View allAll Photos Tagged Refuse,
Part of the Pullen House album. These photos were taken of the ruins of the luxury hotel in 2017.
The original building was designed by Captain William Moore sometime between 1897-1899. As Moore aged, and the Gold Rush boom slowed, the building was sold to Harriet Pullen. Harriet was a local woman who had been living in Moore’s house as a boarding agent. She had also worked several jobs with Moore upon first moving to Skagway.
Pullen transformed the giant house into a luxury hotel, complete with electricity and hot baths. The hotel served as a tourist destination and where Harriet would tell stories of the Gold Rush and Alaska adventurers. Harriett, herself, is credited with some of the earliest tourism work done in Skagway, an industry that the town now relies on. This frontier woman, who arrived in Skagway right as the Gold Rush began, owned and operated the Pullen House Hotel until her death in 1947. At her request, she was buried behind her property, directly next to the mountain side.
At some point in the early 1990s, the property was destroyed. Since then, the National Park Service has placed a small informational sign on the outside of the brush, in front of the original entrance. Some tourists may notice the sign as they wait while their children play on the playground/restroom area there. Pullen’s descendents still live in town, and tend to the grave behind the property.
For more information - details.
Seen on Bengal Street (A6), Chorley. This low entry Mercedes Benz Econic isn't big as far as refuse trucks go, but must have a place in the council operations.
I didn't see the back of the truck but I think it may be used for clean up operations as opposed to working a regular collection round.
I'll update this comment if I find the answer.
Last year a neighbour cut down a very old pear tree which is covered in old moss. They gave it to us for firewood, but every time I've taken samples from this moss, I've found multiple tardigrades, so now I refuse to let my husband burn it! A few days ago I took another sample which I left in a petri dish with some rain water to re-hydrate the sample for a day and a half.
I used my C. Baker London vintage histology binocular microscope with the 10x turret. Usually to image with this microscope I use my Canon 1100D attached with a T-ring and 10mm extension tube which slots in place of one of the eye pieces. On this occasion, I decided to try out my ASI120MC camera, which is a CMOS astronomy imaging camera. The extension tube which screws into the T-ring has the same threads as the ASI camera so I was able to slot the ASI straight into one of the eye piece holders.
Because the sensor is smaller, it means everything looks bigger. The field of view covered with this set up was approximately 0.5mm which is much smaller than what you can see when you're looking through the microscope visually! I only found one tardigrade from this sample. I carefully removed some of the sample from the bottom of the petri dish with a pipette and put 2 drops into a microscope slide which has a small well in the middle. Then I just methodically scanned the sample, and shot a 1,000 frame video using SharpCap every time I saw something interesting. The final clip was taken by holding my mobile phone camera up to the eye piece, just to give you a comparison and to show that you don't need anything fancy to take images through a microscope. I found a LOT of other stuff in this sample which will come in a future video, but this little guy was the only tardigrade I found on this occasion.
Each time I'd finished looking around a sample, I rinsed it into another dish with more rain water and when I'd finished I took the wash back out to where I'd isolated it from and returned it to the moss. I know these organisms are tiny but I never want to cause any of them any harm in the name of getting a nice photo or video.
The video clips were put together using Movie Maker 10.
Music: "Dead From the Beginning, Alive 'Til the End" by Doctor Turtle, via freemusicarchive.org, with a Creative Commons Licence
Juliet is the female protagonist and one of two title characters in William Shakespeare's romantic love tragedy Romeo and Juliet, the other being Romeo. Juliet is the only daughter of Capulet, the patriarch of the Capulet family. The story has a long history that precedes Shakespeare himself.
The play takes place over a time span of four days. Within these few days, Juliet is thrust into adulthood quicklyâwhere she must deal with issues of life, romance, love, passion, and even death. During the play she is courted by a potential husband (Count Paris), strongly falls romantically in love with another (Romeo), marries Romeo secretly, experiences the death of her first cousin Tybalt, has one brief passionate, romantic night with her new husband before he is forced to leave the city, is threatened by her father and nearly disowned by both of her parents for refusing to marry the man they have chosen for her, she is let down emotionally by the nurse who raised her from infancy, spends nearly two days drugged to unconsciousness, is widowed, and ultimately commits suicide near the body of her dead husband.
Shakespeare's Juliet is a headstrong and intelligent character in spite of her young age, though she often seems timid to the audience because of her old age. She is considered by many to be the true hero of the play, acting as a sounding board and a balance against the impulsive Romeo. It is Juliet who sets the boundaries of behavior in her relationship with Romeo: she allows him to kiss her, she pledges her commitment before him, and it is she who suggests their marriage. Juliet's forgiveness of Romeo after he kills Tybalt indicates her mature nature in contrast to his passionate impulsiveness. Furthermore, Juliet lies and clandestinely subverts her family's wishes, a truly rebellious action against traditional Italian society. These actions and the choices they require establish Juliet as a far more complex character than her family, or even Romeo, appreciate.
Character history
Juliet's wealthy family lived in Verona, headed by old Capulet and his wife. She was their only child and was thought of as a gift from heaven. As a child, she was cared for by her nurse, who is now her confidante, or Juliet's stepmother.
In Juliet's first scene, she demonstrates her obedience and lack of experience in the world, outlining herself as inexperienced and in many ways dependent on her parents and nurse. She does not even give marriage a second thought but she does want to do what her mother asks. It is high time that Juliet go the route Lady Capulet went in her youth, and be married to a rich and powerful gentleman like her father. The Count Paris is a bit of a bystander in the play however, unwittingly mixed up in the drama between the families. The to-be couple only ever met once in the Friar Lawrence's cell, which was very brief. His interest in her is primarily based on her social standing and her family's vast wealth, in contrast to her youthful beauty. He politely and nobly asks Capulet for her hand, and apparently would like her to begin bearing his children as soon as physically possible: "Younger than she are happy mothers made" (1.2.12). Juliet, on the other hand, has no interest in becoming a wife and the mother of Paris's children: "(Marriage) is an honour that I dream not of" (1.3.68). Even her father at first considers her too young to settle down. This may be a reflection on his feelings about his own wife, who might have been happier waiting a few years before marrying him. He tells Paris to let Juliet grow up for a few more years before planning marriage, but he pompously disagrees (1.2.10â11) . Of course, Juliet's mind on the matter changes within a few minutes of meeting Romeo, but when Paris is mentioned to her by her mother in act three she reverts back to an immature, whining, almost infantile state
O Romeo, Romeo! Wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Juliet's famous lines in the play Romeo and Juliet
Romeo too seems to achieve depth through his intense love with Juliet. When compared to the pining and frustration he exhibited during his crush on Rosaline, his behavior toward Juliet and her family and his attitude in general both show a level of great maturity. The feud that one day had seemed all-encompassing now makes no sense, and he abandons it. Much of Romeo's dialogue with Juliet is an intricate pattern of words. Their rhyming couplets sometimes come together to create a poem. This symbolizes their union, and shows that Juliet can easily match Romeo in wordplay.
It is not clear exactly why Romeo and Juliet love each other, beyond immediate physical attraction. They were married not 24 hours after their first meeting. Fate plays a constant role in the story. Their love is "death-marked" (1.1.9), the lovers are "star-crossed" (1.1.6), and Romeo feels he is being led by the stars as a ship is steered by its pilot. The idea may be that the heirs to these two families were fated to end up together to end the feud, and their deaths may or may not have been part of that fate. The play may be interpreted differently according to the whim of the reader or viewer. The series of disastrous events that leads to their deaths may have been just a part of the destiny, or it may have been what shattered the fate and made the story a true tragedy. Either way, peace comes to the families.
Juliet's age
One aspect of the story which now seems problematic is Juliet's age. As the story occurs, Juliet is approaching her fourteenth birthday. She was born on "Lammas Eve at night" (August 1), so Juliet's birthday is July 31 (1.3.19). Her birthday is "a fortnight hence", putting the action of the play in mid-July (1.3.17). Her father states that she "hath not seen the change of fourteen years" (1.2.9). In many cultures and time periods, women did and do marry and bear children at an early age. Romeo and Juliet is a play about Italian families. Lady Capulet had given birth to her first child by the time she had reached Juliet's age: "By my count, I was your mother much upon these years that you are now a maid" (1.3.74â75).
Even Capulet tries to encourage Paris to wait a little longer before even thinking of marrying his daughter, feeling that she is still too young; "She hath not seen the change of fourteen years, Let two more summers wither in their pride, Ere we may think her ripe to be a bride". However, in the English poem the story is based from (Romeus and Juliet by Arthur Brooke) Juliet is approaching her sixteenth birthday and Romeo is the same age whereas in the Bandello novella she is nearly eighteen with Romeo about twenty. The common English people of that age were very rarely in their teens when they married and even among the nobility and gentry of the age, brides thirteen years of age were rare, at about one in one thousand brides; in that era, the vast majority of English brides were at least nineteen years of age when they first married, most commonly at about 22â23 years, and most English noblewomen were at least sixteen when they married. That the parts of young women were played by pre-adolescent boys in Shakespeare's day also cannot be overlooked and it is possible that Shakespeare had the physique of a young boy in mind during composition, in addition to the fact that Romeo and Juliet are of wealthy families and would be more likely to marry earlier than commoners. At the time, English noblewomen married on average at 19â21 years (compared to 24â26 years for English noblemen) while the average marriage age in England was 25â26 years for women and 27-28 for men; Sir Thomas More wrote in his Utopia that, in Utopia, women must be at least 18 years of age when they marry and men at least 22 years.
The common belief in Elizabethan England was that motherhood before 16 was dangerous; popular manuals of health, as well as observations of married life, led Elizabethans to believe that early marriage and its consummation permanently damaged a young woman's health, impaired a young man's physical and mental development, and produced sickly or stunted children. Therefore 18 came to be considered the earliest reasonable age for motherhood and 20 and 30 the ideal ages for women and men, respectively, to marry. Shakespeare might also have reduced Juliet's age from sixteen to fourteen to demonstrate the dangers of marriage at too young of an age; that Shakespeare himself married Anne Hathaway when he was just eighteen might hold some significance.
In today's Verona
In Verona, an early 14th-century house at Via Cappello no. 23, claiming to be the Capulets' has been turned into a tourist attraction but it is mostly empty. It features the balcony, and in the small courtyard, a bronze statue of Juliet. It is one of the most visited sites in the town. The metal of its chest is worn bare due to a legend that if a person strokes the right breast of the statue, that person will have good fortune and luck in love.
Many people write their names and the names of their beloved ones on the walls of the entrance, known as Juliet's wall. Many believe that writing on that place will make their love everlasting. After a restoration and cleaning of the building, it was intended that further writing should be on replaceable panels or white sheets placed outside the wall.
It is also a tradition to put small love letters on the walls (which is done by the thousands each year), which are regularly taken down by employees to keep the courtyard clean.
Casa di Giulietta
Since the 1930s, letters addressed to Juliet keep arriving in Verona. As of 2010, more than 5,000 letters are received annually, three quarters of which are from women. The largest single group of senders are American teenagers.[11] The letters are read and replied to by local volunteers, organized since the 1980s in the Club di Giulietta (Juliet Club), which is financed by the City of Verona. The club has been the subject of a book by Lise and Ceil Friedman and is the setting for a 2008 book by Suzanne Harper and a 2010 USA movie, Letters to Juliet.
The entrance wall known as Juliet's wall
In Verona, an early 14th-century house at Via Cappello no. 23, claiming to be the Capulets' has been turned into a tourist attraction but it is mostly empty. It features the balcony, and in the small courtyard, a bronze statue of Juliet. It is one of the most visited sites in the town. The metal of its chest is worn bare due to a legend that if a person strokes the right breast of the statue, that person will have good fortune and luck in love.
Many people write their names and the names of their beloved ones on the walls of the entrance, known as Juliet's wall. Many believe that writing on that place will make their love everlasting. After a restoration and cleaning of the building, it was intended that further writing should be on replaceable panels or white sheets placed outside the wall.
It is also a tradition to put small love letters on the walls (which is done by the thousands each year), which are regularly taken down by employees to keep the courtyard clean.
Club di Giulietta
Since the 1930s, letters addressed to Juliet keep arriving in Verona. As of 2010, more than 5,000 letters are received annually, three quarters of which are from women. The largest single group of senders are American teenagers. The letters are read and replied to by local volunteers, organized since the 1980s in the Club di Giulietta (Juliet Club), which is financed by the City of Verona The club has been the subject of a book by Lise and Ceil Friedman and is the setting for a 2008 book by Suzanne Harper and a 2010 USA movie, Letters to Juliet.
Performers
A number of famous actresses have portrayed the role of Juliet:
Mary Saunderson was the first woman to play Juliet professionally. Previous actors had all been males.
Eliza O'Neill won her fame with Juliet at Covent Garden, 1814.
Katharine Cornell had a notable Broadway success as Juliet opposite the Romeo of Basil Rathbone in 1934, and revived the production with Maurice Evans as Romeo and Ralph Richardson as Mercutio the following year.
Peggy Ashcroft was one of the great Juliets in history, most famously in the 1935 London production directed by John Gielgud, in which Gielgud and Laurence Olivier alternated the roles of Romeo and Mercutio.
Norma Shearer in George Cukor's Romeo and Juliet (1936). Leslie Howard was her Romeo.
Judi Dench had a great success as Juliet in Franco Zeffirelli's 1960 London production.
Olivia Hussey portrayed Juliet in Zeffirelli's 1968 film, Romeo and Juliet,; Leonard Whiting was her Romeo.
Niamh Cusack portrayed Juliet in 1986 with The Royal Shakespeare Company. Sean Bean was her Romeo.
Claire Danes was Juliet in Baz Luhrmann's modernized 1996 version, Romeo + Juliet, alongside Leonardo DiCaprio as Romeo.
Gugu Mbatha-Raw portrayed Juliet at the Royal Exchange Theatre's 2005 production.
Hailee Steinfeld portrayed Juliet in Carlo Carlei's film adaptation, opposite actor Douglas Booth as Romeo
Deepika Padukone portrayed Juliet in Sanjay Leela Bhansali's 2013 Hindi adaptation of Romeo and Juliet, Goliyon Ki Raasleela Ram-Leela
eski bir dostumuza saygı duruşu.
sepultura..
a tribute to oldfriend of us
sepultura..
credits:
guitar vector and texture
abrakadavra.deviantart.com/art/refuse-resist-logotype-978...
Spring Break bring lots of kids to Cancun Mexico. Some of them were girls, I tried taking photos of guys, but my camera just refused to obey.. So this is a guy photo shoot, no girls allowed. The Spring break happened during the week we stayed at the Solaris.
This truck was seen at Trucks and Parts of Tampa. For more info on this vehicle or something similar, please visit:
If you want to use this image, ask permission PRIOR to use. Don't be a thief - under most circumstances, I'm quite reasonable.
Copyright 2012 - Alan B.
As a tribute to my very first LEGO set, the LEGO Refuse Collection Truck #6693 from 1987, I built my own version.
It turned out as a combination of an old Liaz refuse collection truck used in GDR (like this one) and some more modern refuse collection trucks.
Woodcrest- Unincorporated Perris/Riverside, CA
9/1/17
It's back!
Let me start by saying wow, I never expected to see a Superlight Curotto Can again after this same truck was switched to Commercial collection Summer 2016. In 2016 WMmaster626 and I were informed by Dave, a Moreno Valley driver, that Paul (the Superlight driver) was now driving a ASL. There is also a picture from Moises Aguirre from Flickr that shows the Superlight on Commercial (www.flickr.com/photos/wmtrucks/34552959740/in/dateposted/). Both WMmaster626 and I were upset by the news and regretted not going back to get more footage of the Superlight.
The way WMmaster626 and I found out the Superlight was returning to residential is quite interesting. Both of us were getting a tour of the Waste Management Corona yard by the Fleet Manager Tom, who started out in Moreno Valley (the yard where the Superlight resides). We had conversations about the drivers and trucks in Moreno Valley, all of whom Tom knows. We never brought up the Superlight but eventually we brought up Paul (who drove the Superlight). Tom told us how Paul used to drive this one of a kind truck from Heil with a custom Curotto Can (the Superlight) and how several people from WM liked that truck and the custom Curotto Can. We told Tom how we found that truck on route once and how it was one of our favorite trucks. Tom then informed us how the Superlight had already or was going to return to residential services shortly. WMmaster626 and I were in shock and could not believe what we had just heard. After the great tour in Corona we immediately headed to Woodcrest and we found a Python driver in Woodcrest who informed us Paul was still driving a ASL. Two weeks later WMmaster626 heard from Tom that the Superlight was officially back on route in Woodcrest. In early 2017 the Woodcrest routes were altered so the next week while WMmaster626 was in Washington I headed to Woodcrest once again see the Superlight and find out which portion of Woodcrest it was servicing. I found Paul on route with the Superlight now collecting Green Waste, WMmaster626 was glad to hear the Superlight was back on route and was looking forward to seeing it in person. The next month in October 2017 WMmaster626 and I returned to Woodcrest and filmed more footage of the Superlight.
During my September trip, I found the Superlight Curotto Can collecting Green Waste in Woodcrest. There are many green carts out on the Friday route so I was able to see many carts collected. Paul is a great driver and knows how to operate the Superlight in fast, smooth cycles. Woodcrest is a great area and unique to SoCal, most of Woodcrest has a Country feel to it with huge properties, some residents even own horses. Woodcrest was also once services by NEWCO Waste Systems and there are multiple black and blue ex NEWCO carts in the area, there are even a few NEWCO dumpsters still in the area. This is the only Waste Management Curotto Can Heil in SoCal, the next closest is most likely Oakland California. This is most likely the only Superlight Curotto still in service. Republic Services Pacheco used to have a Superlight but I do not believe it is still around.
Thank you to the driver Paul and a big thank you to Tom for informing us the Superlight was back, you made our day. Thank you to everyone for watching and let me know what you think of the video.
EDCO is a Family Owned & Locally Operated waste collection and recycling company, serving numerous communities in Southern California since 1967. The EDCO family of companies specialize in offering integrated, user-friendly waste removal and recycling programs to serve residential homes, multi-family properties, commercial businesses, multi-tenant buildings, industrial centers, construction sites, and community events.
Company Quote
Yep... don't feel like going to school today. Except for that one exam I have. Damnit.
White thermal: Target
Gigantor sweater: remixed, VintageTea on Etsy
Denim mini: thrifted
Tights: Target, probs
Boots: Gift, thanks Wendy!
Sometimes when Alixe is particularly fussy and refusing to sleep I lay down with her and we have what I called "face time". I get really close to her face, our noses touching, and I just talk to her. Sometimes just me being this close to her brings her to a halt in her tears and she just looks at me and then smells me and usually closes her eyes. And is CALM.
I can usually get to swaddling her pretty easily and rock her a bit before putting her down where sometimes she falls asleep.
I love how she smells. A mix of baby, milk and newness.
Thanks to my husband for snapping this shot of us. :)
You’re 29 years old with a wife, two children and a job. You have enough money, and can afford a few nice things, and you live in a small house in the city.
Suddenly the political situation in your country changes and a few months later soldiers are gathered in front of your house. And in front of your neighbours’ houses.
They say that if you don’t fight for them, they will shoot you.
Your neighbour refuses.
One shot. That’s it.
You overhear one of the soldiers telling your wife to spread her legs.
Somehow you get rid of the soldiers and spend the night deep in thought.
Suddenly you hear an explosion. Your house no longer has a living room.
You run outside and see that the whole street is destroyed.
Nothing is left standing.
You take your family back into the house, and then you run to your parents' house.
It is no longer there. Nor are your parents.
You look around and find an arm with your Mother’s ring on its finger. You can’t find any other sign of your parents.
~~~~~
"But asylum seekers have so many luxury goods! Smartphones, and designer clothes!"
~~~~~
You immediately forget it. You rush home, and tell your wife to get the children dressed. You grab a small bag, because anything bigger will be impossible to carry for a long time, and in it you pack essentials. Only 2 pieces of clothing each can fit in the bag.
What do you take?
You will probably never see your home country again.
Not your family, not your neighbours, your workmates…
But how can you stay in contact?
You hastily throw your smartphone and the charger in the bag.
Along with the few clothes, some bread and your small daughters favourite teddy.
~~~~~
"They can easily afford to get away. They aren’t poor!"
~~~~~
Because you could see the emergency coming, you have already scraped all your money together.
You managed to save some money because of your well paid job.
The kind people smuggler in the neighbourhood charges 5,000 euros per person.
You have 15,000 euros. With a bit of luck, you’ll all be able to go. If not, you will have to let your wife go.
You love her and pray that you the smugglers will take you all.
By now you are totally wiped out and have nothing else. Just your family and the bag.
The journey to the border takes two weeks on foot.
You are hungry and for the last week have barely eaten. You are weak, as is your wife. But at least the children have enough.
They have cried for the whole 2 weeks.
Half the time you have to carry your younger daughter. She is only 21 months old.
A further 2 weeks and you arrive at the sea.
In the middle of the night you’re loaded onto a ship with other refugees.
You are lucky: your whole family can travel.
The ship is so full that it threatens to capsize. You pray that you don’t drown.
The people around you are crying and screaming.
A few small children have died of thirst.
The smugglers throw them overboard.
Your wife sits, vacantly, in a corner. She hasn’t had anything to drink for 2 days.
When the coast is in sight, you are loaded onto small boats.
Your wife and the younger child are on one, you and your older child are on another.
You are warned to stay silent so that nobody knows you’re there.
Your older daughter understands.
But your younger one in the other boat doesn’t. She doesn’t stop crying.
The other refugees are getting nervous. They demand that your wife keeps the child quiet.
She doesn’t manage it.
One of the men grabs your daughter, rips her away from your wife and throws her overboard.
You jump in after her, but you can’t find her again.
Never again.
In 3 months she would have turned 2 years old.
Isn’t that enough for you? They still have it too good here and have everything handed to them on a plate?
You don’t know how you, your wife and your older daughter manage to get to the country that takes you in.
It’s as though everything is all foggy. Your wife hasn’t spoken a word since your daughter died.
Your older daughter hasn’t let go of her sister’s teddy and is totally apathetic.
But you have to keep going. You are just about to arrive at the emergency accommodation.
It is 10pm. A man whose language you don’t understand takes you to a hall with camp beds. There are 500 beds all very close together.
In the hall it’s stuffy and loud.
You try to get your bearings. To understand what the people there want from you.
But in reality you can barely stand up. You nearly wish that they had shot you.
Instead you unpack your meagre possessions:
Two items of clothing each and your smartphone.
Then you spend your first night in a safe country.
The next morning you’re given some clothes.
Among the donated clothes are even branded ‘label’ clothes. And a toy for your daughter.
You are given 140 euros. For the whole month.
~~~~~
"They’re safe here. Therefore they should be happy!"
~~~~~
Outside in the yard, dressed in your new clothes, you hold your smartphone high in the air and hope to have some reception.
You need to know if anyone from your city is still alive.
Then a 'concerned citizen‘ comes by and abuses you.
You don’t know why. You don’t understand “Go back to your own country!"
You understand some things like “smartphone” and “handed everything on a plate.”
Somebody translates it for you.
~~~~~
And now tell me how you feel and what you own?
The answer to both parts of that is “Nothing.”
Copied.
Tree's.
Why can you not trust trees?
'cause they seem kinda shadey
brought to you from the middle daughter so don't blame me too much.
There is a horse's ass in here too, refused to cooperate to make for a better balanced composition
Refuse truck rear ends at Deryneia, Cyprus on September 2nd 2016. On the left is Volvo HTT 056 whilst to the right is Hino HXT 041.
The Trip 35 is a fully-automatic 35mm compact camera, manufactured by Olympus from 1967 to 1984, during which time over ten million units were sold. (This oft-quoted figure is likely to have included later plastic-bodied Olympus cameras with Trip branding, as the original Trip 35 had serial numbers going up to around 5,400,000.) The auto-exposure mechanism is effectively solar-powered by a selenium cell surrounding the lens, and consequently the camera runs entirely without batteries. Until June 1978, the shutter button was silver-coloured metal. After that date, all Trips had a black plastic button.
Auto-exposure mechanism
With the aperture ring set to "A", the camera operates as a program automatic, choosing both the aperture and shutter speed (of which there are only two, 1/40 and 1/200). As explained by one repair page,
The camera uses a "trapped needle" mechanism for setting the proper exposure. The aperture is held stopped down to f22 by a spring. When the shutter button is pressed, a bar comes up and “traps” the meter needle against a plate. Following right behind the bar is a cam which is connected to the aperture blades. This comes up until it touches the trapped meter needle. The distance the cam travels determines how far the aperture opens.
The combination of aperture and shutter speed that the exposure mechanism chooses depends on the amount of light available. Above EV 13, the Trip 35 will increase the shutter speed to 1/200 sec in preference to using a smaller aperture, and use a narrower aperture as light levels increase from there, presumably to avoid the diffraction effects that affect all 35mm cameras below f/11. Below EV 13, it will use the 1/40 sec speed and widen the aperture for lower light levels. The camera will refuse to fire if there is not enough light, with a red plastic flag appearing simultaneously in the viewfinder. This mechanism makes it impossible to make the error of shooting with the lens cap in place.
When the aperture is set manually (primarily for flash photography), the shutter speed is set to 1/40th of a second. However, the meter is still active even in this "manual" mode. Setting the aperture manually merely sets the widest permissible aperture, and the auto-exposure mechanism may still choose to set a smaller aperture than this if it sees fit.
Other than this, the camera offers no controls for setting exposure manually, though one can easily set exposure compensation by changing the film ASA dial to a higher or lower value.
Lens
The Trip 35 has a 40mm f/2.8 Zuiko non-interchangeable lens, with four elements in three groups. Ken Rockwell suspects this to be a front-element focusing Tessar. This lens has a reputation for being extremely sharp, even in the corners; in Rockwell's tests, Costco-scanned Fuji ISO 400 print film loaded into this camera out-performed a Canon 17-40 f/4 L lens in the corners.
The lens provides simple zone-focusing with 4 cute distance symbols marked on the top-left of the lens. These correspond to the real distance markings on the underside of the lens: 1 meter, 1.5 meters, 3 meters, and infinity.
Viewfinder
The viewfinder is an albada-type, with parallax markings for closer focusing. There is a second, very small window under this, nicknamed the "Judas window", which shows the current aperture setting and distance symbol which are on the lens barrel.
A small red flag will appear in the viewfinder if the auto-exposure mechanism decides there is not enough light and refuses to fire.
I have been asked so nicely to load some photos I could not refuse!! Here are more from my first photo shoot at the Fourth Space :)
Due to that this was an older ice cream truck service that refused to get rid of the old outdated red trapezoid children slow crossing warning blades that word "IF-SAFE STOP THEN-GO" which were yield signs that say STOP which is TOTALLY WRONG and CONFUSING, This ice cream truck will shut down for good and will get converted into a brand new Corbeil School Bus manufacturing plant especially I am making better and safe updated ice cream trucks with the current yellow trapezoid children slow crossing warning blades that word "CHILDREN SLOW CROSSING" and electric school bus stop signs replacing all of the ones that still have the bad old outdated red trapezoid children slow crossing warning blades that "IF-SAFE STOP THEN-GO" FOREVER because in modern day traffic due to that there are people who don't speak English, deaf, color blind, or can't read everywhere including here in the USA and in New Jersey, in modern day traffic it is the shape that is the MOST important not just the word and color. Octagon means STOP whereas sideways trapezoid with rounded corners on the wide end and pointed corners on the narrow end means SLOW. All of the old outdated red trapezoid Children Slow Crossing warning blades that word "IF-SAFE STOP THEN-GO" will all be torn apart and recycled into brand new Blue's Clues Handy Dandy notebook prop replicas and the arms of the old outdated ed trapezoid Children Slow Crossing warning blades that word "IF-SAFE STOP THEN-GO" were attached to will be all be reused for the electric swing arm stop signs on some of the brand new Corbeil School buses that will be made in the future. Out with the bad back in with the good.
The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...
Avignon, France. The streets in this area of Avignon are very narrow and twisty. That accounts for the small size of this refuse truck.
I would appreciate information on the make and model of the truck.