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Wait Until Dark by Frederik Knott produced by Minnesota State University, Mankato Department of Theatre and Dance in the Andreas Theatre.
Up until two years ago I stayed at a nearby hotel and I really liked the area and I visited the Wine Tavern on a regular basis. Unfortunately, the cost of accommodation became more than I was willing to pay. This year I stayed in the city centre but I did get a chance to visit St. Lukes Wine Tavern.
Until this morning (6am) there has been very few sparrows in my garden. The reward for getting up so early was a little flock of Eurasian Tree Sparrows (Pilfink / Passer montanus) visiting.
Kongsgårdmoen, Kongsberg, Norway.
Canon 60D, Sigma 150-500mm.
The photo is part of a Eurasian Tree Sparrow set.
You may also find my Eurasian Tree Sparrow feeding offspring set interesting.
It was not until I returned home, and processed the photos through my computer, that I suddenly realized that there are NO ARCADES OF ARCHES supporting the nave roof . . . which must be all of one hundred feet long !!!!
I can only imagine that there is the MOTHER-OF-ALL-RSJ's, each side . . . running from the top of the square pillars shown in my picture, to the gallery at the west-End . . . supporting the entire length of the Barrel-Vault ~ which is forty feet wide, and sixty feet high !!!
The 120-ft-high dome is no problem . . . it sits, traditionally, on four semi-circular arches, whose springers rest on the four square columns of the centre-tower.
Wait Until Dark by Frederik Knott produced by Minnesota State University, Mankato Department of Theatre and Dance in the Andreas Theatre.
Apartments are sold in a bare state and the new owner will be required to decorate and fitt to thier own design. Often apartments will be kept like this until the value rises so they can still be sold as "new". This apartment has remained in this contition for 8 years.
Wait Until Dark by Frederik Knott produced by Minnesota State University, Mankato Department of Theatre and Dance in the Andreas Theatre.
St Edmundsbury Cathedral, Bury St Edmunds.
Looking East.
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
The Hôtel-Dieu de Lyon was until 2010 (Wikipedia) a giant hospital of historical significance situated on the right bank of the Rhône river in Lyon, France. The building is inscribed on the UNESCO World Heritage List . In 2019, an InterContinental hotel opened in the renovated building and the hospital became a prominent entertainment and cultural place.
The original building was first erected in the medieval period for clerical purposes. When the first medical doctor,Maître Martin Conras was hired in 1454, 'Hôtel-Dieu' became a fully functional hospital, one of the most important in France. In 1532, 'Hôtel-Dieu' appointed former Franciscan/Benedictine monk-turned-doctor and great Humanist François Rabelais, who would write his Gargantua and Pantagruel during his tenure here. Renaissance poet Louise Labé lived just beyond the western limits of the building.
Massive expansion projects in the 17th century by Guillaume Ducellet (under Louis XIII and Cardinal Richelieu) and in the 18th century by Jacques-Germain Soufflot (under Louis XIV and Jean-Baptiste Colbert) replaced the original building with the grandiose wings and courts we know today.
In 2010, all the medical activities were definitively transferred to other modern Lyon’s hospitals, and a project to transform the site for commercial activities including the Intercontinental Lyon hotel (2019), museum, bars and entertainment places, was conducted by Credit Agricole.
I selected my year-1951 FOCA Standard (PF1B) camera for a photo session there on August 24, 2024.
The camera was loaded with a 36-exposure black-and-white Adox film CHS 100 II. Adox is one of the oldest photographic products brand in Germany since 1860. Adox CHS 100 II is a very technical film composed of a mix of two emulsions, one ortho and another panchromatic. The resulting sensitivity profile is then bit particular with a drop around 500 nm between blue and green colors. The emulsion is coated on a clear 100 micron polyester teraphtalate (PET) base with two different anti-halation layer, a black one on the film back and a violet one between the PET base and the emulsion mix. This anti-halation are removed par two pre-soaking water bathes of 2min at the temperature of the processing (20°C).. The lens was equipped with the FOCA metal shade hood 36mm push-on, specific for the FOCA 1* and the regular camera lens Oplar 3.5/3.5cm. A protective FOCA AUV was also used for all the views.
The expositions were determined for 100 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
When necessary, I used a laser meter to determine some object distances for correct focusing bellow 5m.
Grand Hotel Dieu, August 24, 2024
Place de l’Hôpital
69002 Lyon
France
After complete exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+50 at 20°C for 13 min. The film was then digitized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg plus some documentary smartphone color pictures.
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About the camera and the lens :
The FOCA Standard was the entry model of PF (French: « Petit Format ») O.P.L. FOCA camera's with 36 mm screw mount lens. The camera is the 1951 evolution of the FOCA PF1B (1 star) with the possibility to interchange lenses with the 36mm OPL screw mount. The regular lens delivered with the FOCA Standard was the Oplar 1:3.5 f=3,5 cm, a wide-angle (non retrofocus) lens more easy to use using zone focusing. The PF1’s, as the Standard’s, had no range finder and was equipped by default with an integrated finder matching the field of the 35 mm lens. The focal shutter is also limited in the range 1/25 to 1/500s plus B. The Foca Standard was a simple, very reliable, and endurant camera that was preferred for intensive uses for industry or by the "photo-filmeurs" in the 50 and early 60's.
This specific camera is a model -2 version 5 of the type PF1B, non synchronized for flash, produced in the year 1951. It cames with a rubber FOCA push-on 36mm lens cap and a FOCA leather ever.
The camera and the lens are both in a very good condition. The lens in particular has still a pristine anti-reflect coating and the time. According to its serial number, the lens would be model-1 version 3 year 1952.
Darek is home until he goes back to Minnesota for his last semester of school. Then he moves home for good!!!
We spent some time at the West Side pool & spa today.
First of all sorry as i had my camera on a very low res setting for the first few shots and didnt realise until it was too late.
South west trains class 159 number 159011 and cross country class 220 voyager number 220011 (yes i got the number for once!) at basingstoke
Until yesterday, I'd never seen a sunflower, except in photos, so I thought this shot of my first one merited uploading to Flickr. If I had Photoshop, I'd have added the obligatory bug...
Wait Until Dark by Frederik Knott produced by Minnesota State University, Mankato Department of Theatre and Dance in the Andreas Theatre.
When I took this I overheard someone yell "tomorrow at 8", which I assume is when they resume demolition.
On the Victoria Day Weekend in 2010, the Twin City Gas Building was demolished. It was the last building to go before construction of the Thunder Bay District Consolidated Courthouse could begin.
Until now you should have used clear dope only around the outer edges of each structure, to hold the silkspan in place. Now it’s time for the first of several full, wet coats over everything. This is what fresh silkspan will look like as the first coat of clear dope goes on. Use a wide, soft brush, keep it wet with as much dope as it will carry without dripping or running, and brush out the dope only enough to get it smooth...don’t scrub it on. Even though I’m using non-tautening nitrate dope here, the covering will sag a bit while the dope is still wet.
Until this year I was never aware of the miracle of year-round snow behind arenas.
Not that I want snow. This was just kind of neat.
Until recently the tallest occupied building on earth - the still impressive Taipei 101 towers above Taipei
Clayton Jr page preview
for
Teiera 2011 Anthology
2 colors
10 authors
10 comics made by 7 pages
10 steps until nothing
Until a few weeks ago, I didn't know anything about the Rosenstrasse Protest. Then, after some research, I knew I had to visit the place, take pictures and write something about it.
You can learn more about the only german protest against the deportation of Jews here on Fotostrasse: ftrc.me/1ICvFMe
Ella Rubin speaking at the 2025 WonderCon, for "Until Dawn", at the Anaheim Convention Center in Anaheim, California.
Please attribute to Gage Skidmore if used elsewhere.
Power of Diversity - The Crossing Lines Project
rehearsal - Lokhalle, Freiburg 04.07. until 09.07.2017
In operation from 1857 until 1995, the former Bethlehem Steel Mill started as an ironworks known as the Bethlehem Iron Company, which was founded in 1857 as the Saucona Iron Company. The company was reformed as Bethlehem Steel Company in 1899, and then Bethlehem Steel Corporation in 1904. One of the largest steel manufacturers and shipbuilders during the 20th Century, Bethlehem Steel was headquartered in Bethlehem, and supplied the steel used to build many of the most famous and prominent structures in New York City and around the United States. The mill in Bethlehem saw most of its operations cease in 1982 after the company reported a loss of $1.5 billion due to increased competition from foreign imports made with cheaper and less regulated labor and industry elsewhere in the world, as well as financial obligations to former workers via pensions. The company became profitable again in the late 1980s, but subsequently saw further losses in the 1990s, leading to most of its operations becoming fully shuttered in this decade. The Bethlehem Steel Mill, which had produced steel used in so many iconic 20th Century landmarks in the United States, finally ceased operations in 1995. The company was declared bankruptcy in 2001 owing to its decline and was subsequently dissolved, with its remaining assets being first merged into International Steel Group in 2003, then the Mittal Steel Company in 2005, then ArcelorMittal in 2006, and finally, Cleveland-Cliffs in 2020.
The former mill consists of multiple brick and stone buildings in varying conditions, most of which date to the late 19th Century and early 20th Century, which were once surrounded by now-removed newer structures that housed much of the operation of the steel mill by the time it closed. The buildings feature relatively simple footprints and rooflines, with many of the stone buildings featuring arched window and door openings and hipped roofs, and the brick buildings featuring rectangular window and door openings, roof monitors, and steel windows. However, large sections of the complex are in a state of serious disrepair, with major roof failure evident on many of the buildings, with large sections of metal and membrane roofing entirely missing, meaning that the buildings are seeing further interior deterioration. Though redevelopment efforts have been ongoing for some time, the buildings of the former steel mill will require extensive work to be adaptively reused for other purposes. In the meantime, many of them remain fenced off, overlooking the new buildings and activities on the site, with many having been built between 2011 and 2015.
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