View allAll Photos Tagged Simplify
915 East 4th Street, University of Arizona, Tucson, AZ Jul 26, 2011 — This congregation is known as the oldest protestant church in Tucson with over 130 years! It's located across the street from the campus.
I hand-held multiple exposures then converted five images to tiffs using Lightroom. I used Photomatrix to tone-map the HDR image. I spruced-up the image using the Topaz plug-ins DeNoise, Detail, and Simplify, and touched-up the image using Photoshop.
PENTAX K-5
SMC PENTAX-DA* 50-135mm ƒ2.8 ED [IF] SDM
ISO 100, ƒ6.3, 1/125-1/2000
Sometimes complexity is preferable to simplicity, but I’ve tried to simplify the forms in this shot to create some kind of order in the tangled branches. For me the shot is about the overall composition and you should have seen me moving from side to side trying to give the trees space. For anybody that has tried this shot, I’m sure you will know what I’m talking about. Anyway, I also love the way the fog has helped give this shot some depth into the forest, but also in colours. I love the blues in the distance juxtaposed against the oranges, greens and yellows of the foreground. Anyway, hope you find the shot interesting if nothing else...
Digital Blending of 5xp and add a layer of topaz simplify to make this pictures. btw, just wanna do the HBM like ah Mel!! ;-)
I am creating a series of Chinese culture images, here is another image in my series.
Chinese characters on the tea pot and cups translate to a well known poem:
"When friends come over late at night, tea is served instead of wine"
haven’t churned out a decent sketch in a long time.
i’ve been so busy that this has been sitting in my book
for a decent couple of weeks now. mixed medias here,
quite obviously i rushed it and left it savagely beaten
around the edges. i should probably not use such thin
paper when applying water and acrylics.
not sure how i feel about it.
A simple apartment comes to life with good composition. Simplifying the elements makes for an interesting image.
Weekapaug Point, Westerly RI
Topaz Simplify - Black Line Only
Topaz Impression - Pastel I
Topaz Glow - Fur & Feathers II
This photo was taken Dec 28th, 2011 at Okangan Falls BC. That is Skaha Lake in the foreground. Shot with a Nikon D300 10-24mm lens @ 10mm (5 exposures) and processed in Photomatix Pro. It was then converted using the plug in Topaz Simplify 3.
A composition I did that I later passed through various filters like oil paint and topaz simplify.
Sadly on the second one the grainy effect on the lens that I really liked is lost.
Grumble grumble, something something not videogames
Several years ago, I sold my 4-bedroom house and moved to a small condo in the city. I made some hard decisions about what to keep and what to shed. Simplifying my life so drastically was exhilarating. But, like kudzu, the "stuff I think I need" has been slowly creeping back in and choking me. Time to defoliate again :)
For threesixtyfive, FGR challenge, "Uncluttered", and also The Rogue Players theme DoF
Wearing the ICG Simplified paint scheme, PS 4750 # 765445 is southbound on CN's ex IC main line in Homewood, IL.
I took this with my Blackberry.
Used Topaz DeNoise, Detail and Simplfy to create this final product. It turned out far better than I expected.
Gx1 simplify topaz
For a detailed review and for more examples, go to the blog of Mr Tyson Robichaud
tysonrobichaudphotography.wordpress.com/2014/02/20/topaz-...
©2012 Susan Ogden-All Rights Reserved Images Thruthelookingglass
The week after Spring Break is killer. The kids come back, but their brains and behavior are still somewhere between Disney World and home. It is the time of year that they are finally used to you, and you are familiar enough that they think you are their mother....they try and pull some fast ones. You just have to laugh...or you will cry!
Ironically the adults in the classroom are focusing on the last day of school and patience with the behaviors at this point is at a pretty low level....a Margarita Bar at free play time would be most welcome for us! Somehow that is overlooked and/or frowned upon by the powers that be....when really, it could only help at this point!
I for one, am hoping for a weekend of Simplicity..........but i have an uneasy feeling....an ill wind is coming. i feel it, but can’t quite tell what it will bring...........it does not feel good. my 6th sense is telling me to lay low. Breathe.........simplify...............just be.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections • sets
event | 2008 ENNSTAL-CLASSIC • Styria 💚 Austria
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
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rumoto images, 2008 Ennstal-Classic, 写真家, カメラマン, 摄影师, Bernard Egger, photography, Ferrari 500 F2, Ferrari Ascari, 2008 GP Gröbming, Ennstal-Classic, italian cars, Scuderia Ferrari, Ferrariregister, Ferrari, Моторспорт фотография, Motorsport, Моторспорт, машина, авто, Oldtimer, Automobile, 車, motoring, european cars, classica, classic cars, vintage cars, historic cars, motorracing, historique, sports cars, Sportwagen, classic sports cars, Passione, Mythos, legends, Leggenda, awesome, stunning,
📷 | 1952 Ferrari 500 F2 original Ascari :: rumoto images # 10
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If a photographer can’t feel what he is looking at, then he is never going to get others to feel anything when they look at his pictures.
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Original Ascari-Ferrari 500 F2:
Bei diesem Rennwagen handelt es sich um ein echtes Juwel: nämlich um den original Ascari-Ferrari.
1952 und 1953 wurde die Formel 1 WM für Formel 2-Rennwagen ausgeschrieben. Ferrari hatte mit dem Typ 500 einen 2-Liter Vierzylinder-Rennwagen, der 1952 mit 165 PS und 1953 mit 180 PS Alberto Ascari zu zwei WM-Titel mobilisierte.
Ferrari holte sich in diesen zwei Jahren alle WM-Läufe bis auf den Grand Prix von Italien 1953, den Fangio auf Maserati gewann.
Trockengewicht: 560 kg, Höchstdrehzahl 7.200 U/min.
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about original Ascari car Ferrari 500 F2:
The Ferrari F2 was raced for a couple of seasons where it was pitted against competition such as the British HWM, Maserati, Gordinis, and Connaughts. During those grueling seasons, the Ferrari 500 F2 proved its potential by being raced on many weekends throughout the years and emerging victorious in many of the races. The Lampredi powered car carried Alberto Ascari to two world titles and brought fame to the name, Ferrari. The car was not just limited to the factory; many privateers purchased examples and expanded the fame of the 500.
Ingegnere Lampredi was of the strong opinion that the 2-liter car did not need to be powered by a twelve-cylinder unit, but rather a smaller and lighter unit could provide many benefits. He convinced Enzo that a four-cylinder unit would be more competitive and fuel efficient. It would become one of the few Ferrari cars to be powered by a four-cylinder unit. The four-cylinder engine would be used in Ferrari sports cars and single seat racers during the 1950s. The engine was mounted in the front of the 4500 F1 derived chassis and sent power to the rear wheels. A fuel tank sat behind the driver. A small windscreen protected the driver from the elements. The front suspension was fully independent while the rear was a de Dion layout.
In 1952 'organ-pipes' were added to the vehicle. Running along the middle sides of the vehicle was an exhaust pipe which could burn the drivers elbows if not careful. A heat shield was installed right where the elbows might have hit to help ease the potential for a burn.
At the Modena Grand Prix, held in September of 1951, two factory cars had been created and were entered into the race in the Formula Junior class. It was not immediately entered into the F2 class because the competition was pretty stiff at the time and Enzo wanted to win. Ascari drove the car to a victory after averaging nearly 120 km/h.
Ferrari's big break came at the end of the 1951 season. Alfa Romeo announced their retirement from racing and as a result, the sport of Formula 1 went into a bit of a decline. For the 1952 and 1953 season, the World Championship was run under the two-liter Formula 2 regulations which was meant to keep the sport competitive. Ferrari and their 375 had been poised to dominate the season but these regulations meant a new engine was required. The Lampredi four-cylinder unit was modified with four Weber DOE 45 single-barrel carburetors, modified camshaft, and a new fuel system. The bodywork was simplified and the brakes were enlarged.
The debut of the new racer was at Siracusa, a non-championship race, where the 500 F2 easily won the race. The following two races, at Pau and Marseilles, were also non-championship races which the car emerged victorious. During the 1952 season, Ascari drove the 500 to six of the seven Grand Prix victories. The seventh Grand Prix victory was won by Taruffi, Ascari's teammate. The team consisted of three works cars driven by Ascari, Taruffi, and Farina.
Throughout the seasons, the cars were given slight modifications. Ascari's car had two slots in the tail to provide additional cooling to the oil tank and transmission. Some of the cars were given deflector tabs over the front wheels. The works cars had a slightly more tapered nose and were void of the mesh radiator grille.
The cars first defeat came at Reims at the hands of Jean Behra while driving a six-cylinder Gordinin. Ascari and Villoresi had retired prematurely from the race due to their vehicles magnetos overheating. The cars magneto arrangement was reconfigured and ready for the next Grand Prix race. The new configuration proved successful and the cars finished in the top three positions. This trend would continue for many of the following Grand Prix races. The team was victorious at the German Grand Prix at Nurburgring, and the Dutch Grand Prix at Zandvoort. Ascari went on to be crowned the French National Championship and later, the World Championship.
For two seasons, 1952 and 1953, the 500 F2 dominated. In 1954 the World Championship was again run under F1 regulations with 2.5-liter formula rules. Ferrari responded by increasing the displacement size of their four-cylinder engines to accommodate the new rules, but they were unable to keep pace with the six-cylinder Maserati's and eight-cylinder Mercedes-Benz racers.
In total, six Ferrari 500 F2 racers were constructed.
[Quelle: Ennstal-Classic]
© All rights reserved, don´t use this image without my permission.Contact me at debmalya86@gmail.com
It's the end of February and I am feeling the need for strong bright color!
Processed using Topaz Clean & Topaz Simplify
At the Philadelphia Zoo
Please check out my 2014 Zoo Set.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
New Year's Resolution: to simplify...I tend to make small things monumental. I need to remember to simplify.
For starters, this is the fewest images I've every taken for a DPS assignment, 13 (oh that is probably unlucky isn't it, but well what do I care!) SIMPLIFY... One feather and snow.
Entered this image in the Beginners level, Print category at our camera club and received a 4-way tie for 1st place. 2/25/13.
Teignmouth, with the help of Topaz-simplify , (riffing from a buzsim start point)makes a poor photo into the picture I saw.
I used Genevieve's Mandala Templates to set up the pencil guides for this mandala. More info available on my blog: rainbowelephant.com
129/365 (890)
My hat just happened to catch my eye and I thought, that'll be today's photo, but what to do with it. It's the same colour as one of our doors that has hook, so bingo, hat on a hook, but it need something else, hence the bluebells......as they say, simples :)
On 14th June 1986 the 14:20 Whitby to Darlington service, 2Y19, exits Sleights, formed of a Class 143 Pacer DMU.
Built for the Small Miscellaneous category of the thirteenth Colossal Castle Contest on classic-castle.com.
In 1092 AD, Chinese engineer Su Song and his crew completed construction of a magnificent astronomical clock- an impressive timekeeping device as ordered by the emperor himself.
The clock was powered by water, which fed from a trough that was kept at a constant height to ensure constant pressure and therefore consistent timekeeping. The water dripped into the scoops of a large water wheel, which consequently lurched forward every quarter of an hour. The motion of this wheel caused a multi-story tower in the front of the clock to turn, creating a loud sound and displaying certain small statues to indicate the hour. Additionally, the water wheel powered a rotating celestial globe on the interior of the clock, which was synchronized with the huge armillary sphere atop the clock tower.
In addition to its inherently impressive nature, Su Song's clock also featured the world's first documented endless power-transmitting chain drive, which connected the axle of the waterwheel to the mechanical device that powered the armillary sphere.
Su Song's machinery has been dutifully recreated (though somewhat simplified due to space and parts constraints) in this model. When the small handle on the rear of the model is turned, the waterwheel rotates, turning a series of gears that causes the front tower to rotate. Additionally, a vertical axle and gear system rotates the celestial globe inside the tower. The endless power-transmitting chain drive has been faithfully included, transferring energy from the axle of the waterwheel up to the rotational mechanism of the armillary sphere.
Following the recent Kent County Council tender results a number of changes are taking place to some Sunday routes around the Medway Towns. One such change is the introduction of a Sunday service on route 145 (Chatham Bus Station to Warrren Wood) from 6th April, this has had a knock on effect with route 135 which runs between Chatham and Maidstone via Warren Wood, Borstal and Eccles rerouted to run via the normal weekday route of the 155 and missing out the deviation via Warren Wood.
Both the Sunday operation of route 145 and 155 start on the 6th April so the final day of route 135 was Sunday 30th March.
In dire weather on the final day of operation, route 145 branded ARRIVA Kent & Surrey 1610 GN04 UDB is seen on the section of the route not served by route 145 or 155 as it climbs Maidstone Road between Borstal and Warren Wood whilst working the penultimate northbound route 135. Sunday 30th March 2014.
TransBus Dart 8.8m - TransBus Mini Pointer
IMG_13348
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Edward Penfield (1866-1925) was an influential American poster artist, considered as the father of the American poster movement. He was employed as an art editor for Harper’s Weekly, Monthly, and Harper’s Bazaar, where he made posters advertising each issue of the magazine for over seven years. His art was avant-garde with less concern for the dramatic curving lines of Art Nouveau, inspired by Japanese ukiyo-e block prints, figure drawings by Henri de Toulouse-Lautrec, color lithographies by Jules Chéret, and other contemporary artists. He created simplified scenes of daily life in saturated colors, including horses, cats, sports, and women’s fashion. We have digitally enhanced some of his artworks. They are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1337800/edward-penfield-poster-illustrations-i-public-domain-artworks-designs?sort=curated&mode=shop&page=1