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Mariahilferstraße
Mariahilferstraße, 6th, 7th, 14th and 15th, since 1897 (in the 6th and 7th district originally Kremser Sraße, then Bavarian highway, Laimgrubner main road, Mariahilfer main street, Fünfhauserstraße, Schönbrunnerstraße and Penzinger Poststraße, then Schönbrunner Straße), in memory of the old suburb name; Mariahilf was an independent municipality from 1660 to 1850, since then with Gumpendorf, Magdalenengrund, Windmühle and Laimgrube 6th District.
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Mariahilferstraße, 1908 - Wien Museum
Mariahilferstraße, 1908
Picture taken from "August Stauda - A documentarian of old Vienna"
published by Christian Brandstätter - to Book Description
History
Pottery and wine
The first ones who demonstrably populated the area of today's Mariahilferstraße (after the mammoth) were the Illyrians. They took advantage of the rich clay deposits for making simple vessels. The Celts planted on the sunny hills the first grape vines and understood the wine-making process very well. When the Romans occupied at the beginning of our Era Vienna for several centuries, they left behind many traces. The wine culture of the Celts they refined. On the hill of today's Mariahilferstraße run a Roman ridge trail, whose origins lay in the camp of Vindobona. After the rule of the Romans, the migration of peoples temporarily led many cultures here until after the expulsion of the Avars Bavarian colonists came from the West.
The peasant Middle Ages - From the vineyard to the village
Thanks to the loamy soil formed the winery, which has been pushed back only until the development of the suburbs, until the mid-17th Century the livelihood of the rural population. "Im Schöff" but also "Schöpf - scoop" and "Schiff - ship" (from "draw of") the area at the time was called. The erroneous use of a ship in the seal of the district is reminiscent of the old name, which was then replaced by the picture of grace "Mariahilf". The Weinberg (vineyard) law imposed at that time that the ground rent in the form of mash on the spot had to be paid. This was referred to as a "draw".
1495 the Mariahilfer wine was added to the wine disciplinary regulations for Herrenweine (racy, hearty, fruity, pithy wine with pleasant acidity) because of its special quality and achieved high prices.
1529 The first Turkish siege
Mariahilferstraße, already than an important route to the West, was repeatedly the scene of historical encounters. When the Turks besieged Vienna for the first time, was at the lower end of today Mariahilferstrasse, just outside the city walls of Vienna, a small settlement of houses and cottages, gardens and fields. Even the St. Theobald Monastery was there. This so-called "gap" was burned at the approach of the Turks, for them not to offer hiding places at the siege. Despite a prohibition, the area was rebuilt after departure of the Turks.
1558, a provision was adopted so that the glacis, a broad, unobstructed strip between the city wall and the outer settlements, should be left free. The Glacis existed until the demolition of the city walls in 1858. Here the ring road was later built.
1663 The new Post Road
With the new purpose of the Mariahilferstrasse as post road the first three roadside inn houses were built. At the same time the travel increased, since the carriages were finally more comfortable and the roads safer. Two well-known expressions date from this period. The "tip" and "kickbacks". In the old travel handbooks of that time we encounter them as guards beside the route, the travel and baggage tariff. The tip should the driver at the rest stop pay for the drink, while the bribe was calculated in proportion to the axle grease. Who was in a hurry, just paid a higher lubricant (Schmiergeld) or tip to motivate the coachman.
1683 The second Turkish siege
The second Turkish siege brought Mariahilferstraße the same fate. Meanwhile, a considerable settlement was formed, a real suburb, which, however, still had a lot of fields and brick pits. Again, the suburb along the Mariahilferstraße was razed to the ground, the population sought refuge behind the walls or in the Vienna Woods. The reconstruction progressed slowly since there was a lack of funds and manpower. Only at the beginning of the 18th Century took place a targeted reconstruction.
1686 Palais Esterhazy
On several "Brandstetten", by the second Turkish siege destroyed houses, the Hungarian aristocratic family Esterhazy had built herself a simple palace, which also had a passage on the Mariahilferstrasse. 1764 bought the innkeeper Paul Winkelmayr from Spittelberg the building, demolished it and built two new buildings that have been named in accordance with the Esterhazy "to the Hungarian crown."
17th Century to 19th Century. Fom the village to suburb
With the development of the settlements on the Mariahilferstraße from village to suburbs, changed not only the appearance but also the population. More and more agricultural land fell victim to the development, craftsmen and tradesmen settled there. There was an incredible variety of professions and trades, most of which were organized into guilds or crafts. Those cared for vocational training, quality and price of the goods, and in cases of unemployment, sickness and death.
The farms were replaced by churches and palaces, houses and shops. Mariahilf changed into a major industrial district, Mariahilferstrasse was an important trading center. Countless street traders sold the goods, which they carried either with them, or put in a street stall on display. The dealers made themselves noticeable by a significant Kaufruf (purchase call). So there was the ink man who went about with his bottles, the Wasserbauer (hydraulic engineering) who sold Danube water on his horse-drawn vehicle as industrial water, or the lavender woman. This lovely Viennese figures disappeared with the emergence of fixed premises and the improvement of urban transport.
Private carriages, horse-drawn carriages and buggies populated the streets, who used this route also for trips. At Mariahilferplatz Linientor (gate) was the main stand of the cheapest and most popular means of transport, the Zeiselwagen, which the Wiener used for their excursions into nature, which gradually became fashionable. In the 19th Century then yet arrived the Stellwagen (carriage) and bus traffic which had to accomplish the connection between Vienna and the suburbs. As a Viennese joke has it, suggests the Stellwagen that it has been so called because it did not come from the spot.
1719 - 1723 Royal and Imperial Court Stables
Emperor Charles VI. gave the order for the construction of the stables to Johann Bernhard Fischer von Erlach. 1772 the building was extended by two houses on the Mariahilferstrasse. The size of the stables still shows, as it serves as the Museum Quarter - its former importance. The Mariahilferstraße since the building of Schönbrunn Palace by the Imperial court very strongly was frequented. Today in the historic buildings the Museum Quarter is housed.
The church and monastery of Maria Hülff
Coloured engraving by J. Ziegler, 1783
1730 Mariahilferkirche
1711 began the renovation works at the Mariahilferkirche, giving the church building today's appearance and importance as a baroque monument. The plans stem from Franziskus Jänkl, the foreman of Lukas von Hildebrandt. Originally stood on the site of the Mariahilferkirche in the medieval vineyard "In Schoeff" a cemetery with wooden chapel built by the Barnabites. Already in those days, the miraculous image Mariahilf was located therein. During the Ottoman siege the chapel was destroyed, the miraculous image could be saved behind the protective walls. After the provisional reconstruction the miraculous image in a triumphal procession was returned, accompanied by 30,000 Viennese.
1790 - 1836 Ferdinand Raimund
Although in the district Mariahilf many artists and historical figures of Vienna lived , it is noticeable that as a residence they rather shunned the Mariahilferstraße, because as early as in the 18th Century there was a very lively and loud bustle on the street. The most famous person who was born on the Mariahilferstrasse is the folk actor and dramatist Ferdinand Raimund. He came in the house No. 45, "To the Golden deer (Zum Goldenen Hirschen)", which still exists today, as son of a turner into the world. As confectioners apprentice, he also had to visit the theaters, where he was a so-called "Numero", who sold his wares to the visitors. This encounter with the theater was fateful. He took flight from his training masters and joined a traveling troupe as an actor. After his return to Vienna, he soon became the most popular comedian. In his plays all those figures appeared then bustling the streets of Vienna. His most famous role was that of the "ash man" in "Farmer as Millionaire", a genuine Viennese guy who brings the wood ash in Butte from the houses, and from the proceeds leading a modest existence.
1805 - 1809 French occupation
The two-time occupation of Vienna by the French hit the suburbs hard. But the buildings were not destroyed fortunately.
19th century Industrialization
Here, where a higher concentration of artisans had developed as in other districts, you could feel the competition of the factories particularly hard. A craftsman after another became factory worker, women and child labor was part of the day-to-day business. With the sharp rise of the population grew apartment misery and flourished bed lodgers and roomers business.
1826
The Mariahilferstraße is paved up to the present belt (Gürtel).
1848 years of the revolution
The Mariahilferstraße this year was in turmoil. At the outbreak of the revolution, the hatred of the people was directed against the Verzehrungssteuerämter (some kind of tax authority) at the lines that have been blamed for the rise of food prices, and against the machines in the factories that had made the small craftsmen out of work or dependent workers. In October, students, workers and citizens tore up paving stones and barricaded themselves in the Mariahilfer Linientor (the so-called Linienwall was the tax frontier) in the area of today's belt.
1858 The Ring Road
The city walls fell and on the glacis arose the ring-road, the now 6th District more closely linking to the city center.
1862 Official naming
The Mariahilferstraße received its to the present day valid name, after it previously was bearing the following unofficial names: "Bavarian country road", "Mariahilfer Grund Straße", "Penzinger Street", "Laimgrube main street" and "Schönbrunner Linienstraße".
The turn of the century: development to commercial street
After the revolution of 1848, the industry displaced the dominant small business rapidly. At the same time the Mariahilferstraße developed into the first major shopping street of Vienna. The rising supply had to be passed on to the customer, and so more and more new shops sprang up. Around the turn of the century broke out a real building boom. The low suburban houses with Baroque and Biedermeier facade gave way to multi-storey houses with flashy and ostentatious facades in that historic style mixture, which was so characteristic of the late Ringstrasse period. From the former historic buildings almost nothing remained. The business portals were bigger and more pompous, the first department stores in the modern style were Gerngross and Herzmansky. Especially the clothing industry took root here.
1863 Herzmansky opened
On 3 March opened August Herzmansky a small general store in the Church Lane (Kirchengasse) 4. 1897 the great establishment in the pin alley (Stiftgasse) was opened, the largest textile company of the monarchy. August Herzmansky died a year before the opening, two nephews take over the business. In 1928, Mariahilferstraße 28 is additionally acquired. 1938, the then owner Max Delfiner had to flee, the company Rhonberg and Hämmerle took over the house. The building in Mariahilferstrasse 30 additionally was purchased. In the last days of the war in 1945 it fell victim to the flames, however. 1948, the company was returned to Max Delfiner, whose son sold in 1957 to the German Hertie group, a new building in Mariahilferstrasse 26 - 30 constructing. Other ownership changes followed.
1869 The Pferdetramway
The Pferdetramway made it first trip through the Mariahilferstraße to Neubaugasse.
Opened in 1879 Gerngroß
Mariahilferstraße about 1905
Alfred Gerngross, a merchant from Bavaria and co-worker August
Herzmanskys, founded on Mariahilferstrasse 48/corner Church alley (Kirchengasse) an own fabric store. He became the fiercest competitor of his former boss.
1901 The k.k. Imperial Furniture Collection
The k.k. Hofmobilien and material depot is established in Mariahilferstrasse 88. The collection quickly grew because each new ruler got new furniture. Today, it serves as a museum. Among other things, there is the office of Emperor Franz Joseph, the equipment of Emperor Maximilian of Mexico from Miramare Castle, the splendid table of Charles VI. and the furniture from the Oriental Cabinet of Crown Prince Rudolf.
1911 The House Stafa
On 18 August 1911, on the birthday of Emperor Franz Joseph, corner Mariahilferstraße/imperial road (Kaiserstraße) the "central palace" was opened. The construction by its architecture created a sensation. Nine large double figure-relief panels of Anton Hanak decorated it. In this building the "1st Vienna Commercial sample collective department store (Warenmuster-Kollektivkaufhaus)", a eight-storey circular building was located, which was to serve primarily the craft. The greatest adversity in the construction were underground springs. Two dug wells had to be built to pump out the water. 970 liters per minute, however, must be pumped out until today.
1945 bombing of Vienna
On 21 February 1945 bombs fell on the Mariahilferstrasse, many buildings were badly damaged. On 10th April Wiener looted the store Herzmansky. Ella Fasser, the owner of the café "Goethe" in Mariahilferstrasse, preserved the Monastery barracks (Stiftskaserne) from destruction, with the help other resistance fighters cutting the fire-conducting cords that had laid the retreating German troops. Meanwhile, she invited the officers to the cafe, and befuddled them with plenty of alcohol.
Previously published: 050929-F-6705C-151 BALAD AIR BASE, Iraq – Airmen applaud and cheer, thanking wounded Soldiers and Marines for their service in the fight against Al Qaeda in Iraq as they are brought aboard the last C-141 Starlifter combat-zone aeromedical evacuation flight Sept. 29, 2005. The aircraft, assigned to the Air Force Reserve Command's 445th Airlift Wing at Wright-Patterson Air Force Base, Ohio, transported the injured service members to Landstuhl Medical Center, Germany, for treatment. This flight concluded more than three decades of overseas aeromedical evacuation missions with the aircraft, beginning during the Vietnam War. Currently, aeromedical evacuation missions out of Iraq and Afghanistan are are flown on the C-17 Globemaster III. (U.S. Air Force photo by Maj. Robert Couse-Baker)
OK, it's just in a Legal Journal's "Fiction Edition" (legal fiction?), but it's still pretty cool. Unfortunately, the printing process did a number on the photo itself. It looks better here than in reality, since I did some post processing.
Johann Gottfried (after 1802: von) Herder (25 August 1744 – 18 December 1803) was a German philosopher, theologian, poet, and literary critic. He is associated with the periods of Enlightenment, Sturm und Drang, and Weimar Classicism.
Works and ideas
In 1772 Herder published Treatise on the Origin of Language and went further in this promotion of language than his earlier injunction to "spew out the ugly slime of the Seine. Speak German, O You German". Herder now had established the foundations of comparative philology within the new currents of political outlook.
Throughout this period, he continued to elaborate his own unique theory of aesthetics in works such as the above, while Goethe produced works like The Sorrows of Young Werther – the Sturm und Drang movement was born.
Herder wrote an important essay on Shakespeare and Auszug aus einem Briefwechsel über Ossian und die Lieder alter Völker (Extract from a correspondence about Ossian and the Songs of Ancient Peoples) published in 1773 in a manifesto along with contributions by Goethe and Justus Möser. Herder wrote that "A poet is the creator of the nation around him, he gives them a world to see and has their souls in his hand to lead them to that world." To him such poetry had its greatest purity and power in nations before they became civilised, as shown in the Old Testament, the Edda, and Homer, and he tried to find such virtues in ancient German folk songs and Norse poetry and mythology.
After becoming General Superintendent in 1776, Herder's philosophy shifted again towards classicism. Herder was at his best during this period, and produced works such as his unfinished Outline of a Philosophical History of Humanity which largely originated the school of historical thought. Herder's philosophy was of a deeply subjective turn, stressing influence by physical and historical circumstance upon human development, stressing that "one must go into the age, into the region, into the whole history, and feel one's way into everything". The historian should be the "regenerated contemporary" of the past, and history a science as "instrument of the most genuine patriotic spirit".
Herder gave Germans new pride in their origins, modifying that dominance of regard allotted to Greek art (Greek revival) extolled among others by Johann Joachim Winckelmann and Gotthold Ephraim Lessing. He remarked that he would have wished to be born in the Middle Ages and mused whether "the times of the Swabian emperors" did not "deserve to be set forth in their true light in accordance with the German mode of thought?". Herder equated the German with the Gothic and favoured Dürer and everything Gothic. As with the sphere of art, equally he proclaimed a national message within the sphere of language. He topped the line of German authors emanating from Martin Opitz, who had written his Aristarchus, sive de contemptu linguae Teutonicae in Latin in 1617, urging Germans to glory in their hitherto despised language. Herder's extensive collections of folk-poetry began a great craze in Germany for that neglected topic.
Along with Wilhelm von Humboldt, Herder was one of the first to argue that language determines thought, a theme that two centuries later would be central to the Sapir–Whorf hypothesis. Herder's focus upon language and cultural traditions as the ties that create a "nation" extended to include folklore, dance, music and art, and inspired Jacob and Wilhelm Grimm in their collection of German folk tales.
Herder attached exceptional importance to the concept of nationality and of patriotism – "he that has lost his patriotic spirit has lost himself and the whole worlds about himself", whilst teaching that "in a certain sense every human perfection is national". Herder carried folk theory to an extreme by maintaining that "there is only one class in the state, the Volk, (not the rabble), and the king belongs to this class as well as the peasant". Explanation that the Volk was not the rabble was a novel conception in this era, and with Herder can be seen the emergence of "the people" as the basis for the emergence of a classless but hierarchical national body.
The nation, however, was individual and separate, distinguished, to Herder, by climate, education, foreign intercourse, tradition and heredity. Providence he praised for having "wonderfully separated nationalities not only by woods and mountains, seas and deserts, rivers and climates, but more particularly by languages, inclinations and characters". Herder praised the tribal outlook writing that "the savage who loves himself, his wife and child with quiet joy and glows with limited activity of his tribe as for his own life is in my opinion a more real being than that cultivated shadow who is enraptured with the shadow of the whole species", isolated since "each nationality contains its centre of happiness within itself, as a bullet the centre of gravity". With no need for comparison since "every nation bears in itself the standard of its perfection, totally independent of all comparison with that of others" for "do not nationalities differ in everything, in poetry, in appearance, in tastes, in usages, customs and languages? Must not religion which partakes of these also differ among the nationalities?"
Following a trip to Ukraine, Herder wrote a prediction in his diary (Journal meiner Reise im Jahre 1769) that Slavic nations would one day be the real power in Europe, as the western Europeans would reject Christianity and rot away, while the eastern European nations would stick to their religion and their idealism, and would this way become the power in Europe. More specifically, he praised Ukraine's "beautiful skies, blithe temperament, musical talent, bountiful soil, etc. [...] someday will awaken there a cultured nation whose influence will spread [...] throughout the world." One of his related predictions was that the Hungarian nation would disappear and become assimilated by surrounding Slavic peoples; this prophecy caused considerable uproar in Hungary and is widely cited to this day.
Germany and the Enlightenment
This question was further developed by Herder's lament that Martin Luther did not establish a national church, and his doubt whether Germany did not buy Christianity at too high a price, that of true nationality. Herder's patriotism bordered at times upon national pantheism, demanding of territorial unity as "He is deserving of glory and gratitude who seeks to promote the unity of the territories of Germany through writings, manufacture, and institutions" and sounding an even deeper call:
"But now! Again I cry, my German brethren! But now! The remains of all genuine folk-thought is rolling into the abyss of oblivion with a last and accelerated impetus. For the last century we have been ashamed of everything that concerns the fatherland."
In his Ideas upon Philosophy and the History of Mankind he even wrote, "Compare England with Germany: the English are Germans, and even in the latest times the Germans have led the way for the English in the greatest things."
Herder, who hated absolutism and Prussian nationalism, but who was imbued with the spirit of the whole German Volk, yet as historical theorist turned away from the light of the eighteenth century. Seeking to reconcile his thought with this earlier age, Herder sought to harmonize his conception of sentiment with reasoning, whereby all knowledge is implicit in the soul; the most elementary stage is sensuous and intuitive perception which by development can become self-conscious and rational. To Herder, this development is the harmonizing of primitive and derivative truth, of experience and intelligence, feeling and reasoning.
Herder is the first in a long line of Germans preoccupied with this harmony. This search is itself the key to much in German theory. And Herder was too penetrating a thinker not to understand and fear the extremes to which his folk-theory could tend, and so issued specific warnings. He argued that Jews in Germany should enjoy the full rights and obligations of Germans, and that the non-Jews of the world owed a debt to Jews for centuries of abuse, and that this debt could be discharged only by actively assisting those Jews who wished to do so to regain political sovereignty in their ancient homeland of Israel. Herder refused to adhere to a rigid racial theory, writing that "notwithstanding the varieties of the human form, there is but one and the same species of man throughout the whole earth".
He also announced that "national glory is a deceiving seducer. When it reaches a certain height, it clasps the head with an iron band. The enclosed sees nothing in the mist but his own picture; he is susceptible to no foreign impressions." And:
The passage of time was to demonstrate that while many Germans were to find influence in Herder's convictions and influence, fewer were to note his qualifying stipulations.
Herder had emphasised that his conception of the nation encouraged democracy and the free self-expression of a people's identity. He proclaimed support for the French Revolution, a position which did not endear him to royalty. He also differed with Kant's philosophy for not placing reasoning within the context of language. Herder did not think that reason itself could be criticized, as it did not exist except as the process of reasoning. This process was dependent on language.[25] He also turned away from the Sturm und Drang movement to go back to the poems of Shakespeare and Homer.
To promote his concept of the Volk, he published letters and collected folk songs. These latter were published in 1773 as Voices of the Peoples in Their Songs (Stimmen der Völker in ihren Liedern). The poets Achim von Arnim and Clemens von Brentano later used Stimmen der Völker as samples for The Boy's Magic Horn (Des Knaben Wunderhorn).
Herder also fostered the ideal of a person’s individuality. Although he had from an early period championed the individuality of cultures - for example, in his This Too a Philosophy of History for the Formation of Humanity (1774), he also championed the individuality of persons within a culture; for example, in his On Thomas Abbt's Writings (1768) and On the Cognition and Sensation of the Human Soul (1778).
In On Thomas Abbt's Writings, Herder stated that "a human soul is an individual in the realm of minds: it senses in accordance with an individual formation, and thinks in accordance with the strength of its mental organs. . .. My long allegory has succeeded if it achieves the representation of the mind of a human being as an individual phenomenon, as a rarity which deserves to occupy our eyes.
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20161004 S 2578 5362 PhotosLVRiga Monument to Johann Gottfried Herder at the Cathedral, Vecpilseta, Riga, Riga pilseta, Latvia
Mohrungen (today: Morąg, Poland) 1744 - Weimar 1803
German philosopher, theologian, poet, and literary critic; he taught in Riga, 1764-1769
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Johann Gottfried von Herder, (* 25. kolovoza 1744. Mohrungen, Pruska; † 18. prosinca 1803. u Weimaru) je bio njemački književnik, prevoditelj, teolog i filozof Weimarške klasike. Plemićki naslov nosi od 1802. godine. Često ga se naziva i tvorcem pojma kulturnog nacionalizma.
Životopis
Mladost
Johann Gottfried Herder rođen kao sin kantora i učitelja Gottfrieda Herdera i njegove druge žene Anne Elisabethe, rođene Peltz. Iz poštovanja prema vrlo religioznim roditeljima je studirao teologiju. Njegovo prvo djelo je posvečeno smrti brata Carla Friedricha stihom Auf meinen ersten Todten! das Liebste, was ich auf dieser Welt verloren.
Filozofija
Iako je u mladosti bio pod utjecajem filozofa poput Kanta i Rousseaua kasnije je postao najveći intelektualni protivnik prosvetiteljstva i značajno utjecao na razvoj romantizma u Njemačkoj. Time što je naglašavao naciju kao organsku skupinu čija su obilježja poseban jezik, kultura i duh, Herder je pridonio kako nastanku povijesti kulture tako i posebnog oblika nacionalizma koji ističe urođenost vrijednosti nacionalne kulture i narodu u koje su ukorijenjeni.
Definicijom pojma Volkgeist (duša naroda) s njim započinje etnologija. Tvorac je i pojma Zeitgeist kojeg je prvi put uporabio 1769.
Herder govori o nacionalnom duhu i karakteru, u kojem sve vrijednosti, aktivnosti i tvorevine do njihove filozofije i poezije, imaju zajedničko težište i koji ovima daje specifični karakter.
wiki
Published 1965
Souvenir of Clairol Carousel at the New York World's Fair 1964-65.
Description of the Clairol Carousel:
Ladies can see themselves in various hair colors, view a film on beauty and talk with experts.
Designed for women only, the carousel encloses a revolving turntable, divided into 38 individual booths in which the film is shown. Elsewhere, ladies may peer into a mirrored device to see themselves in several different hair colors, and beauty consultants provide formulas for the colors desired.
Creator: Hollander, Wright & Co.
Location: Brisbane, Queensland.
Description: 'Published with the Queensland Post Office Directory'. Shows streets (named), railways, reserves, churches, creeks. Covers area south to St. Lucia, north to Kedron Brook, west to Toowong east to Cooparoo.
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/235232
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1961, Version 1.6, (A&R: 6, Hummel: 050), (produced between 1960-62, quantity 58400)
Special features of Version 6: rectangular shape of the front plate; name plate with Exa metallic white on painted black background.
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also
All Exa 0 produced between 1951-62
35mm film SLR camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and dial on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting : via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, left side of the lens,
w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: Waist level finder, w/ magnifier and sport finder with a lid, opens by a knob on the back side, interchangeable with SLR pentaprism finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer. none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Special take up spool
Tripod socket: 1/4''
Strap lugs
Body: metallic, Weight: 588g (wo/ the lens)
serial no. 573828 (inside the camera)
LENS:
aus Jena Pancolar 50mm f/2 (Zebra), 6 elements, auto-diaphragm type, (no internal aperture coupling, diaphragm always in open position, pressing the plunger on the lens closes the aperture to the pre-set f number then the shutter releases),
Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no.8459679 (introduced 1964)
Aperture: f/2-f/22 setting: ring and scale on the lens
Focus range: 0.5-15m +inf
+SLR pentaprism finder, w/split image rangefinder, Ihagee, Dresden
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
During the 25th year of production of the 35mm Exaktas, Ihagee introduced the black and white labels as for Exacta IIa as for the Exa.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss Jena, Meyer-Optik Görlitz and Schneider-Kreuznach. The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
The East German Zeiss lenses made for export, were marked from 1954 with different engravings. The brand name Carl Zeiss Jena is replaced by C.Z. Jena or Jena or aus Jena.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
I was published today in Edge of Humanity Magazine! Thank you to everyone that follows and supports my work. My very best to you all! Keep Looking Up!
Yes I took this a few min. Ago! The 48 year old me and the artwork I soon will publish here…
My teeth are bright yellow these days!!!
Peace and Noise!
MushroomBrain the face of an artist maniac
first published in London, England, not reissued in the USA until 1976.
The full list of his Westerns are as follows (I've included the novels set in Alaska, but not the one set in Asia) :
1.Westward The Tide (1950) *
2.The Rustlers of West Fork (1951) H *
3.The Trail to Seven Pines (1951) H *
4.The Riders of High Rock (1951) H *
5.Trouble Shooter (1952) H *
6.Hondo (1953) *
7.Showdown at Yellow Butte (1953) *
8.Utah Blaine (1954) *
9.Crossfire Trail (1954) *
10. Kilkenny (1954) K
11. Guns of the Timberlands (1955) *
12. Heller With A Gun (1955) *
13. To Tame a Land (1955) *
14. The Burning Hills (1956) *
15. Silver Canyon (1956) *
16. Sitka (1957)
17. Last Stand at Papago Wells (1957) *
18. The Tall Stranger (1957) *
19. Radigan (1958) *
20. The First Fast Draw (1959) *
21. Taggart (1959)
22. The Daybreakers (1960) S *
23. Flint (1960) *
24. Sackett (1961) S *
25. Shalako (1962) *
26. Killoe (1962)
27. High Lonesome (1962) *
28. Lando (1962) S *
29. How the West WasWon (1962)
30. Fallon (1963)
31. Catlow (1963) *
32. Dark Canyon (1963) *
33. Mojave Crossing (1964) S *
34. Hanging Woman Creek (1964) *
35. Kiowa Trail (1964) *
36. The High Graders (1965)
37. The Sackett Brand (1965) S *
38. The Key-Lock Man (1965)
39. The Broken Gun (1966) *
40. Kid Rodelo (1966) *
41. Mustang Man (1966) S
42. Kilrone (1966)
43. The Sky-Liners (1967) S
44. Matagorda (1967) *
45. Down the Long Hills (1968)
46. Chancy (1968)
47. Brionne (1968) *
48. The Empty Land (1969) *
49. The Lonely Men (1969) S
50. Conagher (1969)
51. The Man Called Noon (1970) *
52. Galloway (1970) S *
53. Reilly’s Luck (1970)
54. North to the Rails (1971)
55. Under the Sweetwater Rim (1971)
56. Tucker (1971)
57. Callaghen (1972)
58. Ride the Dark Trail (1972) S
59. Treasure Mountain (1972) S
60. The Ferguson Rifle (1973)
61. The Man from Skibbereen (1973) *
62. The Quick and the Dead (1973)
63. The Californios (1974)
64. Sackett’s Land (1975) S
65. Rivers West (1975) *
66. The Man from the Broken Hills (1975)
67. Over on the Dry Side (1976) *
68. The Rider of Lost Creek (1976) K
69. Where the Long Grass Blows (1976)
70. To the Far Blue Mountains (1977) S
71. Borden Chantry (1977)
72. The Mountain Valley War (1978) K
73. Fair Blows the Wind (1978)
74. The Proving Trail (1979) *
75. The Iron Marshal (1979)
76. Bendigo Shafter (1979)
77. The Warrier’s Path (1980) S
78. Lonely on the Mountain (1980) S
79. Comstock Lode (1981)
80. Milo Talon (1981)
81. The Cherokee Trail (1982)
82. The Shadow Riders (1982)
83. The Lonesome Gods (1983) *
84. Ride the River (1983) S
85. Son of a Wanted Man (1984) *
86. Jubal Sackett (1985) S
87. Passin’ Through (1985)
88.The Haunted Mesa (1987) *
* = paperbacks I currently own
H = Hopalong Cassidy series
S=Sackett series
K=Kilkenny series
September
Now published with 16 other photographs from this group:
Compostion
ISBN 9781-870736-17-6
17 large Premium colour photographs plus an Afterword
36 pages, 216 x 280mm, Hardback.
Retail price: £18 $25
Short Description: A book of 17 photographs taken of my compost caddy whenever I found the contents interesting because of the colours or composition of elements or both. The photographs were taken with natural light from a skylight which gives a variation in the speed and aperture used. This information is recorded on the facing page with date of capture. The camera used was always a Sigma DP2 with Foveon sensor.
See previews here:
stefan-szczelkun.blogspot.com/2018/09/compostion-advance-...
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You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Con 5 album e oltre 60 milioni di dischi venduti hanno scritto la storia del rock. I Simple Minds arrivano dal vivo in Italia con un nuovo disco e tutti i loro più grandi successi per un’unica data evento del loro Big Music Tour, il 21 novembre al Mediolanum Forum di Assago.
Dopo il trionfo dei concerti estivi in tutta la penisola, la band di Glasgow arriva con un nuovissimo album ed un nuovissimo tour; uno show durante il quale sarà possibile gustare tutti i loro più grandi successi, vecchi e nuovi.
Nati sul finire degli anni ’70 ed esplosi a livello mondiale negli anni ’80, gli scozzesi Simple Minds hanno scritto alcune tra le migliori pagine della musica anni ’80 diventando, dopo l’uscita del capolavoro New Gold Dream, vero e proprio inno new wave, uno tra i gruppi più popolari dell’epoca. Scopritori di suoni, innovatori e rivoluzionari, tra avant-garde ed art-rock, pop ed ambient, i Simple Minds hanno raggiunto numerose volte le vette delle album charts con dischi come Life In A Day, Real To Real Cacophony, New Gold Dream (81, 82, 83, 84), Sons And Fascination/Sister Fellings Calling, Empire And Dance.
Album considerati pietre miliari della storia del rock, e contenuti in uno speciale box-set pubblicato nel 2012. Questi cinque dischi hanno avuto un impressionante impatto sulla scena musicale dell’epoca, incrociando per primi la new-wave con accenni di elettronica, e continuando ad influenzare negli anni band come Manic Street Preachers, Primal Scream, The Killers fino ai più recenti The Horrors, a dimostrazione di quanto siano ancora forti gli echi dei primi cinque lavori targati Simple Minds.
Jim Kerr - Voce
Charlie Burchill - Chitarra
Mel Gaynor - Batteria
Andy Gillespie - Tastiere
Ged Grimes - Basso
Catherine Anne Davies - cori
This photograph was published in the Illustrated Chronicle on the 23rd of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Tasselled
Photographer: Shavonne Wong/Zhiffy Photography
Model: Diandra Forrest
Hair: Wade Lee
Makeup: Tatiana Ward
Assistant: Marcus Teo
Line engraving by Richard Godfrey, 1st July 1773. Published in F. Grose, The Antiquities of England and Wales, 1776 (PR/744). THIS PRINT IS FOR SALE. The prints can be posted to you in a tube or flat packed and mounted ready for you to frame. Prices range from £20 for a mounted print in A3 size, to £10 for an A4 size mounted print and £5 for an A5 size print. These pictures would make an ideal present and would be a fascinating and attractive addition to any home. Please contact us: Tel. 01244 532364 or e-mail: archives@flintshire.gov.uk for more details.
Llin-engrafiad gan Richard Godfrey, 1 Gorffennaf 1773. Cyhoeddwyd yn F. Grose, The Antiquities of England and Wales, 1776. (PR/744)
The accompanying image was taken on the 17th February, 2020 and remains to be published, along with more material from that date, in the next few days.
The 1st of the two Archive Sites is now complete and all the material, 995 pictures, are below. These date from 10th May, 2011 up until and including the 1st of June 2016. Archive 2 will now be populated with the remainder of the recently deleted images, from 3rd June 2016 up until and including 9th April, 2018, and this should be ready within a week or so.
Image Archive 1, 10/5/2011 - 1/6/2016. is at-
Image Archive 2, 3/6/2016 - 9/4/2018, is at-
the latter one only contains a single image at present.
The normal Flickr site, 'Views in Camera',
www.flickr.com/photos/daohaiku
currently contains all the important stuff, 990 pictures, and that will now remain in tact, with the 'best' pictures and videos from 2011 until the end of December, 2019 with all the attendant comments, albums, groups and view numbers. This new site here, 'Views in Camera 2020', will now be home to pictures and videos, taken from January 1st this year and, to that end, I have uploaded this years 27 images/videos, from the old site, 'Views in Camera', to this new one, to get things going. A link has been placed on the 'Views in Camera' site, in the description of what's going on, beneath the most recent image, indicating these changes... I hope this isn't all too much of an imposition, but I have taken this opportunity of change, to sort out what was a hugely burgeoning set of material and try and bring some order to it all, partly prompted by the recent price hike in the Pro membership...
As mentioned in the earlier picture, see link above, the solution to the image limit here can be addressed by posting one or two pictures here, from what I consider a set when I go out shooting stuff, the main picture(s) will appear here and the support images will be available on my own website,
just the supporting images will be there, titled again after removing this some months ago as an inconvenience, they will be put back as there will be no other identification available, just the supporting images. The links for them will be here in the text narrative for the main image(s) and there will be only one narrative piece for the set of images, unlike earlier pictures here where the text has varied from one shot to another, to cover differences in what's visible. Although some, including to some extent myself, don't like the mosaic method of presenting more than one picture with, occasionally here, a 3x3, 4x4 or even 5x5, option being used, it does mean that Flickr classes this as one picture or so will still be used from time-to-time...
The link to the new site is-
www.flickr.com/photos/VinC2020
and this will be the Flickr presence I will now use to upload pictures, for a while this will not contain too many links to the
site, which is being used for 'overflow', when a handful of shots or taken but with only 1 main subject, this will keep under control, filling out this site with material amounting to around 4 out of 5 not really pertinent to the main subject; something in the past I have been guilty of not taking too much heed over! In fact, since 2011, I have taken just under 50,000 shots and only 5,450 of those have found their way onto the 'Views in Camera' site.
From today, I hope to start the large Archive picture up-load but it will take some time, around 5-6hours, (WRONG, actually 22 hours for the 1st one, that's about 1m 30s per picture!), for each Archive as the pictures have to be re-built with names, text, tags and the album to which they belong; all comments and number of views will, sadly, be lost.
We figured it would be a nice synergy effect to play around a bit with the equipment in the EMT booth.
At the opening of (press release in Estonian only) the Estonian ICT Demo Center in Ülemiste City.
I was there to set up and demonstrate the Yoga Intelligent Building system which is represented in the Center.
This picture is CC-licensed and re-published by others
Published by O Globo, Brazil 1941
One of the rarest Timely Comics ever published in the world, and among the earliest Timely Publications Globally outside the US.
O Globo is among the earliest publishers of MLJ Comics, Smash Comics, National Comics and Timely Comics in our genres history.
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First of all I am sorry for not uploading recently but my flickr was all messed but yahoo has fixed it know so I am back! Anyway I was published again this time with my toad shot this time in Digital SLR magazine!