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Bamboo ink & watercolor on Idin Thai paper, 70 x 100cm, 2010
The Chinese says more than the English: that Suzie "left...and owes two months rent. She married a foreigner and moved to London."
More about the painting here: elizabethbriel.com/blog/http:/elizabethbriel.com/suzie-wo...
Parish Church of St John the Baptist, Little Missenden Village
Grade I listed
List Entry Number: 1332450
Details
LITTLE MISSENDEN LITTLE MISSENDEN VILLAGE 1. 5134 (north side) Parish Church of SU 9298 4/2 St John the Baptist 22.12.58 I 2. C10 or C11 Anglo-Saxon core, C12 arcades, early English chancel, early C14 north chapel, C15 timber framed porch and west tower. Exterior of south aisle brick, C18. Flint with limestone dressings, some roughcast. Old tile roofs, aisles lead roofed. Modern vestry to north in C18 style, roughcast, hipped tiled roof by Quinlan Terry. Wall Paintings: St Christopher, Martyrdom of St Catherine, Passion, Crucifixion and Archangel Gabriel, all C13. Seven Deadly Sins C15, Nativity and Majesty C14. Brasses and Monuments. C12 'Aylesbury' font. RCHM I 232 Monument I.
Listing NGR: SU9208798991
historicengland.org.uk/listing/the-list/list-entry/1332450
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St John the Baptist
Little Missenden
Amersham
HP7 0QY
The ancient Parish Church of St John the Baptist, Little Missenden has touched the lives of generations of families for more than 1000 years. Though founded in the year 975, it actually spans nearly 2000 years of history, bearing in its fabric the marks of Roman, Anglo-Saxon, Norman and Medieval pilgrims. Even today, the Church affords the modern-day pilgrim a warm welcome, a sacred space, a quiet retreat from the busy-ness of everyday life.
www.achurchnearyou.com/church/5930/about-us/
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30 March 2017
Historic Little Missenden church, The Parish Church of St John the Baptist, receives more than £300k in lottery funding for restoration project.
A historic church in Little Missenden, which has appeared on film and television, has been awarded more than £300,000 to “preserve its heritage”.
The Parish Church of St John the Baptist is being supported by the National Lottery grant’s Heritage Lottery Fund for its Christopher Project, which aims to clean, protect and conserve a series of ancient wall paintings, which have been described as an “exceptional ensemble of paintings of different periods and certainly of national importance” by the Courtauld Institute of Art.
The church will receive £305,000 for the project, which will also see the installation of new lighting, plaster repairs, the limewashing of the walls, and improved environmental controls, all designed to “maximise the presentation of the paintings and to ensure their long-term conservation”, plus the creation of an information and education area for visitors.
Earl Howe, minister of state for defence and deputy leader of the House of Lords, who is patron of the church and project, said it would give existing church visitors “opportunities for deeper engagement with the wall paintings and church heritage”.
He added that the project would also attract new audiences, such as schools, families and young people.
He said: “Little Missenden Church is one of the oldest churches in the county, indeed among the oldest in the country.
“The combination of Saxon, Norman, and later medieval architecture, as well as the presence of the 13th century wall paintings, makes this church a nationally important treasure in which we all share a responsibility, nationally and locally, to ensure its conservation and good repair, both now and for future generations.”
The church has been a focal point of the community for more than 1040 years, having been built in the year 975.
www.bucksfreepress.co.uk/news/15192063.Historic_church_re...
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The Church of England parish church of St John the Baptist is a flint building with limestone dressings. Its nave is 10th-century Saxon, built about AD 975. Its plain chancel arch is also Saxon and its imposts are re-used Roman bricks. The aisles, with their Norman arcades, were added in the 12th century: the south first, and the north slightly later. The Aylesbury-style font is also 12th century.
The chancel is now Early English, having been rebuilt in the 13th century. The north chapel was added early in the 14th century. The west tower and timber-framed south porch are 15th-century.
The exterior of the south aisle was rebuilt in brick in the 18th century. On the north side of the church is a modern vestry designed in 18th-century style by Quinlan Terry. The church is a Grade I listed building.
Inside the nave are several Mediæval wall paintings. Most are 13th-century, including a large Saint Christopher in the customary position opposite the south door. Also 13th-century are the paintings of the Martyrdom of St Catherine, Passion of Christ, Crucifixion of Christ, and Archangel Gabriel. There are also 14th-century paintings of the Nativity of Christ and Christ in Majesty, and a 15th-century painting of the Seven deadly sins.
The wall paintings were whitewashed in the 16th century in the English Reformation. In 1931 they were rediscovered and Prof. EW Tristram was called in to uncover and restore them. One painting eluded Tristram: A Doom painting in the customary position over the chancel arch at the east end of the nave. In 2017 traces of a 14th-century Doom were finally discovered, over the chancel arch, hidden behind old plaster.
The west tower has a ring of six bells. John Rufford of Toddington, Bedfordshire cast the third bell in about 1380. The successor of John Danyell of London cast the fourth bell in about 1470. Joseph Carter of Reading, Berkshire cast the fifth bell in 1603. Ellis II and Henry III Knight of Reading cast the tenor bell in 1663. John Warner & Sons of Cripplegate, London cast the second bell in 1881. That made a ring of five[3] until 1948, when Mears and Stainbank of the Whitechapel Bell Foundry cast the present treble bell.
The Great North Air Ambulance "Pride of Cumbria" attending a boating incident on Ullswater.
The pliot was down from Inverness - He was the relief pilot!
The helicopter a Dauphin or Eruocopter AS 365 started out as the first London Air Ambulance before heading north.
It is based at Carlisle.
You can support the service and find out more at Great North Air Ambulance
Sir Drefaldwyn in the workshop at Llanfair Caereinion.
Photograph taken at the Welshpool & Llanfair Light Railway on 17th July 2015
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The Church may have lost its dominant position in Irish society but there is plenty of hope for Christians today. That was the resounding message from Ecumenical Bible Week’s 2019 symposium which took place in the Holy Cross Diocesan Centre, Dublin, last Thursday (June 13).
Three speakers – the Revd Dr Patrick McGlinchey of the Church of Ireland Theological Institute, the Rt Hon Sir Jeffrey Donaldson, MP for Lagan Valley, and Patricia Devlin who is an environmentalist and part of the Orlagh in the City Eucharistic community – tackled the subject: ‘How can we be Christian in Ireland Today? Voices of Hope in a Secularised Ireland’. The thought-provoking discussion, covering the spheres of theology, politics and ecology, was chaired by Archbishop Michael Jackson.
Church and Theology
Proceedings were opened by Dr McGlinchey who outlined the changes which ushered in the secular age. Increased media influences challenged the monolithic religious culture; Vatican II brought about changes in understanding among the faithful which had a knock on effect on the younger generation; there was a distancing among the church–going population; and clerical sexual abuse and institutional cover up alienated people.
However, he said he was convinced that this was not the end of the story and gave three reasons to be encouraged in the face of discouragement. Firstly, the end of Christendom is not evidence that the Christian faith is untrue. He said that we don’t have to mourn the time when the church ruled the roost: “Christianity is a movement, not an institution”. Secondly, the secular narrative that we no longer need God is not true to human nature. Dr McGlinchey said that we live in an age of distraction and the reality of God is not immediately obvious. Thirdly, the secular withdrawal from God will not be maintained because life will become unsatisfying.
He suggested that there were three imperatives for the Church. We must communicate Christ by living out the faith; individual Christians must allow themselves to be transformed by Christ thus making the invisible God visible; and the Church must become a community that serves.
Dr McGlinchey concluded by delivering three unshakeable grounds for hope: Christ has been raised bodily from the grave; the gates of hell shall not prevail against his Church and while it may be challenged it will not be overcome; and we have a hope which is not just for this life, Christians can die well.
Church and Politics
Sir Jeffrey Donaldson said that while the standing of the Church had diminished, it was not the end of the story and that maybe it had to happen. “I’ve seen society changing,” he said. “It is now difficult for me as a Christian to speak publically of my Christian faith … Where tolerance is the mark of this more liberal secular society, I wonder how much tolerance there is for freedom of religious belief. I’ve seen it more so in Great Britain but it is increasing in Northern Ireland.”
Living in the public square, Sir Jeffrey said he had seen the media influence on secularising our culture. “It’s very subtle. They’ve stolen our language. They’ve learned that softening their language can win votes. But by their fruits ye shall know them. It’s what the Church does rather than what the Church knows that will help it regain influence, and by having influence I don’t mean having power,” he stated.
As an MP, he deals with people who are broken and said he could see that there was a hole in their lives. Increasingly people are experiencing mental health problems. Living in the fast lane creates pressure, he said. “When I deal with people who are broken I try to show them that there is something different in how I do business. I don’t put the Bible in front of them … but I do try to show them the love of Jesus. Jesus said that we are to be the salt and the light. I say that the salt is not the main thing but it improves the meal. The Church isn’t the main thing in our society and we have to accept that but what we have to offer can change the main thing and make it better,” he explained.
Turning to the issue of human rights, Sir Jeffrey said that social issues were now presented as human rights. He said in Northern Ireland, recognising that the narrative about abortion is changing, they have sought to push back in the debate with a new approach proclaiming that both lives matter. “We have to look at the narrative and we have to show respect. But we're also entitled to receive respect. The media narrative tends to lean against that. People who come from a Christian perspective can be torn apart in the media. We need to stand up and say that if you believe in human rights, then freedom of expression is part of that,” he stated. He reported that the Council of Europe was exploring the concept of reasonable accommodation in seeking ways of accommodating people who have a conscientious difficulty with the laws that have been put in place.
“As a politician and primarily a Christian, I am not despondent or without hope. The relevance of the Church is still there. The message of Jesus is still there. We should be putting Jesus front and centre at the heart of what we do. We shouldn’t be afraid to say it and it concerns me that on the big debates either the media leave the voice of the Church out or that Church leaders don’t want to enter that very difficult arena,” he said. He argued that he did not feel that Christianity could not be progressive but he said he was not sure that taking the life of a baby was progressive. He added that after 30 years of Troubles in Northern Ireland, there was a lot of healing and reconciliation to be done across the island and the Church had a role to play in this.
Church and Ecology
“The house is on fire,” said Patricia Devlin. In searching for all the possible ways of being Christian in Ireland today she said this was the message that spoke loudest to her. “The message of being a Christian in Ireland today has to include ecological conversion,” she stated.
Focusing on Pope Francis’s Laudato Si encyclical, she said that climate change called Christians to seek a more equitable distribution of materials and a more equitable version of consumerism. “We who live this style of life must be aware that we can and must learn from those who have less than we have at the very point where we want more and more,” she said.
Human choice can change the tide of global warming, she stated. She added that for the first time in history we are recognising that our choices affect the environment and that we can do something about it. “Life on earth as we know it is changing. We have 12 years to get control of carbon emissions before irreparable damage is done and I pray that the ecumenical movement can grasp this,” she said. The greatest contribution Christians can make is to understand the challenge and contribute to the transformation of consciousness.
Personal, community and global economic relationships need to change and this cannot happen without a change in morality, she contended. This will affect what we eat, what we wear, what we buy, our assets, where we shop, where we go on holidays, where we educate our children … in short it will change everything. It also means changing our perception of our relationship with God, she said. The good news is that more people are now taking notice and taking action, she said.
Pope Francis’s vision for the environment is tripartite, she stated, involving God, Nature and human ecologies. She explained that the human root causes of the environment crisis stemmed from misuse of creativity and the power of technology, our anthropocentric perspective, practical relativism and our reductionist perceptions of human beings. She said the Church could contribute to change by educating for the covenant between humanity and the environment and facilitating ecological conversion. “Christians are being challenged to speak for the climate in the public square, in their churches, in their places of work and in their lifestyles,” Mrs Devlin concluded.
Done as part of the "Strobist: Lighting 102" exercise, with a few variations:
First, the lighting in the room was very dim. Sorry, didn't want to mess with it that much just for the purposes of this shot. Second, I shot at f/8, not f/5.6.
Second... um, I kinda missed the part where I was supposed to shoot the subject (ha ha, that's me again) from the perspective of the light. Oops, sorry.
I used an off-camera Promaster 7500DX triggered via PocketWIzard. Other than cropping and stitching the images together, these are SOOC (shot in JPEG).
(For those of you to whom this sounds like gibberish: the idea was to practice moving a light around your subject so you can see how positioning changes it.)
going through this exercise to learn a bit more about light and angles - strobist.blogspot.com/2007/06/lighting-102-unit-11-positi...
Equipment: Nikon D70, Vivitar 283 on camera, and snooted to trigger optical slaved remote. Sunpak 433D off camera.
The D70 has an integrated flash, but for some reason, it wasn't triggering my optical slave correctly, and the flashs were out of sync. Putting the Vivitar up there fixed the problem.
This is a photograph from the second running of the newly situated Irish 3/4 Marathon (formerly the Athlone 3/4) which was held in Longwood, Enfield, Co. Meath, Ireland on Sunday 8th of October 2017 at 10:00. The event is positioned perfectly in the calendar as a key training race before the Dublin City Marathon at the end of the month. This year was the second year that the event was held in Longwood, Co. Meath which is now well known for its hosting of the Longwood 10KM/5KM annual races and a host venue for East of Ireland Marathon series marathons on a bi-annual basis. The race started and finished at Longwood GAA club just outside the village of Longwood. It followed an anti-clockwise course around the beautiful picturesque countryside of south Meath. The course went through the townlands of Longwood, Castlerickard, Killyon, Hill-of-Down, Anneville and Ashfield Clonard, Blackshare, Stoneyford and back to Longwood. The river Boyne and Blackwater were crossed as was the Royal Canal and the Dublin-Sligo Railway line at Hill-of-Down. Overall this was a very different course to the previous years in Athlone. The overall elevation of the course works out at 3/4 of the total elevation of the Dublin Marathon course. What most stood out about today's race was the course and how the countryside around it looked on a beautiful almost perfect Autumn morning. There was a large local effort with stewarding and many local people watched from their gardens as the race passed by. The organisation of the race was first class with every detail taken care of from the start until the finish. There was some rain showers from about 13:00 onwards but these soon passed.
There is a large set of photographs from today's race - taken at the start in Longwood village and the 25KM mark outside near our home.
They are available on our Flickr photostream at the following set. www.flickr.com/photos/peterm7/albums/72157687694983023
Photographs from 2016's race are available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157673672195732
NOTE: These are completely unofficial photographs are not connected commercially with the Irish 3/4 marathon event photography. Please check the Official Website www.irish3quartermarathon.ie/ for official photographs and other media.
USING OUR PHOTOGRAPHS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Exercise Jebel Sahara - Joint military exercise between the Royal Gibraltar Regiment and the 2nd Parachute Batalion of the Royal Moroccan armed forces. Held near Marrakech every two years.
© DM Parody 2012
The riders from the T70s close assault the 88 position and easily defeat the luftwaffe gunners. At this point we decided to call it. There was no way that the Junkers were going to get out of there with Soviet tanks running amok. The Russian players got lucky with their deployment on the table-not too far off and pretty coordinated. The Germans had some miscues with their deployment that cost them some commanders getting units into action. I had thought about giving the Germans a couple of Marders since there were some in the area earlier, but thought there was just too much firepower already out there. Overall, I think this would've worked better on a bigger table-8X6. I did enjoy getting some new players involved into the TFL universe.
Second exercise in lighting from the Strobist blog. For this one, we were to vary the distance of the light and see how that affects the depth of field. Upper left photo is four/five feet distant at lowest power on the strobe (1/32), but also relatively close to the background. Moved the chair away from the wall a little in upper right corner photo and the light is now around two feet.
The light backs up again in the lower left corner, around 3 feet, and then it's snooted in lower right and very close, maybe a foot distant, with a lower aperture to boot.
There is a statue of Zhukov on horseback as he appeared at the 1945 victory parade on Manezhnaya Square at the entrance of the Kremlin in Moscow.
Georgy Konstantinovich Zhukov (1 Dec 1896 – 18 June 1974) was Marshal of the Soviet Union from 1943 to 1957. He also served as Chief of the General Staff, Minister of Defence, and was a member of the Presidium of the Communist Party (later Politburo). During World War II, Zhukov oversaw some of the Red Army's most decisive victories, after which he was appointed the military governor of the Soviet occupation zone in Germany.
Born to a poor peasant family from central Russia, Zhukov was conscripted into the Imperial Russian Army and fought in World War I. He served in the Red Army during the Russian Civil War. Gradually rising through the ranks, by 1939 Zhukov had been given command of an army group and won a decisive battle over Japanese forces at Khalkhin Gol, for which he won the first of his four Hero of the Soviet Union awards. In February 1941, Zhukov was appointed as chief of the Red Army's General Staff.
Following the German invasion of the Soviet Union, Zhukov lost his position as chief of the general staff. Subsequently, he organized the defences of Leningrad, Moscow, and Stalingrad. He participated in planning several major offensives, including the Battle of Kursk, and Operation Bagration. In 1945, Zhukov commanded the 1st Belorussian Front; he took part in the Vistula–Oder Offensive, and the Battle of Berlin. In recognition of Zhukov's role in the war, he was chosen to accept the German Instrument of Surrender, and inspect the 1945 Moscow Victory Parade.
After the war, Zhukov's success and popularity caused Joseph Stalin to see him as a potential threat. Stalin stripped him of his positions and relegated him to military commands of little strategic significance. After Stalin's death in 1953, Zhukov supported Nikita Khrushchev's bid for Soviet leadership. In 1955, he was appointed as Defence Minister and made a member of the Presidium. In 1957, Zhukov lost favour again and was forced to retire. He never returned to a position of influence and died in 1974. Zhukov is remembered as one of the greatest Russian and Soviet military leaders of all time, along with Alexander Suvorov, Mikhail Barclay de Tolly, and Mikhail Kutuzov.
This old tree seems to have lost its fight with the harsh elements, but even now, it stands graceful as a ballerina in third position.
11" x 14", oil on panel
I have a very difficult problem with hand drills. I like them a bit too much. Which is why I own far too many. I also own three reciprocating hand drills.
These hand drills are made for very specific purposes and aren't as versatile as the larger hand drills. But they're still excellent tools.
The idea behind the reciprocating or Archimedean hand drills is very simple. A traveling handle runs up and down along a threaded shaft. This motion makes the drill spin and the rest is history. These drills are very useful for very small tasks and for drilling in tight corners. The long shaft also makes it easier to align the drill against the workpiece. My favorite method is securing the top handle of the drill against my waist and drilling straight into the workpiece. When you really need to drill tiny holes with very small bits I also find these drills indispensable. You can control both the speed and pressure very well with these.
The drills in the pictures are as follows:
Reciprocating hand drill no 50 from North Bros.
This one is the most technically advanced of them all. The traveling handle conceals a ratchet mechanism and gear box and the clickety-click sound is almost identical to that of the famous no 1530 hand drill. There are no gears, but the traveling handle can be set to locked position, forward and reverse. This one is a truly smooth operator and a high quality tool just as we know most things made by North Bros.
The two others are very similar. They're both made by Goodell Pratt. The one with the longer, concave travelling handle is the model 101 and the one with the bulbous handle is the no 0.
The chuck is the same as on most smaller GP hand drills. These only move in the forward direction, but the chuck can be locked by lowering the traveling towards the chuck where it will engage with a pin. This locks the chuck for bit removal. The GP no 0 and 101 share the same centre nut, which is made of bronze.
According to Randy Roeder's website oldtoolheaven.com early models featured top handle pads made of lignum vitae hand and traveling handles made of cherry.
Both of my drills seem to have stained hardwood traveling handles and I'm unsure about the top handle.
If I would go only by the patent date on the chuck you would think that my drills are the older type, but I believe that Goodell Pratt kept their patent date on the chuck well beyond it's expiration, so I really don't think you can determine the age just by the patent date. I've seen very little lignum vitae or cherry in the flew, which makes me unsure but I'd say that the traveling handles are stained hardwood rather than anything else.
Reciprocating drills are limited to a maximum size of 1/4 inch or 6 mm, so they do have certain boundaries. But they are very good tools for the right kind of job.
Géimhleag- There are two in this photo. Suppose the nearest English Word is "crow bar" or iron lever but I have never actually seen a Géimhleag in a shop. I think the old Blacksmiths made them.
Amazing weekend at Silverstone at the end of June 2013, despite a disappointing experience with a hired 100-400mm lens. Found out after the event that the aperture was stuck almost closed and so I had to crank the ISO right up to get any kind of decent shutter speeds...so some of these don\'t stand up to too much close inspection! Thanks to Mutts Away for cleaning these up with a pass through his noise reduction Photoshop add-in.
Images taken by hoan luong is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Fifteen minutes plus one lap of a 1.1km undulating circuit around the old Victorian Smithfield's meat market. Adopting an aerodynamic position (as demonstrated in last years race) may help a little, but I would image it doesn't make it that much easier on a Boris bike!
_FX02926a
All Rights Reserved © 2015 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
Positioned on the northern bank of the Brisbane River, Brisbane Powerhouse was developed from a decommissioned power station.
The original New Farm powerhouse, designed by architect Roy Rusden Ogg and commissioned by the newly formed Greater Brisbane City Council, went into service as the first council-operated power station built in Brisbane in June 1928.[2][3] Earlier power stations in Brisbane had been operated by private companies. The New Farm powerhouse supplied electricity for the whole tramway network. A total of 56 MW could be produced at 11 kV 3 phase. It also produced power and lighting loads for the suburbs of Yeerongpilly, Toowong and Ithaca.[4] As Brisbane grew, more suburbs drew their electrical power from the powerhouse. The commercial areas and older suburbs of Brisbane drew their electricity from a private power generating company called the City Electric and Light Company, whose powerhouses were located on the Bulimba Reach of the Brisbane River.
The electric light power house in ca. 1950
The Government of Queensland decided that there should be one electrical authority for South East Queensland in 1961.[5] In 1963, the City Council sold the New Farm powerhouse to the Southern Electrical Authority which was part of the Queensland Government.[6]
Following a change in Council transport policy in 1967 the tram system was converted to bus operation and the last tram in Brisbane finally operated on 13 April 1969. The powerhouse was decommissioned in 1971[6] becoming derelict due to declining workloads and increasing maintenance costs.[3] Swanbank Power Station became the region's main supplier of electricity.[4] For approximately 20 years the building was used as a works depot, a chemical store by the Queensland Government and by the Australian Defence Force for military exercises.[4]
The building was also used by homeless people for shelter and by street kids for parties and gatherings,[4] with some leaving reminders of themselves; dates, words, their names and art on the walls of the building. These elements contribute to its being such a unique place that photographers and film makers similarly made use of the deserted space filming both commercial and artistic works over the period.[4] In 1989, the ownership of the site was returned to the Brisbane City Council
On basic cameras like this, the film position is indicated by markings on the paper film backing, visible through a small red window. Cover this up when you're not using it.
The markings vary depending on the film used. This symbol means "keep winding"!
Holding position, alternative shot with flash....
Bought this guy a week ago on a flea-market, and it's one of my favourite modern Action Man figures. If they made more figs like this one, I'd be much more interrested in this line. maybe that's beacause of his GI.Joe vibe, instead of being an orange coloured, enviromental tree hugging skating loonatic like usual.
Looking back towards the Federal positions.
Gaines' Mill Battle took place on June 27, 1862. The United States Army of the Potomac under command of General George B. McClellan had advanced with in 7 miles of Richmond, the capital of the Confederate States. For six weeks, the US Army sat along the banks of the Chickahominy River. Finally at the end of June fighting broke out when General McClellan attacked the Confederates on June 25. Confederate General Robert E. Lee then opened an attack on the Union Army at Mechanicsville and pushed the Union Army back through Mechanicsville to Cold Harbor.
On June 26, the Armies had reached the farm of Dr. Gaines, a prominent citizen in the area. His home had been used as headquarters of the Union army for weeks while he and his family were held under house arrest. In fact, the United States Balloon Corps. had the HQ at Dr. Gaines' farm and sent manned balloons into the air to spy on Richmond.
When Lee and his army began pushing the Federals back, they made it to Boatswain Creek and through a multiple series of events a fierce battle took place here on June 27. The Confederates eventually achieved a victory here at Gaines' Mill and sent McClellan and Army back towards the James River. Of course, several more battles were fought on the way to the James.
This field would be scene to battle again two years later when the armies descend upon here to fight the Battle of Cold Harbor in 1864.
Interesting note: this is actually land that was owned by the Watt family in the war, not Dr. Gaines. His mill is about a mile to the west of here...this is home to the fiercest fighting (according to NPS signage).