local artist David Hockney on display.

The Mill and surrounding village of Saltaire was financed and built by the 19th century industrialist and philanthropist Sir Titus Salt after he observed other textile factories and was disappointed by the working conditions he saw there. At the time mill working conditions were commonly poor, with most workers suffering disease, low wages and labour exploitation. Dangerous machinery and long hours, sometimes exceeding 16 hour working days, resulted in frequent accidents. Titus Salt acknowledged this and built a factory and surrounding village with which he intended to improve the working conditions for his employees. It is a grade II* listed building. The mill closed in 1986 and the following year it was sold to Jonathan Silver, who began a long renovation scheme.

Zinc's Volvo B7TL LJ54BDZ is pictured arriving at Hounslow Station whilst working on South Western Railway Rail Replacement

Excerpt from en.wikipedia.org/wiki/Kinkaku-ji:

Kinkaku-ji (金閣寺, 'Temple of the Golden Pavilion'), officially named Rokuon-ji (鹿苑寺, lit. 'Deer Garden Temple'), is a Zen Buddhist temple in Kyoto, Japan. It is one of the most popular buildings in Kyoto, attracting many visitors annually. It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.

The Golden Pavilion (金閣, Kinkaku) is a three-story building on the grounds of the Rokuon-ji temple complex. The top two stories of the pavilion are covered with pure gold leaf. The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto. When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.

The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of the Kinkaku uses a different architectural style.

The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ), is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon. The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.

The roof is in a thatched pyramid with shingles. The building is topped with a bronze hōō (phoenix) ornament. From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.

The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園, kaiyū-shiki-teien, lit. a landscape garden in the go-round style). The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池, Mirror Pond), that reflects the building. The pond contains 10 smaller islands. The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature. Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion. A small fishing hall (釣殿, tsuri-dono) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it. The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth. The largest islet in the pond represents the Japanese islands. The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.

The garden complex is an excellent example of Muromachi period garden design. The Muromachi period is considered to be a classical age of Japanese garden design. The correlation between buildings and its settings were greatly emphasized during this period. It was an artistic way to integrate the structure within the landscape. The garden designs were characterized by a reduction in scale, a more central purpose, and a distinct setting. A minimalistic approach was brought to the garden design by recreating larger landscapes in a smaller scale around a structure.

Down Under the Manhattan Bridge Overpass.

Incorporating the east river and the view over onto Manhattan island The magnificent 1 World Trade Centre can also be seen along with the Verizon building. Just shy of 100 seconds exposure this image allows the passage of that time to be seen on the river and the sky, whilst the city and bridges stand as sentinels against nature.

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Glasgow Street Photography Workshops from £99 per person (max 4 min 3)

Evening photography tuition as well.

www.imagetuition.com for more details :-)

The following techniques and equipment are generally used in night photography.

A tripod is usually necessary due to the long exposure times. Alternatively, the camera may be placed on a steady, flat object e.g. a table or chair, low wall, window sill, etc.

A shutter release cable or self timer is almost always used to prevent camera shake when the shutter is released.

Manual focus, since autofocus systems usually operate poorly in low light conditions. Newer digital cameras incorporate a Live View mode which often allows very accurate manual focusing.

A stopwatch or remote timer, to time very long exposures where the camera's bulb setting is used.

Excerpt from theex.com:

In early 2017, in celebration of the enormous contribution that Canada’s Indigenous people have made to this great land, the CNE commissioned Ojibway artist Kris Nahrgang to create a Unity Pole.

Incorporating the traditional medicinal colour palette of indigenous peoples: red, white, black and yellow, embellished with other colours, Kris has created a distinctive 25-foot pole out of a cedar tree which embraces such universal symbols as the turtle (mother earth), the bear (family), and the eagle (flies between the spiritual and the mutable worlds), to create a dramatic Unity Pole and a lasting legacy honouring our Indigenous peoples.

Once again this year, the Unity Pole will be on display outside the southwest corner of the Press Building on Princes' Boulevard.

We live in the era of quick, inartistc "selfies" and of millions of trouble-free, "just a click" photo-shooting efforts per day ... The fact that every contemporary cell-phone incorporates an in-built of at least 13 MP camera, turns crystal clear photo presentation into an easy and effortless task ... Consequently, even though every person nowadays is a potential HiTECH photographer, that doesn't necessarily mean that the production of successful photographs became an even easier task ... One must still strive to capture presentable and successful frames ...

Primarily one must get himself familiar with the rules of synthesis ... This will actually help him to "see" a potentially successful capture long before his own camera does ... Don't let technology take the real fun away from you my friends ... Don't let the art of photography do without your creativity !!!

NIKON D90 DSLR with Tamron 18-200mm f/3.5-6.3 Di II VC lens, manual mode, shutter speed 1/2 s, ISO 160, f 8, focal length 22 mm, use of HOYA ND X 2 filter, manually adjusted white balance, centre weighted average metering mode, HDR processing derived from only one RAW file, flash went off in REAR mode for foreground detail emphasis, use of tripod ...

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Excerpt from acontario.ca:

This Picturesque Gothic cottage was erected as the gatehouse to the estate of Upper Canada merchant and politician Isaac Buchanan (1810–1883), originally named Clairmont Park. Bill King, author of Buchanan of Auchmar, surmises that Claremont Lodge was erected along with other outbuildings during the two years that it took to build the Gothic Revival manor house, between 1852 and 1854. The gatehouse was situated at the formal entrance to the estate, on the escarpment brow near the access road to the lower city (James Mountain Road). In 1862, the villa was renamed ‘Auchmar’, after the Buchanan estate on Loch Lomond, Scotland. The remaining 8 acres of Buchanan’s property, now owned by the City of Hamilton and located at 88 Fennell Avenue, includes the manor house, some of its original outbuildings and a remnant of the stone orchard wall. The gatekeeper’s lodge remained the home of the stable master and his family until the 1940s when the estate was still owned by the Youngs. In 1945, they sold Auchmar to the Hungarian order of nuns, Sisters of Social Service. Around 1947, the gatehouse and stable were severed from Auchmar when some lands to the north of the orchard wall were sold and the Clairmont Heights Survey was then laid out with lots for the construction of single-family houses. Hence, the gatehouse and stable acquired a separate lot at the south-east corner of Claremont Drive and Arcade Crescent. It was located adjacent to a brow lot with a substantial residence, transformed in the 1930s by its owner James Morrow into a replica of a Norman chateau (63 Claremont Drive).

The current owner of 63 Claremont Drive purchased the gatehouse and stable property in the 1980s, with the intent of incorporating the cottage as a garden feature. However, after commissioning an engineering study, which concluded that the building was structurally unsound, he offered 71 Claremont Drive to the City of Hamilton, with the proviso that the gatehouse be relocated. Unfortunately, his offer was turned down and the building has since been allowed to progressively deteriorate. Preservation advocates are now making the case that serious attention needs to be paid to the plight of this building and the possibility of relocating it to the Auchmar estate, where it could be restored and interpreted as part of a significant cultural heritage landscape.

The Auchmar estate is now designated under the Ontario Heritage Act, protected by an Ontario Heritage Foundation Easement and recognized as a National Historic Site. The historical significance of both Auchmar and its former gatehouse are acknowledged by a provincial plaque erected in front of Claremont Lodge but this recognition provides no measure of protection from demolition or vandalism for the historic gatehouse. However, the property’s listing on the municipal Heritage Register in 2009 does provide interim protection from demolition.

The Southeast 17th Street bridge is a bascule drawbridge located just north of the Port Everglades cut. The causeway goes from the west side of US1/Federal Highway eastward over the ICW and twists northward, becoming A1A along the Fort Lauderdale beach. The western approach is known as the Commodore Brook Causeway, while the actual bridge is named after former Florida congressman E. Clay Shaw, Jr.

Winner of the 2004 Engineering Excellence Honor Award from the American Council of Engineering Companies, the 17th Street Bridge provides a signature entrance to this visually stimulating city of Fort Lauderdale. The new bridge was constructed on the same alignment as the existing bridge in order to maintain the connecting roadway alignment and reduce right-of-way costs. The bridge features the first open bascule piers, which were a result of the community-chosen “timeless/contemporary” theme. Nearly 170’ long, the precast concrete segmental approaches rise above the riverbanks and allow the newly available property to be used for park areas and parking.

The bridge’s innovative bascule-span superstructure displays structural efficiency, economy, and reduced maintenance requirements. Its configuration incorporates the use of steel-box main girders, floor-beams with moment-resisting connections, and a lightweight Exodermic bridge deck made composite with the floor-beams and main girders.

When open the bridge provides a horizontal clearance of 100’ and a minimum vertical clearance of 26.6’ with the bridge closed.

The bridge consists of approximately 958 tons of steel.

It has two parallel carriageways. Each carries two 12’ traffic lanes, an 8’ inside shoulder, a 10’ outside shoulder/bike lane, and an 8’ sidewalk.

The bridge opens on the half and whole hours with 55′ clearance and greatly reduced openings.

Vertical Clearance: 55′ (at high tide)

Horizontal Clearance: 125′

Depth: ~20 ft

Tide Shift: 2 ft every 6 hours with 2 knot current

Year Built: 1998-2002

Traffic Lanes: 4

Openings: Half and whole hour

Closed: 7:30-9:00 AM and from 4:30 to 6:00 PM, M-F during rush hour traffic

Tender: VHF Channel 9

State maintained: (954) 486-1400

Credit for the data above is given to the following website:

www.jordanyachts.com/1116

© All Rights Reserved - you may not use this image in any form without my prior permission.

The Wawel Castle functioned as the residence of the Polish rulers from the mid-11th to the early 17th century. The present structure incorporates Romanesque fragments and considerable Gothic parts, but it acquired its present form mainly in the period c. 1504-1535, during the reign of the kings Alexander (1501-1506) and Sigismund I the Old (1506-1548) of the Jagiellonian dynasty.

The beginnings of the residence of Polish rulers on Wawel hill go back to an early Romanesque stone building from mid 11th century, called the palladium, whose remains are located in the northern wing of the present-day Castle.

In the 14th century the Castle was considerably expanded by Ladislas the Short, and his son Casimir the Great built an impressive Gothic residence consisting of several buildings grouped around an irregular courtyard in the eastern part of the hill. During the reign of Ladislas Jagiello, at the turn of the 15th century, a Gothic pavilion, later known as the Danish Tower, was added to the Castle.

Around 1504, King Alexander Jagiello commissioned a German architect Eberhard and an Italian sculptor and architect Francesco the Florentine to rebuild the Gothic residence in a Renaissance fashion. The King’s brother Sigismund I (the Old) continued this enterprise from 1507. The Castle’s halls and chambers gained much splendour after Sigismund I Augustus acquired magnificent Flemish tapestries.

The Renaissance building, preserved to this day, with its beautiful arcaded courtyard, is impressive in its monumental layout, spacious, brightly lit interiors, and magnificent use of architectural forms originating from ancient art, hitherto unknown in Poland. The building was a breakthrough in the development of architecture in Poland.

In the 16th century the Castle was the seat of the Lower House (Seym) whose sessions were held in the Envoys’ Room. The sessions of the Senate were held in the Senatorial Chamber.

After the fire in 1595 a part of the Castle’s northern wing was rebuilt in the early Baroque style by Sigismund III (Vasa) who commissioned two Italian artists: the architect Giovanni Trevano and the painter Tomasso Dolabella. From the time the royal court permanently moved to Warsaw (c. 1610), the Polish monarchs resided in Wawel only periodically, mostly to attend lavish weddings, coronations and funerals.

The Cardboard Cathedral's triangular window design includes 49, 1.2 metre tall panels and incorporates images from ChristChurch Cathedral's original rose window.

Each image comes from the same position as on the rose window. The triangular panels in the middle of the new stained-glass window use images from the centre circle of the rose window, while the remaining panels use images from the outside circle.

After suffering a rather nasty defeat near the moon of Orein, the Toki's designers felt the need to upgrade the weapons platform for their beloved (dark) blue (and white) bullet.

So they did.

Now the Toki has the option of being fitted with the normal Assault variant weapons, or the (much) more powerful Heavy Assault Variant.

And you guys thought I'd forget.

incorporation of still life in a 3d fractal space is experimental and results may vary from frame to frame.

Incorporating the Icelandic word for narrow, mjór, Mjóifjörður fjord lives up to its name throughout its 18-kilometre length. The mountain ranges that separate it from Norðfjörður and Seyðisfjörður provide shelter and particularly good weather. The fjord boasts such incredible beauty that it may be thought of as a treasure hidden by the mountains.

Viewed here from Market Street in Twilight, Grey's Monument is a Grade I listed monument to Charles Grey, 2nd Earl Grey built in 1838 in the centre of Newcastle upon Tyne. It was erected to acclaim Earl Grey for the passing of the Great Reform Act of 1832 and stands at the head of Grey Street. It consists of a statue of Lord Grey standing atop a 40 metre high column. The column was designed by local architects John and Benjamin Green, and the statue was created by the sculptor Edward Hodges Baily (creator of Nelson's statue in Trafalgar Square). It was paid for by public subscription.

This description incorporates text from the English Wikipedia.

Bandon, Oregon sunset. As the tide ebbs, there are lots of opportunities to incorporate leading lines from the landscape.

The next few images in this series incorporate elements of the concrete jetty jutting out into the Lake Huron waters in Dyer’s Bay, along with elements of machinery, markings and paintwork. These man-made elements frame, question, and disrupt the scene, creating abstract geometries that counterpoint the water’s slow rise and fall, the shape of distant headlands, the colour and luminosity of light and water.

Tilted red tower marks entrance to Polish war museum by Kwadrat, Gdansk

An angled tower wrapped in red concrete panels and glazing contains the entrance to this second world war museum, which is mostly housed beneath the surface of a public plaza in the Polish city of Gdansk. A jury headed by Daniel Libeskind awarded Studio Architektoniczne Kwadrat the project for the Museum of the Second World War following an international competition in 2010. The studio, which is based in the nearby town of Gdynia, said it put forward a proposal that was "a bit risky", but also "something unusual, very distinctive and memorable".

A tower rising 40.5 metres above the new public square provides the dominant feature of the building, which is located next to a canal in a district called Wiadrownia that was destroyed during fighting in 1945. "The idea behind the design is simple enough," said the architects, "to position the main part of the museum underground so as not to completely use up the small plot of land intended for investment. We have concealed the other functions in a sculptural form. In this way, it was possible to find space for a vast square, and the whole premise became symbolic."

The project comprises three distinct but connected parts, with the underground spaces dedicated to the past, the plaza representing the present, and the tower symbolising the future. The monolithic tower features surfaces set at angles as much as 45 degrees from the vertical, lending it a dynamic appearance that alters when viewed from different directions. Three of its four trapezoidal facades are clad in terracotta-red panels, while the fourth side and kinked roof are filled in with glazing that allows natural light to flood into the interior.

"This simple sculptural form, devoid of literal meaning, evokes various associations," said the architects. "It has already been likened to a bastion, a barrier, a crumbling house or a bunker, and when illuminated at night, it resembles a burning candle. At the same time, it fits in with the city image and the geometry of shipyard cranes – the symbol of the port of Gdansk."

The glazed facade of the tower incorporates an entrance at its base, which is situated at basement level and is reached by a wide set of steps leading down from the plaza. The tower contains a library, lecture halls and a restaurant with a viewpoint looking out across the city skyline. The majority of the 23,000 m2 building is located beneath the paved public square, which aims to provide people with a place to meet, socialise and relax. Staircases descend from the entrance through a large void to the level of the ticket office, cloakroom and exhibition spaces dedicated to telling the story of the war in Poland. A corridor with a narrow skylight at its apex guides visitors through a series of austere exhibition rooms featuring a palette of concrete, steel and oak details.

In addition to digital displays and physical exhibits, the spaces include several recreations of places such as a pre-war shopping street, ruined buildings surrounding a Soviet tank, and the interior of a Warsaw apartment reflecting different stages of the conflict. At the level of the plaza, a bridge connects the tower with a long, narrow volume containing offices. A walkway that passes beneath the bridge is lined with gabion cages filled with red brick and rubble from Gdansk. A further wedge-shaped structure that emerges from the square contains the entrance to an underground parking garage. Both this volume and the offices are clad in the same red tiles as the tower to create a consistent aesthetic across the museum's different spaces.

Theatre incorporating shops on three sides. Built in 1902 to the designs of John Briggs. Symmetrical composition in Neo-georgian style with a Baroque centrepiece. Built of red brick with ashlar dressings with central copper dome and smaller domes at the sides. Three storeys, 23 windows in all to principal elevation. The centre 9 bays form the major composition with flanking six bay wings. Central dome with oculus above broken pediment supported on paired Ionic pilasters. Central curved balcony with round-headed arch and three round-headed openings with french windows. Three flanking bays have oculi with carved figures above second floor and central section terminates with a pediment and double pilasters. Twelve-pane sashes throughout on second floor and fifteen-pane sashes to first floor. The outer ends of the wings end in domes. Outer bays have baroque doorways to the ground floor set against banded rustication. Shops on ground floor. INTERIOR. Foyer has dado panelling, two fireplaces with pilasters, swags and console brackets and two arches with Ionic piers. Main staircase, probably altered after 1923, leads to bar which has mahogany bar fitment with round-headed arch with carved shell motif and painting of C18 revellers and painted fireplace. The auditorium has two slightly curved balconies of six and eight rows each with straight slips running to ranges of superimposed boxes, four on each side. The upper boxes have gryphons at the head of each subdividing pilaster. The Dress Circle retains a glazed screen with lily decoration and the seating probably dates from the cinema conversion of 1923. The Gallery retains original tip up seating with lily motif. The Proscenium is rectangular with elaborately scrolled brackets in the corners and a curved pedimental tablte above the centre flanked by reclining figures personifying Music and Drama. The main ceiling is in the form of a panelled saucer dome set within a richly moulded rectangular frame. Flytower retains scenery winch and metal hooks.

This picturesque stone manor house and its gardens are situated in the heart of historic Washington village, near Sunderland in north-east England. The building incorporates parts of the original mediaeval home of the family of George Washington, first President of the United States, and it is from here that the family took their surname.

This is a colour shot that has been converted to mono using the 'Antique Plate II' preset from Silver Efex Pro, a preset I'm trying very hard not to over-use as it's rapidly becoming my favourite preset from the Nik Collection, the best... er... NO pounds I ever spent!

How could I not incorporate some Coldplay into a photo considering in less than 24 I'm going to be finally getting to see them live again! I'm seriously trying not to think about it because I'm so excited.....GAH!

I'm not sure if I'll have a chance to post a photo tomorrow since we'll be leaving around noon and won't be back until late Thursday, I have one idea I might try to sneak in but if not, see you in a few days!

I chill the pomegranate, and enjoy chilled seeds. Delish.

Today will make a savory dish incorporating the pomegranate seeds.

How to Cut and De-Seed a Pomegranate

www.simplyrecipes.com/recipes/how_to_cut_and_de_seed_a_po...

The BEST Way To Open & Eat A Pomegranate VIDEO by Just_cook_it

www.youtube.com/watch?v=XII714UPFxU

Parts of Pomegranate

by Pi-nar.com

www.pi-nar.com/blog/2015/6/17/parts-of-pomegranate

ARIL - The botanical term for a seed surrounded by a juice sac. Unlike other varieties, arils of the Wonderful variety are a brilliant ruby red, indicating the healthy, sweet, tart juice contained within.

ALBEDO - The white, fleshy substance directly under the skin of a pomegranate.

MEMBRANE - The translucent yellow material surrounding the pomegranate arils. The membrane is bitter and not recommended for consumption.

RIND - The outer peel or husk of a pomegranate. Much of the antioxidant content of the juice comes from crushing the whole fruit, as the rind is where you will find a unique blend of phytonutrients.

The Mausoleum incorporates symbols from Masonry, the Bible and Sigma Chi fraternity. The family's ashes are sealed in the chairs around the table. Completed in 1936

Located at Roche Harbor, San Juan Island, WA USA

Portmeirion was designed and laid out by the celebrated architect Sir Clough Williams-Ellis (1883-1978) following his purchase of the estate, then called Aber Iâ, in 1925. The village evolved over several decades and was still being added to in the 1970s. The seafront terrace, constructed in 1926, forms the quay of Portmeirion. In that year CWE moored a seventy ton trading ketch alongside; unhappily this drifted off during a spring gale and ended up beached and on its side on the small island of Ynys Gifftan. CWE salvaged what he could and in 1930 eventually incorporated the ketch into the quayside, now moored, more securely, in mortar and concrete. The ship which came from Britany, was named the Amis Reunis. In the same year an arched loggia was built; this was named the Casino. Long built quay, or terrace of irregular plan, incorporating the Amis Reunis ship and the Casino, as well as a parapetted steps and subway structure leading from the road down onto the quay. The quay itself is flagged and has a rubble revettment, with broad flight of stone steps descending to the water in the centre. The Amis Reunis is incorporated into the Sea Front Terrace at an angle to the S and gives the impression of being moored. Concrete faux boat with two tall masts. The Casino is placed in the centre of the quay, opposite the steps and backing onto the hotel's terrace revettment. It consists of a part-rendered rubble logia of three round-headed arches with Tuscan columns to the centre; balustrade to the top, with three sections of turned balusters between solid piers; moulded copings. Steps sweep up to the L and R to the upper (hotel) terrace, though are now blocked off. To the N of the quay is a square walled projection containing a subway-type stair access to the road above; surmounting balustraded parapet.

This is a drawing of mine dedicated to one of my favorite bands 30 Seconds to Mars. I tried to incorporate the art work of all their albums within the triad.

Waxahachie, TX

The Ellis County Courthouse was designed by architect J. Riely Gordon of San Antono. The building incorporates the Richardsonian Romanesque architectural style originally created by Boston architect Henry Hobson Richardson and made popular in Texas by Riely Gordon.

For the Ellis County Courthouse Gordon used a floor-plan different from many other county courthouses in Texas of the same era. Many county courthouses built in this time period had intersecting halls on the first floor that created the rigidity required to support the weight of the district courtroom positioned near the middle of the building on the second floor. For the Ellis County Courthouse Gordon used a floor plan that provided an open space at the center of the building first surrounded by a staircase then surrounded by a gallery that provided access to offices and courtrooms. The large second-floor courtroom was pushed off to one side of the building so the center space was open all the way up to the clock tower.

Note: Moon added for interest.

Manufacturer: Auto Union AG, Ingolstadt - Germany

Type: AU 1000 Super Coupé

Engine: 981cc two-stroke three-cylinder water-cooled (by DKW)

Power: 50 bhp / 4.500 rpm

Speed: 132 km/h

Production time: 1960 – 1963

Production outlet: 91,546

Curb weight: 915 kg

Special:

- In 1931 DKW adopted front wheel drive.

- During the mid 1930's the DKW became the best selling people's car in Germany.

- Auto Union was the result of a merger between four companies in 1932: Wanderer, DKW, AUDI and Horch.

- The emblem represents this amalgamation with its four rings, one representing each company.

- The shares were sold in 1964 to Volkswagen and from that time on they were called Auto Union (without DKW).

- In 1969, NSU became part of the union and became known as AUDI NSU. In 1985, it offically became known as AUDI.

- Until July 1963 they were build at the Auto Union Werk Düsseldorf-Derendorf.

- In fashion of the time, the car had a panoramic / wrap-around windscreen and a vertical speedometer, called "Clinical Thermometer" in Germany.

- In 1961 they introduced the “Frischölautomatik” ("Clean Oil Regulator"), a system incorporating a separate oil tank and pump to dispense the oil which, in a two-stroke engine, is mixed with the fuel ahead of combustion, to reduce the characteristic blue smoke emission

- In extreme cold winters, like 1962-1963, they had an unexpected increase in crankshaft damage because the oil, its viscosity affected by the cold weather, was unable to flow freely through the narrow feeder pipe in the Solex carburettor.

- This Fastback Coupé is equipped with a four-speed manual ZF gearbox with column-mounted lever control, a Bosch 6-Volts electric system, single plate dry disc clutch, a 45 liter fuel tank, a Solex 40ICB carburettor and front-wheel drive.

- The separate box frame chassis with steel body (secured at eight fixing points) has a 92.5 inch wheelbase, rack & pinion steering, cross-hatched oval grille, heating, fan blades, a clock, front bucket seats, asymmetric lighting, windscreen washer system, independent suspension with lower wishbones and upper transverse leaf springs at the front, independent high-lying, progressive transverse leaf spring rear suspension with trailing arms, floating type rigid rear axle with push rods, Boge-TP32 hydraulic telescopic dampers all round, Teves disc brakes at the front (only Coupé models) and Teves hydraulic drum brakes at the rear.

- A Saxomat (an electro-pneumatic clutch), a radio, reclining seats, sunroof and foglights were optional.

- The 1000 Series was available as this 2-door Super Coupé, as 2-door Coupé (1957-1959: 36,258 units built), as 2-door Limousine (1957–1960: 26,726 units built), as 4-door Limousine (1957–1960: 3,393 units built), as “Universal” 3-door Kombi / Estate (1959–1962: 16,421 units built), as 2-door Super Limousine (1960–1963: 2,871 units built), as 4-door Super Limousine (1959–1963: 17,985 units built), as 2-door “SP” Spezial Hardtop (1958–1965: 5,004 units built)) and as 2-door “SP” Spezial Cabriolet (1958–1965: 1,640 units built).

West Coast Motors Van Hool Astromega TD927 11020 (M20 WCM) is seen here passing through the village of Bunessan on the Isle of Mull. whilst operating The Three Isles Tour.

The Three Isles Tour incorporates the islands of Mull, Staffa and Iona and incorporates Caledonian MacBrayne and Staffa Tours, who provide seas transport to Iona and Staffa respectively.

Constructed by Bombardier and incorporating Talgo technology, RENFE 'Talgo 250' set 130019 is captured passing through Salou, Catalunya working Euromed 01112, from Alicante to Barcelona Sants. For extra capacity, set 130035 was on the rear. 06/07/18.

Construït per Bombardier i incorporat a la tecnologia Talgo, es recull RENFE 'Talgo 250' 130019 que passa per Salou, Catalunya que treballa Euromed 01112, d'Alacant a Barcelona Sants. Per a una capacitat addicional, el conjunt 130035 estava a la part posterior. 06/07/18.

Construido por Bombardier e incorporando la tecnología Talgo, RENFE 'Talgo 250' set 130019 es capturado pasando por Salou, Catalunya trabajando en Euromed 01112, desde Alicante hasta Barcelona Sants. Para capacidad adicional, el set 130035 estaba en la parte trasera. 07/06/18.

Long built quay, or terrace of irregular plan, incorporating the Amis Reunis ship and the Casino, as well as a parapetted steps and subway structure leading from the road down onto the quay. The quay itself is flagged and has a rubble revettment, with broad flight of stone steps descending to the water in the centre. The Amis Reunis is incorporated into the Sea Front Terrace at an angle to the S and gives the impression of being moored. Concrete faux boat with two tall masts. Portmeirion was designed and laid out by the celebrated architect Sir Clough Williams-Ellis (1883-1978) following his purchase of the estate, then called Aber Iâ, in 1925. The village evolved over several decades and was still being added to in the 1970s. The seafront terrace, constructed in 1926, forms the quay of Portmeirion. In that year CWE moored a seventy ton trading ketch alongside; unhappily this drifted off during a spring gale and ended up beached and on its side on the small island of Ynys Gifftan. CWE salvaged what he could and in 1930 eventually incorporated the ketch into the quayside, now moored, more securely, in mortar and concrete. The ship which came from Britany, was named the Amis Reunis. In the same year an arched loggia was built; this was named the Casino. The Casino is placed in the centre of the quay, opposite the steps and backing onto the hotel's terrace revettment. It consists of a part-rendered rubble logia of three round-headed arches with Tuscan columns to the centre; balustrade to the top, with three sections of turned balusters between solid piers; moulded copings. Steps sweep up to the L and R to the upper (hotel) terrace, though are now blocked off. To the N of the quay is a square walled projection containing a subway-type stair access to the road above; surmounting balustraded parapet.

A week ago we had at the Camera Club a talk/Workshop on Landscape Photography. This was given by Roger, our Club Chairman who also has a favourite Storm Drain which he incorporates into seascapes at our local beach at Aldwick/Bognor Regis. I decided to have a go at it to practice some of the instructions given. For locals it is located at Aldwick at the end of Dark Lane. The day was actually very calm with little wind but a decent swell provided some good waves. I avoided any risk of getting wet by using a long lens at 200mm. The image was taken about 20 minutes before sunset so the longer shutter speed of 1/10 second was taken by setting aperture to f22.

The picture was taken with a Sony A550 with a Minolta 70-300mm zoom at 200mm. This was a single image taken with a tripod. The picture was first processed in RAW with a little extra exposure, recovery and clarity. The wood came out too dark so I processed in RAW a second time with a brighter exposure to produce a second image. Then the brighter image was pasted onto the first with a black layer mask. A white brush was then used to bring in the second exposure on the woodwork only. Nik Define was used for Noise reduction and Topaz Clarity for more detail. Topaz Adjust was used to warm tones. The heal brush was used to remove sensor dust spots.

For my Photography books Understand Your Camera and Compose Better Pictures see My Author Page USA or My Author Page UK

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When I first spotted this Marbled Orb Weaver with the maple leaf

I figured it was just going to incorporate it into its web but as I watched, it painstakingly disentangled every strand. After about 10 minutes of careful work, the leaf fluttered to the ground and the spider patiently finished repairing the web.

The end-of-year theme for Macro Mondays is redux with a twist -- incorporate two of this year's weekly themes into one photo. As it happens I had two of my suggestions chosen as "member choice" themes this year; so how could I not use these two?

Presenting "Five Bells".

Later I realized that this photo could conceivably work for some other themes:

- Rust (Obvious)

- iSpy (This is an Elf hat.)

- Damage (Certainly rust is damage, but my interpretation of the MM theme was more about having sufficient damage as to actually impair function.)

- Award (This hat is from the swag bag for a 10k run, so it might be considered a prize by some folks, but (a) that's a little tenuous and (b) there's nothing about the photo that signifies or illustrates that. I wouldn't consider it to qualify for the MM theme by my own taste anyway.)

- Tradition (Another weak one. Many of the runners in this race wear their elf hats year after year. But I don't actually wear this one, so it's not really my tradition.)

- Treasured (Conceivable ... but not by me. Check in again if I (a) start wearing this hat and (b) run this 10k race 20 years in a row or something.)