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Essay:
Earth's Transformation and the Random Implementation of Alien Technology
The Earth, once a vibrant planet teeming with diverse ecosystems, has undergone a drastic transformation. A severe environmental catastrophe has devastated the planet, leading to the evaporation of life-giving water into the vast expanse of space. The once-blue planet is now dominated by barren deserts, stretching across continents where oceans and forests once thrived. Humanity, on the brink of extinction, has been thrust into a desperate struggle for survival.
The catalyst for this environmental apocalypse was a combination of factors: uncontrolled industrial activity, rampant deforestation, and unchecked pollution. These human activities pushed Earth's climate system past a critical threshold, triggering a cascade of irreversible changes. The polar ice caps melted at unprecedented rates, causing sea levels to rise and then rapidly fall as water vapor escaped the atmosphere. Rainforests, which acted as the planet's lungs, were decimated, and the delicate balance of ecosystems collapsed. The result was a planet unrecognizable from its former self—a desolate wasteland where life struggled to find a foothold.
In this dire scenario, hope arrived in the form of alien technology—an unexpected boon that became humanity's lifeline. The origins of this technology remain shrouded in mystery. Some speculate it was discovered accidentally during deep-space explorations, while others believe it was gifted by a benevolent extraterrestrial civilization. Regardless of its origins, this advanced technology became the cornerstone of Earth's new survival strategy.
The alien technology enabled the creation of isolated oases in the vast desert expanses. These oases, shielded by energy fields and sustained by advanced atmospheric processors, mimic the lost ecosystems of old Earth. They generate and recycle water, maintain breathable air, and support agriculture, allowing small human communities to thrive. The technology also includes sophisticated climate control mechanisms that protect these fertile areas from the harsh desert environment.
The implementation of alien technology was a stroke of luck, a fortuitous discovery in humanity's darkest hour. Scientists and engineers, initially skeptical, soon realized the potential of these alien devices. Through trial and error, they managed to integrate this technology into the remnants of human civilization. This integration was not without its challenges—there were numerous failures and setbacks, but the resilience of the human spirit prevailed.
Life in these technologically sustained oases is a stark contrast to the desolation that surrounds them. Within the protective domes, greenery flourishes, and small bodies of water reflect the sky. Communities have adapted to this new way of living, embracing a lifestyle that is a blend of ancient survival techniques and futuristic technology. Education systems focus on maintaining and understanding the alien technology, ensuring that future generations can continue to benefit from it.
The concept of 'Planet B' has taken on a new meaning. Instead of seeking a new home among the stars, humanity has been forced to redefine its existence on Earth—'Planet B' is Earth reborn, a new chapter after 'Planet A' vanished beneath the waves of environmental disaster. The Earth of today is a testament to human ingenuity and the unforeseen assistance of alien technology. It is a world where the line between science fiction and reality has blurred, and where survival hinges on the harmonious integration of alien and human advancements.
In conclusion, the transformation of Earth and the serendipitous implementation of alien technology have given rise to a new way of life. This new existence is fragile and fraught with challenges, but it is also a beacon of hope. The 'Cradle of the Desert' represents the resilience of life and the enduring quest for survival in the face of insurmountable odds.
Poem:
In deserts wide where oceans slept,
Beneath a sky where sorrow wept,
Alien whispers, silent, deep,
Brought life anew from restless sleep.
Once blue and green, now dust and bone,
Our planet’s heart, a hollow tone,
Yet through the sands, technology,
Revived the hope for you and me.
In domes of light, we plant our dreams,
Where water flows in gentle streams,
Alien hands unseen, yet kind,
Breathe life back to a world confined.
From barren waste to fertile land,
A future forged by chance and hand,
Cradle of the Desert, bright,
Guides us through this endless night.
Haikus:
Alien whispers,
Oases bloom in deserts,
Hope in arid lands.
Earth’s rebirth at hand,
Technology’s gentle touch,
Life in barren sands.
Long story short, I basically wanted to build something around the steering and piston pieces from old Technic sets. I've also implemented a pull-back motor, because why not?
Shout-out to the following sets:
75870 Chevrolet Corvette Z06 (2016)
Check the other pictures out in the Duplo Drifter album!
And as I promised, the last plate I created on that day was appropriately one of my hands at the end of the process. When you coat the plates you hold them like a waiter holds a drink tray and you pour the collodion onto the plate and tilt the plate toward all four corners to spread the mixture. Invariably (regularly if you are a beginner) some of it dribbles off and onto your hand. Then when you pull the plate from the silver nitrate bath, some of that silver nitrate gets onto your hands and mixes with the collodion that is on there, creating a light sensitive emulsion on your skin which immediately gets exposed to light. Finally when you take your exposed plate into the darkroom and pour developer over it, that developer spills off onto your hands and develops the emulsion on them, which at this point are incredibly over-exposed and turn black. It wears off in a day or two, but til then you have some nicely stained hands.
I couldn't pass up the opportunity to make a wet plate image of my wet plate stained hands. The results of the process documented by the process. There is a nice logic to that.
Portrait of YEAC member Akeli Stampp and his father Renford Stampp 71 looking out for their goats. Akeli’s father has been a farmer and fisherman and that’s how they make out their livelihood in Riverton Meadows a very poor inner city community. “I believe that the YEAC and programs like it are very very good program… programs for youth development. Take a community like Riverton for example… don’t think there is anything else for the youths to be involved in. There is no sports club. There is no rights or any kind of youths organization. So from that I was able to appreciate the fact of being a part of something greater than myself. Something were I can invest my time in. And I know that an investment is also made in me whereas I´m gaining experiences, meeting new people, going to new places. All those kind of things. So yeah I believe more youths should be involved in the YEAC´S, specially those with a lot of free time”, he says.
CRS has been implementing the Youth Emergency Action Committees program for 6 years in Jamaica, Granada and St. Lucia. This is a USAID / OFDA Funded program that has the goal to strengthen youth for an effective emergency response and disaster risk reduction integrating in all its activities the climate change lens. CRS works with three partners St. Patricks Rangers, Caritas Grenada, And Caritas Antilles in St. Lucia that have created 17 YEACS with around 200 members. The project works with at risk youths between the ages of 16 and 26 in vulnerable communities. They are not just learning about emergency response or disaster risk reductions but are as well becoming leaders and change makers in their communities.
Warchief, everything is set as you ordered! The enemy ships just docked and they are unloading the troops. They will be here in an hour.- reported commander of the scouts.
Burlogh O'Rohal let out a sigh. For some reason I hoped they change their mind. - So it is decreeded. Stay calm and follow my orders.
Scouts of Lenfald army road into the valley. Suddenly a band of cheering beastman jumped out from the woods and ran towards them. Commander of the cavalry ordered a charge. The beastman group seemed confused and started to flee. Everything went as the warchief planned. The knights followed the Ironclad Company but after the turn of the road they faced a troll phalanx. Their charge broke in a minute. The beastmen turned back and flanked the cavalry.
Meanwhile main force of the invaders faced some problem too. Magical song rang over the valley as combined power of shamans created huge flamesnakes. As the fire stroke down to the knights, a sniper rose up from his hiding spot. His first shot hit the Lenfald commander who fall down to the ground. His army became disorganised in a moment. The ground shaked as Dragon Maiden lead their charge. The Lenfald army was surrounded in a few minutes. Their only chance was the road, but it was blocked by the warchief himself.
Let the massacre begin! For freedom, for the Bleeding Claws! - roared Burlogh and started to run and the horde followed him...
My entry to Lands of Classic Castle Global Challenge 3 - Purging the Magic Islands
Shot with my D600 and 14-24 Nikor Wide Angle Lens at my friends farm. Post processed in Lightroom and HDR'd in Photomatix Pro. I have a few more that I will upload later, but this is by far my favorite shot.
In the current article, we will review how to implement the second phase of our project in which we detect an event of “SPF = Fail” and forward such E-mail message to approval by an authorizes a person.
The SPF Fail policy article series, including the following three...
o365info.com/implementing-spf-fail-policy-using-exchange-...
As part of the bus service changes implemented in April 2019 following completion of (most) of the works to convert Gloucester Place and Baker Street back into two-way streets route 30 was uniquely diverted southbound via the south side of Portman Square to serve this stop in Portman Street. Routes 2/N2, 30 and 74/N74 continued to serve Portman Street and Gloucester Place in the northbound direction only.
Here is Metroline VMH2469 on route 30 turning from Portman Square into Portman Street on 6th May 2019.
Can anyone enlighten me as to the point of this and why the route didn't simply continue down Orchard Street to reach Oxford Street like all the other services?
Zipcar pinched that slogan from the Underground:
www.ltmuseum.co.uk/collections/collections-online/posters...
La primera etapa de la llamada “Guerra contra el Narcotráfico”, fue el “Operativo Conjunto Michoacán”, implementado por el Ex Presidente Felipe Calderón Hinojosa, este operativo fue y sigue siendo duramente cuestionado por las faltas graves a la Constitución mexicana y por las violaciones a los derechos humanos que podría haber incurrido la presencia militar en el Estado de Michoacán y paulatinamente en México. (a mediados de Mayo de 2013, E. Peña Nieto ha iniciado un operativo similar).
Para diferentes analistas políticos y jurídicos resaltan que la intervención de las Fuerzas militares va en contra de lo dispuesto en el artículo 129 Constitucional, que establece lo siguiente:
Artículo 129. En tiempo de paz, ninguna autoridad militar puede ejercer más funciones que las que tengan exacta conexión con la disciplina militar. Solamente habrá Comandancias Militares fijas y permanentes en los castillos, fortalezas y almacenes que dependan inmediatamente del Gobierno de la Unión; o en los campamentos, cuarteles o depósitos que, fuera de las poblaciones, estableciere para la estación de las tropas.
Bajo este fundamento Constitucional se realiza la pregunta: ¿La disposición que realizó Felipe Calderón Hinojosa y que fue acatada por los Secretarios de Defensa y Marina, viola la Constitución?
En términos del artículo 129 Constitucional, no puede realizar las funciones que de manera diaria viene realizando desde aproximadamente siete años el Ejército, Armada y Marina, se podría decir bajo este fundamento que es anticonstitucional la intervención del ejército en las calles.
Sin embargo cuando se hable de “amenazas a la seguridad anterior” podría cambiar la opinión al respecto, según la resolución que presenta la Suprema Corte de Justicia de la Nación (SCJN) de una acción de inconstitucionalidad en el año de 1996, presentada por el diputado federal en ese entonces Leonel Godoy Rangel que planteaba que el acto de autoridad era anticonstitucional, la causa de esta acción de inconstitucionalidad era la presencia del Ejército en Michoacán enviados por el Presidente en ese entonces Ernesto Zedillo.
Registro No. 192080
Localización:
Novena Época
Instancia: Pleno
Fuente: Semanario Judicial de la Federación y su Gaceta
XI, Abril de 2000
Página: 549
Tesis: P./J. 38/2000
Jurisprudencia
Materia(s:( Constitucional
“ EJÉRCITO, ARMADA Y FUERZA AÉREA. SU PARTICIPACIÓN EN AUXILIO DE LAS AUTORIDADES CIVILES ES CONSTITUCIONAL (INTERPRETACIÓN DEL ARTÍCULO 129 DE LA CONSTITUCIÓN).
La interpretación histórica, armónica y lógica del artículo 129 constitucional, autoriza considerar que las fuerzas armadas pueden actuar en auxilio de las autoridades civiles, cuando éstas soliciten el apoyo de la fuerza con la que disponen. Por esta razón, el instituto armado está constitucionalmente facultado para actuar en materias de seguridad pública en auxilio de las autoridades competentes y la participación en el Consejo Nacional de Seguridad Pública de los titulares de las Secretarías de la Defensa Nacional y de Marina, quienes por disposición de los artículos 29, fracción I, y 30, fracción I, de la Ley Orgánica de la Administración Pública Federal, tienen a su mando al Ejército, Armada y Fuerza Aérea, no atenta contra el numeral señalado del Código Supremo. Además, la fracción VI del artículo 89 constitucional faculta al presidente de la República a disponer de dichas fuerzas para la seguridad interior. Por estas razones, no es indispensable la declaratoria de suspensión de garantías individuales, prevista para situaciones extremas en el artículo 29 constitucional, para que el Ejército, Armada y Fuerza Aérea intervengan, ya que la realidad puede generar un sinnúmero de situaciones que no justifiquen el estado de emergencia, pero que ante el peligro de que se agudicen, sea necesario disponer de la fuerza con que cuenta el Estado mexicano sujetándose a las disposiciones constitucionales y legales aplicables.
Acción de inconstitucionalidad 1/96. Leonel Godoy Rangel y otros. 5 de marzo de 1996. Once votos. Ponente: Mariano Azuela Güitrón. Secretaria: Mercedes Rodarte Magdaleno.
El Tribunal Pleno, en su sesión privada celebrada hoy veintisiete de marzo en curso, acordó, con apoyo en su Acuerdo Número 4/1996 de veinticuatro de agosto de mil novecientos noventa y seis, relativo a los efectos de las resoluciones aprobadas por cuando menos ocho votos en las controversias constitucionales y en las acciones de inconstitucionalidad, que la tesis que antecede (publicada en marzo de ese año, como aislada, con el número XXIX/96), se publique como jurisprudencial, con el número 38/2000. México, Distrito Federal, a veintisiete de marzo de dos mil.”
Esta resolución fue un precedente para que el Ex Presidente Felipe Calderón dispusiera del ejército en las calles, y de esta manera realizar su guerra absurda contra el crimen organizado, haciendo valer su facultad como Presidente que viene establecida en la la fracción VI del artículo 89, siendo este su fundamento para su acción “bélica”:
“Preservar la seguridad nacional, en los términos de la ley respectiva, y disponer de la totalidad de la Fuerza Armada permanente o sea del Ejército, de la Armada y de la Fuerza Aérea para la seguridad interior y defensa exterior de la Federación. “
Bajo estos argumentos se podría decir que la presencia del Ejército en las calles no trasgrede lo dispuesto en la Constitución en el artículo 129 y de igual manera lo planteado por el artículo 21, que dispone que las fuerzas de seguridad pública sean de carácter civil.
Tomar una decisión de trascendencia como la realizada por Calderón, fundamentándose en una tesis de jurisprudencial, teniendo en cuanta que la resolución de la Corte puede cambiar en cualquier momento, y sabiendo que de los ministros que tomaron aquella resolución solamente se encuentra en la corte en este momento, Juan Silva Meza y Olga Sánchez Cordero.
¿Los actuales ministros resolverían de manera diferente la controversia sobre la presencia del ejército en las calles sin la declaratoria de Estado de emergencia?, la tendencia que ha tomado la SCJN en acotar el fuero militar, al momento que se presente algún conflicto con civiles, podría ser precedente para que la SCJN fallara en contra de la presencia del ejército en las calles.
Como ejemplo encontramos la declaración que realizó el ministro José Ramón Cossío, en el debate realizado por la SCJN en relación del fuero militar señaló:
“Creo que el Ejército no está para cumplir funciones de seguridad pública en términos de la propia Constitución; entiendo que todo el sistema de seguridad pública está construido a partir de servicios de policía, no a partir de servicios de los miembros de las Fuerzas Armadas”
Si se discutiera en este momento la presencia del Ejército en las calles, la SCJN dictaminaría la inconstitucionalidad de este acto de autoridad realizado por Felipe Calderón y sus secretarios de Defensa y Marina, de igual manera él y sus secretarios tendrían que responder por su responsabilidad penal, primero sus secretarios por refrendar un acto completamente en contra de la ley fundamental, y en segundo el Ex Presidente por realizar un decreto completamente contrario a la Constitución que juro guardar y hacer guardar.
El artículo 129 constitucional prohíbe la presencia del Ejército en labores con alguna conexión con la disciplina militar y que se han realizadas en tiempos de paz, en relación el artículo 21 establece que las instituciones de seguridad del país solo pueden ser de carácter civil.
¿Cómo pudo justificar Felipe Calderón, la presencia del Ejército en las calles, en la lucha contra el crimen organizado?, en la fracción VI del artículo 89 de la Constitución otorga la facultad al Presidente de disponer de las fuerzas armadas para garantizar la seguridad interior y la defensa exterior, sin embargo, ¿Qué es la “seguridad interior” que menciona la Carta Magna?
La ley vigente de Seguridad Nacional, no contempla el concepto de “seguridad interior”, que es manejado por la Constitución, en la iniciativa que realizó Felipe Calderón presenta una definición: “Es la condición en la que la estabilidad interna y permanencia del Estado mexicano se encuentran garantizadas a través de la aplicación coordinada de sus recursos y medios”
Sin embargo el Senado de la república al momento que le fue turnada para revisar la iniciativa de reforma, creó su propia definición de “seguridad interior”:
“La condición de estabilidad interna, paz y orden público, que permite a la población su constante mejoramiento y desarrollo económico, social y cultural; y cuya garantía es una función que está a cargo de los tres poderes de gobierno”.
Por último la Cámara de Diputados realizó algunos cambios a la definición planteada en la minuta del Senado, dejándola de la siguiente manera:
“La condición de estabilidad interna y permanencia del Estado mexicano, que permite a la población su constante mejoramiento y desarrollo económico, social y cultural; y cuya garantía es una función que está a cargo de los tres órdenes de gobierno, con la concurrencia de los sectores social y privado”.
Se realizaron dos decretos uno el 9 de mayo de 2007 y otro el 17 de septiembre de 2007, ambos planteaban la creación de un Cuerpo Especial de Fuerzas de Apoyo Federal del Ejercito y la Fuerza Área.
Sin embargo el único fundamento legal que presentan esos decretos es una jurisprudencia mencionada anteriormente, no existía un marco jurídico fuerte que apoyara las acciones de “guerra” del presidente, su proyecto no tuvo mayor trascendencia que solo quedarse en iniciativa, ya que no hubo el impulso suficiente por parte del Ejecutivo, puede ser que Calderón se dio cuenta de ilegalidad que estaba por cometer.
El 23 de abril de 2009 el Ejecutivo realizó una iniciativa de reforma a la Ley de Seguridad Nacional.
Esta Reforma estuvo de paseo en la Cámara de diputados y la Cámara de Senadores durante más de tres años, sin embargo durante ese lapso de tiempo el Ejército se encontraba en “guerra” contra el crimen organizado, sin mandato conforme a la ley.
Esto demuestra la incompetencia de un Congreso en donde solo se manejan intereses de los miembros que conforman las cámaras, el Congreso tuvo la oportunidad de parar de manera legal, una guerra ilegal que termino al final del 2012 con más de 100 mil muertos, y un centenar de desaparecidos, el Congreso es cómplice de la muerte al mostrar su burocracia y no ver por los intereses de los mexicanos.
Felipe Calderón Hinojosa, actuó fuera de la ley, realizando sus funciones como un dictador, y disponiendo de las Fuerzas Armadas sin tener en cuenta ningún procedimiento, realizando un decreto con fundamento en una jurisprudencia que interpreta el artículo 129 Constitucional y ampliando facultades a un servidor público, cuando claramente solamente la ley puede otorgar estas facultades.
Felipe Calderón utilizo las Fuerzas Armadas, sin una declaración previa de guerra, un decreto de disposición del Ejército, Armada y Marina que se base legalmente en un precepto jurídico con más jerarquía que una jurisprudencia realizada en un tiempo social e histórico, que nada tiene que ver con el México bélico que se vive en estos momentos, de igual manera no hubo un decreto ley de suspensión de garantías, las Fuerzas Armadas están actuando fuera de los limites legales, realizando disposiciones y funciones que no le corresponden.
Felipe Calderón Hinojosa traicionó a la patria, al no respetar las disposiciones que plantea la Constitución, es un criminal de guerra, que dejó al país en una de sus mayores crisis de seguridad en su historia, la psicosis que se vive en la mayoría de las entidades de la federación, es más evidente en los Estados norteños pero eso deja fuera al sur del país, que día con día se viven secuestros y extorsiones, la gente ha perdido la confianza de las autoridades y de cualquier persona que se encuentre ahí.
Un Congreso inepto es lo que te tocó a Felipe Calderón que fungió como un cómplice de sus crímenes de lesa humanidad.
Sin fundamento legal, o con un fundamento sin fortaleza jurídica, la “guerra contra el crimen organizado” sigue azotando a México, mientras que el “criminal de guerra” (Felipe Calderón), así acusado ante La Corte Penal Internacional de La Haya, disfruta de unas vacaciones todo pagadas por el Estado mexicano, en virtud de la pensión vitalicia presidencial (250 mil pesos mensuales)
Publicado por Proyecto ambulante @ www.proyectoambulante.org/index.php/noticias/oaxaca/item/...
Antique Farm Implement.
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. September 10, 2020.
Nikon D800. AF-S Nikkor 14-24mm f/2.8g.
(24mm) f/16 @ 1/40 sec. ISO 250.
Antique Farm Implement,
Penn Farm Agricultural Heritage Center.
Cedar Hill State Park. Cedar Hill, Texas.
Dallas County. 24 December 2018.
Olympus E-P5. Panasonic Lumix G Vario 45-200mm f/4-5.6 II.
(45mm) f/8 @ 1/100 sec. ISO 640.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Tone
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows, and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. There are a number of other methods for producing texture in the picture: in addition to choosing a suitable paper, the type of drawing material and the drawing technique will result in different textures. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture will be more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones in close proximity; a light edge next to a dark background will stand out to the eye, and almost appear to float above the surface.
### ........must view as slide show.......##
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Lighted Farm Implement Parade, Sunnyside, Washington. I am pleasantly surprised how sharp these night photos are considering these shots are hand held and mostly shot at 1/30 and slower shutter speed. IMG_1050
Upper left: iron sickle, from Citânia de São Julião de Caldelas (pt.wikipedia).
Lower left: iron axehead (Late Bronze/Iron Age transitional), from São Julião
Center: replicas of two bronze palstaves with loops, from Paredes de Coura
Right: bronze socketed axehead (LBA/IA), from the bank of the river Cávado at Adaúfe, Braga
On display in the Museu Regional de Arqueologia "D. Diogo de Sousa" (Official website; Braga Digital; Braga Romana; pt.wikipedia; en.wikipedia)
Braga, Portugal (Ancient Bracara Augusta: Pleiades; PECS - Perseus; en.wikipedia)
The LEDS GP Annual Event, Implementing LEDS: Innovation and Good Practices, brought together leading officials and practitioners from countries and international institutions in a highly interactive and member-led format, to share lessons and strengthen cooperation on climate-resilient low emission development around the world. The agenda is focussed on two key areas based on demand from members: financing LEDS and assessment and communications of benefits. For more information, including resources from the event, please visit: www.ledsgp.org
I feel as though I've learned as much about photography is these past two weeks as I had in the 12 months preceding them. I am far from having had the practice to put it all into place, but I believe that I am a better photographer for it. I've done 4 things to help me get here:
1 - Invested in the videos and e-books of Ian Plant. They are just brilliant.
2 - Invested in a Wacom tablet and pen. It makes precision changes so much easier.
3 - Invested in a new Macbook Pro. This makes editing so much more a process of implementation, rather than one of waiting. This is especially true when I apply subtle adjustments - I need real time feedback, not spinning balls. Seeing images at this level of detail just inspires me to take sharper, cleaner images.
4 - I've stopped using ND grads and instead use bracketed exposures and use channel masks to blend. It's a 10 fold improvement in technique and means that I can process shots that I used to leave on the memory cards.
4.1 - I shoot in f/16 and manually focus using the little viewfinder indicator to help me know if I am in the right ball park.
This is a simple comp, but is still a blend of 2 shots as the rocks were in deep shadow when exposed for the sky. 2 blended Silver Efex Pro layers again.
Well, this title proves I must be unhinged but I didn't even forget it since last night when I thought it up so it stuck. Unfortunately two of the clunky signs showed in this shot and I will probably clone them out when I collapse the layers back together. Way too much work otherwise. The crowd was a bit much for a Friday weekday and even highway #66 seemed overloaded with travelers and RVs probably on their way up to Estes Park and Rocky Mountain National Park (area right of the wind mill). Highway #66 does not appear in this shot and thank goodness I had little cloning on the cars! I appreciated the way the sky was beginning to display in a spray on the widest angle shots. I moved in for consecutively tighter shots on the red barn after I captured "The old spread" and tried to crop out problems as was possible. I fiddled with the horizon but it has to be on a slant. The terrain slopes down and left to McIntosh Lake that is over in northwest Longmont. On the right hand side of the frame is the new stock shed where they are housing the ponies and pigs while the slow elk, left, have to feed themselves. There are several exhibits inside the red barn for the mommas to explain to the kiddies. All the kiddies want is a cool soda pop as long as they have to walk. Careful, the chickens and bunnies are under foot; a delight to the kiddies no doubt. I went out again on Sunday and shot more photos including some of the signs so I'd have a record. We can't agree which was the McIntosh barn and which was moved in from the FAA property. A strange day it is because the place was empty but Highway #66 was a real pain with folks apparently heading for Rocky Mountain National Park. We just got out of there last Tuesday and I figure it will be a wild one for the summer. You couldn't pay me to go now, except for a cooler day.
This is the McIntosh-Lohr Farm Agricultural Museum on Highway #66, (not the same as Route #66). I had by now dropped everything else. Though the clouding has been absent recently, they really popped the structures today but I still had to wait for the chickens to cross the road before they allowed me passage. Today, though, served up a sprinkle and they promise 92 tomorrow. Keep editing in the cool, I guess. I am spending extra time on the best of the captures considering these abundant skies. I was just in time for the sky. I looked out of my window and jumped up, gathered my camera and split. I scored shots out here some years ago but the sky was a dud and I was using my old D70. The farm/museum is part way between Largemont and Hygiene, Colorado. Today, I can afford the time to stop and look (it was my "race on debt" for being there) over the old shots I ought to have spotted before. I bet though I'd better manage it in an hour or two. They have added new venues and I am in a wandering mood. Here is one of my results. The day would later collapse to overcast, allowing time to start editing. There COULD be some time involved in editing. After I boiled the layers down to a TIFF, I edited objects I could then.
Dreer's quarterly wholesale price list of vegetable seeds flower seeds bulbs aquatics decorative plants hard plants tools implements etc., etc..
Philadelphia, Pa. :Henry A. Dreer,1900..
I took this nearly a year ago, and finally did some tweaking and cropping.
[Explore #326]
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Please don't use this image on websites, blogs or other media without my explicit permission.
© All rights reserved
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Illuminated catalogue of the Albany Agricultural Works, warehouse and seed store /.
Albany, NY :Emery Brothers..
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...
In order to address the problem of water scarcity in Swabi District of Khyber Pakhtunkhwa province, #Alkhidmat Foundation Pakistan Khyber Pakhtunkhwa chapter has implemented another water project in Village Topy. This water project is expected to provide clean water for drinking and domestic usage to almost 23 families living in this village.
Este santuário está
implementado numa vasta
área consagrada ao culto
Mariano e constitui um pólo
de dinamização de
numerosas actividades de
espiritualidade, recolhimento
e apoio social. Na sua
génese, está a resposta das
populações do nordeste
transmontano à mensagem
de Fátima, através de uma
acção liderada por um
sacerdote natural da região: o
P. Manuel Joaquim Ochôa.
Começou a ser edificado em
1961. Para a sua construção
foi necessária a colaboração
de todo o povo de Cerejais,
homens e mulheres; eles com
quatrocentos carros de bois
de pedra e elas com o transporte de toda a água necessária à construção,
muita da qual foi transportada em cântaros, à cabeça.
Além da capela principal, fazem parte do conjunto do santuário:
l O Calvário (fig.1.1) com uma capelinha onde se encontra um conjunto
escultórico, em tamanho natural, que representa o encontro da Mãe
Dolorosa com o seu Divino Filho.
l Uma Via-sacra que percorre o caminho entre a Capela e o Calvário e
cujas cruzes foram esculpidas em granito da aldeia de Romeu.
Dois anos mais tarde, em 28 de Maio de 1967, celebrou-se a “festa dos
Bispos” como ficou conhecida a inauguração dos quinze Mistérios do
Rosário, que estão representados por outras tantas figuras esculpidas que
se distribuem à beira do caminho entre a capela e a Loca do Cabeço. Com
efeito, nas cerimónias desta inauguração, estiveram presentes os bispos
de Bragança-Miranda, Leiria, Lamego e Dili.
Em 1976 foi edificado o primeiro pavilhão da Casa dos Pastorinhos e foi
ampliada a torre sineira.
1977 foi o ano da comemoração do 60º aniversário das aparições em
Fátima e o Santuário dos Cerejais foi o ponto central das comemorações
na diocese de Bragança-Miranda.
seu desejo ao rei que logo pensou juntar o útil ao agradável: fez a vontade
à esposa e aproveitou o pretexto para construir uma fortificação militar nas
proximidades, dado que se tratava de um local estratégico para a
segurança do reino.
A administração da capela e dos seus folgados proventos determinados
por D. Dinis foi entregue aos frades beneditinos do mosteiro do Castro da
Avelãs, que se localiza a cerca de 30 km de distância, próximo a Bragança.
No reinado de D. João III, foi construída a catedral de Miranda, que passou
a ser a sede da diocese para quem passou a administração do santuário.
Durante todos estes anos, as actividades de culto foram promovidas pela
confraria que contava sempre com um mordomo castelhano, o que
confirma a grande influência que o santuário exerce do outro lado da
fronteira. Do lado espanhol o Santuário é designado por “La Ribeiriña”.
Apesar da grande quantidade de romeiros e da celebração anual das
grandes romarias, o templo chegou ao final do século XIX num estado de
apreciável degradação. Providencialmente surgiu um benemérito, próspero
emigrante no Brasil, natural de Castrelos, de seu nome António do Carmo
Pires.
5l-henrique.blogspot.pt/2013/06/alfandega-da-fe-cerejais-...