View allAll Photos Tagged Versatile
Sunrise from Gulpenerberg looking over Wittem towards the church of Vijlen on the right.
This photo is made with my favourite lens, the Canon EF 100mm F2.8L Macro lens. It is a versatile very sharp prime lens equally suited for 1:1 macro as well as landscape photography.
CC Most Versatile: Favourite window as its a place we often meet friends for Breakfast and then a walk around WIllen Lake
Google search: 'The term umbrella is traditionally used when protecting oneself from rain, while parasol is used when protecting oneself from sunlight.'
A ferry from Hong Kong Central Piers to Cheung Chau: Easter Sunday 2025
i stole poor Etiennes wig to do a photoshoot for the new set of etsy stuff i made... Ilsa's red wig was taking over the show :D
at any rate now i need to get her a short wig of her own cause she just looked soo awesome
Cheerful, versatile, and highly functional -- I love the mix of open shelves and glass-fronted cabinets, and the shot of yellow introduced through the servingware. Another great feature? The undermount sink. It looks gorgeous and means easier clean-up, too.
Photo by Michel Arnaud, Good Housekeeping, July 2007.
Summer is over, so it's time to go back to work. But fortunately, it's easy to be stylish both at work and parties
A Royal Air Force Lockheed Martin F-35 "Lightning II", U.S. Air Force Boeing F-15E "Strike Eagle", and French air force Dassault "Rafale" fly behind a U.S. Air Force Boeing KC-135 "Stratotanker" from the 100th Air Refueling Wing during Exercise Point Blank over the English Channel, Nov. 27, 2018. Training with NATO allies like the U.K. and France improves interoperability and demonstrates the United States’ commitment to regional security. Exercise Point Blank also represents an opportunity to enhance interoperability and integration between allied fourth and fifth-generation fighter aircraft.
From Wikipedia, the free encyclopedia
The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force (USAF). The result of the USAF's Advanced Tactical Fighter (ATF) program, the aircraft was designed primarily as an air superiority fighter, but also has ground attack, electronic warfare, and signal intelligence capabilities. The prime contractor, Lockheed Martin, built most of the F-22's airframe and weapons systems and conducted final assembly, while Boeing provided the wings, aft fuselage, avionics integration, and training systems.
The aircraft was variously designated F-22 and F/A-22 before it formally entered service in December 2005 as the F-22A. Despite its protracted development and various operational issues, USAF officials consider the F-22 a critical component of the service's tactical air power. Its combination of stealth, aerodynamic performance, and situational awareness enable unprecedented air combat capabilities.
Service officials had originally planned to buy a total of 750 ATFs. In 2009, the program was cut to 187 operational production aircraft due to high costs, a lack of clear air-to-air missions due to delays in Russian and Chinese fighter programs, a ban on exports, and development of the more versatile F-35. The last F-22 was delivered in 2012.
Development
Origins
In 1981, the U.S. Air Force identified a requirement for an Advanced Tactical Fighter (ATF) to replace the F-15 Eagle and F-16 Fighting Falcon. Code named "Senior Sky", this air-superiority fighter program was influenced by emerging worldwide threats, including new developments in Soviet air defense systems and the proliferation of the Su-27 "Flanker"- and MiG-29 "Fulcrum"-class of fighter aircraft. It would take advantage of the new technologies in fighter design on the horizon, including composite materials, lightweight alloys, advanced flight control systems, more powerful propulsion systems, and most importantly, stealth technology. In 1983, the ATF concept development team became the System Program Office (SPO) and managed the program at Wright-Patterson Air Force Base. The demonstration and validation (Dem/Val) request for proposals (RFP) was issued in September 1985, with requirements placing strong emphasis on stealth and supercruise. Of the seven bidding companies, Lockheed and Northrop were selected on 31 October 1986. Lockheed teamed with Boeing and General Dynamics while Northrop teamed with McDonnell Douglas, and the two contractor teams undertook a 50-month Dem/Val phase, culminating in the flight test of two technology demonstrator prototypes, the YF-22 and the YF-23, respectively.
Dem/Val was focused on risk reduction and technology development plans over specific aircraft designs. Contractors made extensive use of analytical and empirical methods, including computational fluid dynamics, wind-tunnel testing, and radar cross-section calculations and pole testing; the Lockheed team would conduct nearly 18,000 hours of wind-tunnel testing. Avionics development was marked by extensive testing and prototyping and supported by ground and flying laboratories. During Dem/Val, the SPO used the results of performance and cost trade studies conducted by contractor teams to adjust ATF requirements and delete ones that were significant weight and cost drivers while having marginal value. The short takeoff and landing (STOL) requirement was relaxed in order to delete thrust-reversers, saving substantial weight. As avionics was a major cost driver, side-looking radars were deleted, and the dedicated infra-red search and track (IRST) system was downgraded from multi-color to single color and then deleted as well. However, space and cooling provisions were retained to allow for future addition of these components. The ejection seat requirement was downgraded from a fresh design to the existing McDonnell Douglas ACES II. Despite efforts by the contractor teams to rein in weight, the takeoff gross weight estimate was increased from 50,000 lb (22,700 kg) to 60,000 lb (27,200 kg), resulting in engine thrust requirement increasing from 30,000 lbf (133 kN) to 35,000 lbf (156 kN) class.
Each team produced two prototype air vehicles for Dem/Val, one for each of the two engine options. The YF-22 had its maiden flight on 29 September 1990 and in flight tests achieved up to Mach 1.58 in supercruise. After the Dem/Val flight test of the prototypes, on 23 April 1991, Secretary of the USAF Donald Rice announced the Lockheed team as the winner of the ATF competition. The YF-23 design was considered stealthier and faster, while the YF-22, with its thrust vectoring nozzles, was more maneuverable as well as less expensive and risky. The aviation press speculated that the Lockheed team's design was also more adaptable to the U.S. Navy's Navalized Advanced Tactical Fighter (NATF), but by 1992, the Navy had abandoned NATF.
Production and procurement
As the program moved to full-scale development, or the Engineering & Manufacturing Development (EMD) stage, the production version had notable differences from the YF-22, despite having a broadly similar shape. The swept-back angle of the leading edge was decreased from 48° to 42°, while the vertical stabilizers were shifted rearward and decreased in area by 20%. To improve pilot visibility, the canopy was moved forward 7 inches (18 cm), and the engine intakes moved rearward 14 inches (36 cm). The shapes of the wing and stabilator trailing edges were refined to improve aerodynamics, strength, and stealth characteristics. Increasing weight during development caused slight reductions in range and maneuver performance.
Prime contractor Lockheed Martin Aeronautics manufactured the majority of the airframe and performed final assembly at Dobbins Air Reserve Base in Marietta, Georgia; program partner Boeing Defense, Space & Security provided additional airframe components as well as avionics integration and training systems. The first F-22, an EMD aircraft with tail number 4001, was unveiled at Marietta, Georgia, on 9 April 1997, and first flew on 7 September 1997. Production, with the first lot awarded in September 2000, supported over 1,000 subcontractors and suppliers from 46 states and up to 95,000 jobs, and spanned 15 years at a peak rate of roughly two airplanes per month. In 2006, the F-22 development team won the Collier Trophy, American aviation's most prestigious award. Due to the aircraft's advanced nature, contractors have been targeted by cyberattacks and technology theft.
The USAF originally envisioned ordering 750 ATFs at a total program cost of $44.3 billion and procurement cost of $26.2 billion in fiscal year (FY) 1985 dollars, with production beginning in 1994. The 1990 Major Aircraft Review led by Secretary of Defense Dick Cheney reduced this to 648 aircraft beginning in 1996. By 1997, funding instability had further cut the total to 339, which was again reduced to 277 by 2003. In 2004, the Department of Defense (DoD) further reduced this to 183 operational aircraft, despite the USAF's preference for 381. A multi-year procurement plan was implemented in 2006 to save $15 billion, with total program cost projected to be $62 billion for 183 F-22s distributed to seven combat squadrons. In 2008, Congress passed a defense spending bill that raised the total orders for production aircraft to 187.
The first two F-22s built were EMD aircraft in the Block 1.0 configuration for initial flight testing, while the third was a Block 2.0 aircraft built to represent the internal structure of production airframes and enabled it to test full flight loads. Six more EMD aircraft were built in the Block 10 configuration for development and upgrade testing, with the last two considered essentially production quality jets. Production for operational squadrons consisted of 37 Block 20 training aircraft and 149 Block 30/35 combat aircraft; one of the Block 35 aircraft is dedicated to flight sciences at Edwards Air Force Base.
The numerous new technologies in the F-22 resulted in substantial cost overruns and delays. Many capabilities were deferred to post-service upgrades, reducing the initial cost but increasing total program cost. As production wound down in 2011, the total program cost is estimated to be about $67.3 billion, with $32.4 billion spent on Research, Development, Test and Evaluation (RDT&E) and $34.9 billion on procurement and military construction (MILCON) in then year dollars. The incremental cost for an additional F-22 was estimated at about $138 million in 2009.
Ban on exports
The F-22 cannot be exported under US federal law to protect its stealth technology and other high-tech features. Customers for U.S. fighters are acquiring earlier designs such as the F-15 Eagle and F-16 Fighting Falcon or the newer F-35 Lightning II, which contains technology from the F-22 but was designed to be cheaper, more flexible, and available for export. In September 2006, Congress upheld the ban on foreign F-22 sales. Despite the ban, the 2010 defense authorization bill included provisions requiring the DoD to prepare a report on the costs and feasibility for an F-22 export variant, and another report on the effect of F-22 export sales on U.S. aerospace industry.
Some Australian politicians and defense commentators proposed that Australia should attempt to purchase F-22s instead of the planned F-35s, citing the F-22's known capabilities and F-35's delays and developmental uncertainties. However, the Royal Australian Air Force (RAAF) determined that the F-22 was unable to perform the F-35's strike and close air support roles. The Japanese government also showed interest in the F-22 for its Replacement-Fighter program. The Japan Air Self-Defense Force (JASDF) would reportedly require fewer fighters for its mission if it obtained the F-22, thus reducing engineering and staffing costs. However, in 2009 it was reported that acquiring the F-22 would require increases to the Japanese government's defense budget beyond the historical 1 percent of its GDP. With the end of F-22 production, Japan chose the F-35 in December 2011. Israel also expressed interest, but eventually chose the F-35 because of the F-22's price and unavailability.
Production termination
Throughout the 2000s, the need for F-22s was debated, due to rising costs and the lack of relevant adversaries. In 2006, Comptroller General of the United States David Walker found that "the DoD has not demonstrated the need" for more investment in the F-22, and further opposition to the program was expressed by Secretary of Defense Donald Rumsfeld, Deputy Secretary of Defense Gordon R. England, Senator John McCain, and Chairman of U.S. Senate Committee on Armed Services Senator John Warner. The F-22 program lost influential supporters in 2008 after the forced resignations of Secretary of the Air Force Michael Wynne and the Chief of Staff of the Air Force General T. Michael Moseley.
In November 2008, Secretary of Defense Robert Gates stated that the F-22 was not relevant in post-Cold War conflicts such as irregular warfare operations in Iraq and Afghanistan, and in April 2009, under the new Obama Administration, he called for ending production in FY2011, leaving the USAF with 187 production aircraft. In July, General James Cartwright, Vice Chairman of the Joint Chiefs of Staff, stated to the Senate Committee on Armed Services his reasons for supporting termination of F-22 production. They included shifting resources to the multirole F-35 to allow proliferation of fifth-generation fighters for three service branches and preserving the F/A-18 production line to maintain the military's electronic warfare (EW) capabilities in the Boeing EA-18G Growler.[60] Issues with the F-22's reliability and availability also raised concerns. After President Obama threatened to veto further production, the Senate voted in July 2009 in favor of ending production and the House subsequently agreed to abide by the 187 production aircraft cap. Gates stated that the decision was taken in light of the F-35's capabilities, and in 2010, he set the F-22 requirement to 187 aircraft by lowering the number of major regional conflict preparations from two to one.
In 2010, USAF initiated a study to determine the costs of retaining F-22 tooling for a future Service Life Extension Program (SLEP).[66] A RAND Corporation paper from this study estimated that restarting production and building an additional 75 F-22s would cost $17 billion, resulting in $227 million per aircraft, or $54 million higher than the flyaway cost. Lockheed Martin stated that restarting the production line itself would cost about $200 million. Production tooling and associated documentation were subsequently stored at the Sierra Army Depot, allowing the retained tooling to support the fleet life cycle. There were reports that attempts to retrieve this tooling found empty containers, but a subsequent audit found that the tooling was stored as expected.
Russian and Chinese fighter developments have fueled concern, and in 2009, General John Corley, head of Air Combat Command, stated that a fleet of 187 F-22s would be inadequate, but Secretary Gates dismissed General Corley's concern. In 2011, Gates explained that Chinese fifth-generation fighter developments had been accounted for when the number of F-22s was set, and that the U.S. would have a considerable advantage in stealth aircraft in 2025, even with F-35 delays. In December 2011, the 195th and final F-22 was completed out of 8 test EMD and 187 operational aircraft produced; the aircraft was delivered to the USAF on 2 May 2012.
In April 2016, the House Armed Services Committee (HASC) Tactical Air and Land Forces Subcommittee proposed legislation that would direct the Air Force to conduct a cost study and assessment associated with resuming production of the F-22. Since the production halt directed in 2009 by then Defense Secretary Gates, lawmakers and the Pentagon noted that air warfare systems of Russia and China were catching up to those of the U.S. Lockheed Martin has proposed upgrading the Block 20 training aircraft into combat-coded Block 30/35 versions as a way to increase numbers available for deployment. On 9 June 2017, the Air Force submitted their report to Congress stating they had no plans to restart the F-22 production line due to economic and operational issues; it estimated it would cost approximately $50 billion to procure 194 additional F-22s at a cost of $206–$216 million per aircraft, including approximately $9.9 billion for non-recurring start-up costs and $40.4 billion for aircraft procurement costs.
Upgrades
The first aircraft with combat-capable Block 3.0 software flew in 2001. Increment 2, the first upgrade program, was implemented in 2005 for Block 20 aircraft onward and enabled the employment of Joint Direct Attack Munitions (JDAM). Certification of the improved AN/APG-77(V)1 radar was completed in March 2007, and airframes from production Lot 5 onward are fitted with this radar, which incorporates air-to-ground modes. Increment 3.1 for Block 30 aircraft onward provided improved ground-attack capability through synthetic aperture radar mapping and radio emitter direction finding, electronic attack and Small Diameter Bomb (SDB) integration; testing began in 2009 and the first upgraded aircraft was delivered in 2011. To address oxygen deprivation issues, F-22s were fitted with an automatic backup oxygen system (ABOS) and modified life support system starting in 2012.
Increment 3.2 for Block 35 aircraft is a two-part upgrade process; 3.2A focuses on electronic warfare, communications and identification, while 3.2B includes geolocation improvements and a new stores management system to show the correct symbols for the AIM-9X and AIM-120D.[83][84] To enable two-way communication with other platforms, the F-22 can use the Battlefield Airborne Communications Node (BACN) as a gateway. The planned Multifunction Advanced Data Link (MADL) integration was cut due to development delays and lack of proliferation among USAF platforms. The F-22 fleet is planned to start receiving Increment 3.2B as well as a software upgrade for cryptography capabilities and avionics stability in May 2019. A Multifunctional Information Distribution System-Joint (MIDS-J) radio that replaces the current Link-16 receive-only box is expected to be operational by 2020. Subsequent upgrades are also focusing on having an open architecture to enable faster future enhancements.
In 2024, funding is projected to begin for the F-22 mid-life upgrade (MLU), which is expected to include new sensors and antennas, hardware refresh, cockpit improvements, and a helmet mounted display and cuing system. Other enhancements being developed include IRST functionality for the AN/AAR-56 Missile Launch Detector (MLD) and more durable stealth coating based on the F-35's.
The F-22 was designed for a service life of 8,000 flight hours, with a $350 million "structures retrofit program". Investigations are being made for upgrades to extend their useful lives further. In the long term, the F-22 is expected to be superseded by a sixth-generation jet fighter to be fielded in the 2030s.
Design
Overview
The F-22 Raptor is a fifth-generation fighter that is considered fourth generation in stealth aircraft technology by the USAF.[91] It is the first operational aircraft to combine supercruise, supermaneuverability, stealth, and sensor fusion in a single weapons platform. The F-22 has four empennage surfaces, retractable tricycle landing gear, and clipped delta wings with reverse trailing edge sweep and leading edge extensions running to the upper outboard corner of the inlets. Flight control surfaces include leading-edge flaps, flaperons, ailerons, rudders on the canted vertical stabilizers, and all-moving horizontal tails (stabilators); for speed brake function, the ailerons deflect up, flaperons down, and rudders outwards to increase drag.
The aircraft's dual Pratt & Whitney F119-PW-100 augmented turbofan engines are closely spaced and incorporate pitch-axis thrust vectoring nozzles with a range of ±20 degrees; each engine has maximum thrust in the 35,000 lbf (156 kN) class. The F-22's thrust-to-weight ratio at typical combat weight is nearly at unity in maximum military power and 1.25 in full afterburner. Maximum speed without external stores is approximately Mach 1.8 at military power and greater than Mach 2 with afterburners.
The F-22's high cruise speed and operating altitude over prior fighters improve the effectiveness of its sensors and weapon systems, and increase survivability against ground defenses such as surface-to-air missiles. The aircraft is among only a few that can supercruise, or sustain supersonic flight without using fuel-inefficient afterburners; it can intercept targets which subsonic aircraft would lack the speed to pursue and an afterburner-dependent aircraft would lack the fuel to reach. The F-22's thrust and aerodynamics enable regular combat speeds of Mach 1.5 at 50,000 feet (15,000 m). The use of internal weapons bays permits the aircraft to maintain comparatively higher performance over most other combat-configured fighters due to a lack of aerodynamic drag from external stores. The aircraft's structure contains a significant amount of high-strength materials to withstand stress and heat of sustained supersonic flight. Respectively, titanium alloys and composites comprise 39% and 24% of the structural weight.
The F-22's aerodynamics, relaxed stability, and powerful thrust-vectoring engines give it excellent maneuverability and energy potential across its flight envelope. The airplane has excellent high alpha (angle of attack) characteristics, capable of flying at trimmed alpha of over 60° while maintaining roll control and performing maneuvers such as the Herbst maneuver (J-turn) and Pugachev's Cobra. The flight control system and full-authority digital engine control (FADEC) make the aircraft highly departure resistant and controllable, thus giving the pilot carefree handling.
Stealth
The F-22 was designed to be highly difficult to detect and track by radar. Measures to reduce radar cross-section (RCS) include airframe shaping such as alignment of edges, fixed-geometry serpentine inlets and curved vanes that prevent line-of-sight of the engine faces and turbines from any exterior view, use of radar-absorbent material (RAM), and attention to detail such as hinges and pilot helmets that could provide a radar return. The F-22 was also designed to have decreased radio emissions, infrared signature and acoustic signature as well as reduced visibility to the naked eye. The aircraft's flat thrust-vectoring nozzles reduce infrared emissions of the exhaust plume to mitigate the threat of infrared homing ("heat seeking") surface-to-air or air-to-air missiles. Additional measures to reduce the infrared signature include special topcoat and active cooling of leading edges to manage the heat buildup from supersonic flight.
Compared to previous stealth designs like the F-117, the F-22 is less reliant on RAM, which are maintenance-intensive and susceptible to adverse weather conditions. Unlike the B-2, which requires climate-controlled hangars, the F-22 can undergo repairs on the flight line or in a normal hangar. The F-22 has a Signature Assessment System which delivers warnings when the radar signature is degraded and necessitates repair. While the F-22's exact RCS is classified, in 2009 Lockheed Martin released information indicating that from certain angles the aircraft has an RCS of 0.0001 m² or −40 dBsm – equivalent to the radar reflection of a "steel marble". Effectively maintaining the stealth features can decrease the F-22's mission capable rate to 62–70%.
The effectiveness of the stealth characteristics is difficult to gauge. The RCS value is a restrictive measurement of the aircraft's frontal or side area from the perspective of a static radar. When an aircraft maneuvers it exposes a completely different set of angles and surface area, potentially increasing radar observability. Furthermore, the F-22's stealth contouring and radar absorbent materials are chiefly effective against high-frequency radars, usually found on other aircraft. The effects of Rayleigh scattering and resonance mean that low-frequency radars such as weather radars and early-warning radars are more likely to detect the F-22 due to its physical size. However, such radars are also conspicuous, susceptible to clutter, and have low precision. Additionally, while faint or fleeting radar contacts make defenders aware that a stealth aircraft is present, reliably vectoring interception to attack the aircraft is much more challenging. According to the USAF an F-22 surprised an Iranian F-4 Phantom II that was attempting to intercept an American UAV, despite Iran's assertion of having military VHF radar coverage over the Persian Gulf.
I have ornamental grasses behind the pond, which are usually bomb proof. This year even they are dying.
Discover vivacious West Palm Beach from your sophisticated suite at The Lofts! Perfect for up to 4 guests craving modern comforts amidst prime city life. You are steps away from the city’s best restaurants and nightlife on Clematis, a quick walk to great shopping at Rosemary Square and the Beach. Enjoy our pet-friendly amenities, a fully equipped kitchen, and more. Your vibrant WPB stay starts here!
The space
Step into a fusion of comfort and style as you enter your meticulously crafted suite at The Lofts. Bathed in sunlight, the open floor plan seamlessly integrates the living area with a fully equipped kitchen, granting you the freedom to cook a delicious meal or unwind on the plush sofa after a day exploring the city.
The modern, chic furnishings ensure a space you’ll be eager to return to after your adventures. The bedroom accommodates two guests comfortably with a queen bed dressed in fresh linens and extra pillows for a perfect night's sleep. Closets offer abundant space for your belongings and clothing storage for a relaxed, clutter-free stay.
The living room is a versatile space, featuring a sofa bed for additional guests and every suite includes a pack n play for families with little ones.
A pristine bathroom, complete with essentials like fresh towels, shampoo, conditioner, shower gel and hairdryer rounds out your suite to offer a true home away from home experience. As an added convenience for our guests, we offer complimentary washer/dryer access.
Find large smart TVs in the bedroom and living room and complimentary fast Wi-Fi.
Guest access
Guests will have unfettered access to the entire 1 BD/ 1 BA suite and shared spaces in the building. Accessing The Lofts is a breeze with our self-check-in smart lock feature - allowing you flexibility in your travel plans.
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www.airbnb.com/rooms/932125605366129539?source_impression...
www.loopnet.com/Listing/208-Clematis-St-West-Palm-Beach-F...
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Flasks are used to transport irradiated fuel or highly active waste but, for types of nuclear material that may not require heavy shielding the two axle PFA wagon is seen across the network transporting a huge variety of containers for Low Level or Intermediate Level material.
Some Intermediate Level Waste (ILW) had been stored safely at Drigg for many years but the containers it was in and the buildings in which it was housed were not designed for indefinite storage. In the 21st century this material was all transported to Sellafield using this type of container known as a NUPAK and seen here mounted on frames on a very short 7C20 in July 2011. The ILW was repackaged at Sellafield for storage in robust, purpose built facilities.
Big East-German card by VEB Progress Film-Vertrieb, Berlin, no. 65/72,1972. Jack Lemmon and Judi West in The Fortune Cookie (Billy Wilder, 1966).
Versatile and beloved American actor Jack Lemmon (1925-2001) was a virtuoso in both comedy and drama. He initially acted on TV before moving to Hollywood, cultivating a career that would span decades. Lemmon starred in over 60 films including Some Like It Hot (1959), The Apartment (1960), Irma la Douce (1963), The Odd Couple (1968), Save the Tiger (1973) and Grumpy Old Men (1993). Some of his most beloved performances stemmed from his collaborations with acclaimed director Billy Wilder and with his fellow friend and actor Walter Matthau.
Jack Lemmon was born John Uhler Lemmon III in 1925, in an elevator at Newton-Wellesley Hospital in Newton, Massachusetts, a suburb of Boston. He was the only child of Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. He later described his flamboyant, authoritarian mother as 'Tallulah Bankhead on a roadshow.' He laughed about how she used to hang out with her girlfriends at the Ritz Bar in Boston and how she tried to have her cremation ashes placed on the bar (the management refused). Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack Lemmon attended Harvard, where he became president of the Hasty Pudding Club, the university's famous acting club. During WW II, he served in the Naval Reserve and was the communications officer aboard the aircraft carrier USS Lake Champlain CV-39. After serving as a Navy ensign, he worked in a beer hall playing the piano. Then, Lemmon followed his passion for theatre. His father didn't approve of his son taking up acting, but told him he should continue with it only as long as he felt passion for it. Soon, Jack landed small roles on radio, off-Broadway, TV and Broadway. In 1953, he was very successful on Broadway with 'Room Service', after which he went to Hollywood. He signed a contract with Columbia Pictures. His film debut was opposite Judy Holliday in the romantic comedy It Should Happen to You (George Cukor, 1954). He was loaned to Warner Bros. in 1955 for his fourth film. There, he had his breakthrough as Ensign Pulver in the war drama Mister Roberts (John Ford, Mervyn LeRoy, 1955) starring Henry Fonda and James Cagney. His complex portrayal of this somewhat dishonest but sensitive character earned him the Academy Award for Best Supporting Actor. Lemmon would go on to work on a number of films with comedian and close friend Ernie Kovacs, including Bell Book and Candle (Richard Quine, 1958) starring James Stewart and Kim Novak. In 1959, Lemmon gave one of the top comedic performances of his career when he starred alongside Tony Curtis and Marilyn Monroe in the romantic comedy Some Like It Hot (Billy Wilder, 1959). He received an Oscar nomination for his role and he did the next year, for The Appartement (Billy Wilder, (1960) in which he co-starred with Shirley MacLaine. This led to several more collaborations with director Billy Wilder and great success on the big screen throughout the 1960s and 1970s.
Jack Lemmon also excelled in drama. He received an Oscar nomination for his role as an alcoholic in Days of Wine and Roses (Blake Edwards, 1962) and later followed more nominations for the dramas The China Syndrome (James Bridges, 1979), Tribute (Bob Clark, 1980) and Missing (Costa-Gravas, 1982). Kyle Perez at IMDb: "Sometimes referred to as "America's Everyman", Lemmon's versatility as an actor helped the audience more closely identify and relate to him. He was able always to elicit a laugh or sympathy from his viewers and his charismatic presence always shined on the big screen. He often portrayed the quintessence of an aspiring man and established a lasting impression on the film industry." Lemmon reunited with Shirley MacLaine in another Wilder film, Irma la Douce (Billy Wilder, 1963). It was one of the biggest commercial successes for the trio. The Fortune Cookie (Billy Wilder, 1966) served as the start of a comedic partnership between Lemmon and Walter Matthau and the two would come together again, two years later, for The Odd Couple (Gene Saks, 1968), based on a play by Neil Simon. It is one of their most endearing films together. As the 1970s came around, Lemmon began to undertake more dramatic roles and won the Academy Award for Best Actor for his performance as Harry Stoner in Save the Tiger (John G. Avildsen, 1973). Lemmon admitted to having had a serious drinking problem at one time, which is one reason he looked back on his Oscar-winning role as perhaps the most gratifying, emotionally fulfilling performance of his career. Throughout the 1980s and 1990s, Lemmon continued to excel in his character performances and earned the Cannes Best Actor award for The China Syndrome (James Bridges, 1979) and Missing (Costa-Gravas, 1982). As a director, he made his film debut with Kotch (Jack Lemmon, 1971) and his Broadway debut with Eugene O'Neill's 'Long Day's Journey into Night'. In 1988 he received the Life Achievement Award from the American Film Institute. In the 1990s, he continued to have success with roles in films such as Glengarry Glen Ross (James Foley, 1992) and Short Cuts (Robert Altman, 1993). In the comedy Grumpy Old Men (Donald Petrie, 1993), he was reunited with Walter Matthau. The film was a huge success, and a sequel was even released in 1995. A sequel to The Odd Couple was also released in 1998. In 1997, he received a Golden Globe nomination for the television adaptation of 12 Angry Men (William Friedkin, 1997). Lemmon was married twice, first to actress Cynthia Stone (1950-1956) and his second marriage to actress Felicia Farr lasted from 1972 till his death. Jack Lemmon passed away in 2001 in Los Angeles at the age of 76. He had two children, Chris Lemmon (1954) and Courtney Lemmon (1966). Actress Sydney Lemmon is his granddaughter.
Sources: Ed Stephan (IMDb), Kyle Perez (IMDb), Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thanks so much Sharon for this months ace themes.
In this month's challenge, 12 members entered 104 photos, and 8 members completed all 10 themes. These members, in play order were: Maria, Pat, Sand, Linda, Dave, Ms J, Sharon, Andy.
This montage features at least one photo per person, and at least one photo per theme. To view the complete challenge and entries, click Here.
Simien Mountains National Park is one of the national parks of Ethiopia. Located in the Semien (North) Gondar Zone of the Amhara Region, its territory covers the Simien Mountains and includes Ras Dashan, the highest point in Ethiopia. It is home to a number of endangered species, including the Ethiopian wolf and the walia ibex, a wild goat found nowhere else in the world. The gelada baboon and the caracal, a cat, also occur within the Simien Mountains. More than 50 species of birds inhabit the park, including the impressive bearded vulture, or lammergeier, with its 10-foot (3m) wingspan.
The park is crossed by an unpaved road which runs from Debarq, where the administrative headquarters of the park is located, east through a number of villages to the Buahit Pass, where the road turns south to end at Mekane Berhan, 10 kilometers beyond the park boundary.
The Semiens are remarkable as being one of the few spots in Africa where snow regularly falls. First mentioned in the Monumentum Adulitanum of the 4th century AD (which described them as "inaccessible mountains covered with snow" and where soldiers walked up to their knees in snow), the presence of snow was undeniably witnessed by the 17th century Jesuit priest Jerónimo Lobo. Although the later traveler James Bruce claims that he had never witnessed snow in the Semien Mountains, the 19th century explorer Henry Salt not only recorded that he saw snow there (on 9 April 1814), but explained the reason for Bruce's failure to see snow in these mountains – Bruce had ventured no further than the foothills into the Semiens.
Despite their ruggedness and altitude, the mountains are dotted with villages linked by tracks. Historically they were inhabited by Ethiopian Jews (the Beta Israel), who after repeated attacks by the zealous Christian Emperors in the 15th century withdrew from the province of Dembiya into the more defensible Semien mountains.
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Six days of hiking in the area of Simien mountains, Ethiopia, was an unforgettable experience - I have enjoyed plenty of trekking trips in the past, however this one has been the most versatile and diverse of them all.
The plateau lies at the altitude of around 4000m, and the views from the escarpment are incomparable. Grand Canyon is awesome, but this place adds African moods and vibe into the overall picture. Unique, spectacular, unexpected, unknown. Definitely worth visiting.
This is a shot taken during our second day in the area - we hiked from Sankaber camp to a camp called Geech, from which we made a short trip to a viewpoint called Kadavit where we enjoyed a truly magical sunset.
French postcard in the Entr'acte series by Éditions Asphodèle, Mâcon, no. 001/06. Charles Laughton and Sally Jane Bruce on the set of The Night of the Hunter (Charles Laughton, 1955). Caption: Sally Jane Bruce, star of The Night of the Hunter, on Charles Laughton's lap, learns about framing.
Portly, versatile British-American stage and film actor Charles Laughton (1899–1962) was often type-cast for arrogant, unscrupulous characters. He was one of the most popular actors of the 1930s and 1940s and gave some of his greatest performances as Nero, Henry VIII, Mr. Barrett, Inspector Javert, Captain Bligh, Rembrandt, and Quasimodo. Laughton was also a screenwriter, producer, and one-time director.
Charles Laughton was born to a wealthy hotel-owning family in Scarborough, England, in 1899. He was the son of Robert Laughton and his wife Elizabeth Conlon, who was a devout Roman Catholic. They ran the Victoria Hotel, a well-known retreat for the middle class. The eldest of three brothers, Laughton, and his siblings thrived in the spacious hotel, always finding new places to play. He attended Stonyhurst College, a Jesuit school, in Lancashire, England. Laughton was assigned the role of a portly innkeeper in the school’s production of The Private Secretary. Even though the role was a minor one, he loved the opportunity to let out his artistic flair. In 1917, just 18 he was sent onto the battlefields of Europe. He joined the war at its conclusion but nonetheless suffered not only a gas attack but also some deep mental scars. He started work in the family hotel business while participating in amateur theatricals in Scarborough. Finally, he was allowed by his family to become a drama student at the Royal Academy of Dramatic Art (RADA) in 1925, and he received the gold medal. Laughton made his stage début in 1926 at the Barnes Theatre, as Osip in Gogol's comedy '' The Government Inspector', in which he also appeared at the London Gaiety Theatre in May. In the following years, he appeared in many West End plays. Overweight and not the best looking of men, many of the leading roles were not available to him. Despite this, he impressed audiences with his talent and played classical roles in two plays by Chekhov, The Cherry Orchard, and The Three Sisters. One of his earliest stage successes was as Hercule Poirot in 'Alibi (1928), a stage adaptation of 'The Murder of Roger Ackroyd'. In fact, he was the first actor to portray Agatha Christie's Belgian detective Hercule Poirot. That same year Laughton also played the lead role of Harry Hegan in the world premiere of Sean O'Casey's 'The Silver Tassie' in London, and he played the title role in Arnold Bennett's Mr. Prohack. Elsa Lanchester was also in the cast. Coming from a bohemian background, Lanchester was lively and strong-willed. She fell for the reserved and sensitive Laughton and despite his suppressed feelings of homosexuality, the two began a courtship. In 1929 they married. He went on to play the title role in 'Mr. Pickwick' after Charles Dickens, and Tony Perelli in Edgar Wallace's 'On the Spot'. Another success was his role as William Marble in 'Payment Deferred'. He took this last play across the Atlantic and in it he made his American début in 1931, at the Lyceum Theatre in New York. He returned to London for the 1933-1934 Old Vic Season and was engaged in four Shakespeare roles (as Macbeth and Henry VIII, Angelo in 'Measure for Measure' and Prospero in 'The Tempest'). In 1936, he went to Paris and appeared at the Comédie-Française as Sganarelle in the second act of Molière's 'Le Médecin malgré lui', the first English actor to appear at that theatre, where he acted the part in French and received an ovation. Laughton commenced his film career in England while still acting on the London stage. He took small roles in three short silent comedies starring his wife Elsa Lanchester, Daydreams (Ivor Montagu, 1928), Blue Bottles (Ivor Montagu, 1928), and The Tonic (Ivor Montagu, 1928) which had been specially written for her by H. G. Wells. He made a brief appearance as a disgruntled diner in another silent film Piccadilly (Ewald André Dupont - uncredited, 1929) with Anna May Wong. He appeared with Elsa Lanchester again in Comets (Sasha Geneen, 1930), featuring assorted British variety acts. In this ‘film revue’ they duetted in 'The Ballad of Frankie and Johnnie'. The couple made two other early British talkies: Wolves (Albert de Courville, 1930) with Dorothy Gish from a play set in a whaling camp in the frozen north, and Down River (Peter Godfrey, 1931) in which he played a murderous, half-oriental drug-smuggler.
Charles Laughton’s New York stage debut in 1931 immediately led to film offers and Laughton's first Hollywood film was the classic horror-comedy The Old Dark House (James Whale, 1932) with Boris Karloff. Laughton played a bluff Yorkshire businessman marooned during a storm with other travellers in a creepy mansion in the Welsh mountains. In the Encyclopedia of British Film, Anthony Slide calls it Laughton’s ‘greatest work in the US’. He then played a demented submarine commander in The Devil and the Deep (Marion Gering, 1932) with Tallulah Bankhead, Gary Cooper, and Cary Grant and followed this with his famous role as the perverted Nero in The Sign of the Cross (Cecil B. DeMille, 1932). He also turned out a number of other memorable performances during that first Hollywood trip, repeating his stage role as a murderer in Payment Deferred (Lothar Mendes, 1932), playing H. G. Wells's mad vivisectionist Dr. Moreau in Island of Lost Souls (Erle C. Kenton, 1932), and the meek raspberry-blowing clerk in the brief segment of If I Had a Million (1932) that was directed by Ernst Lubitsch. In all, he appeared in six Hollywood films during 1932, a remarkable movie 'apprenticeship' which set him on course for instant international stardom. His association with film director Alexander Korda began with The Private Life of Henry VIII (1933), loosely based on the life of King Henry VIII of England. Laughton won an Academy Award for his role, the first British actor to do so. He continued to act occasionally in the theatre. After the success of The Private Life of Henry VIII, he appeared at the Old Vic Theatre in 1933 in roles as Macbeth, Lopakin in 'The Cherry Orchard', Prospero in 'The Tempest; and Angelo in 'Measure for Measure'. His 1947 American production of a new English version of Bertolt Brecht's play 'Galileo' became legendary. Laughton played the title role at the play's premiere in Los Angeles on 30 July 1947 and later that year in New York. This staging was directed by Joseph Losey. Laughton preferred a film career though and in 1933 he returned to Hollywood where his next film was White Woman (Stuart Walker, 1933) in which he co-starred with Carole Lombard as a cockney river trader in the Malaysian jungle. Then came The Barretts of Wimpole Street (Sidney Franklin, 1934) as Norma Shearer's overbearing father; Les Misérables (Richard Boleslawski, 1935) as inspector Javert; and Ruggles of Red Gap (Leo McCarey, 1935) as the very English and selfless butler transported to early 1900’s America. One of his most famous screen roles was Captain William Bligh in Mutiny on the Bounty (Frank Lloyd, 1935), co-starring with Clark Gable as Fletcher Christian. Back in England, and again with Alexander Korda, he played the title role in Rembrandt (1936). In 1937, also for Korda, he starred in an ill-fated film version of Robert Graves’ classic novel, I, Claudius (Josef von Sternberg, 1937), which was abandoned during filming owing to the injuries suffered by co-star Merle Oberon in a car crash. After I, Claudius, he and the ex-patriate German film producer Erich Pommer founded the production company Mayflower Pictures in the UK, which produced three films starring Laughton: Vessel of Wrath/The Beachcomber (Erich Pommer, 1938), based on a story by W. Somerset Maugham, with Elsa Lanchester; St. Martin's Lane/Sidewalks of London (Tim Whelan, 1938), a story about London street entertainers that also featured Vivien Leigh and Rex Harrison; and Jamaica Inn (Alfred Hitchcock, 1939), with Maureen O'Hara. The latter was based on a novel about Cornish smugglers by Daphne du Maurier, and it was the last film Alfred Hitchcock directed in Britain before moving to Hollywood in the late 1930s. The films produced were not successful enough, and the company was saved from bankruptcy when RKO Pictures offered Laughton the title role of Quasimodo in The Hunchback of Notre Dame (William Dieterle, 1939). Laughton and Pommer had plans to make further films, but the outbreak of World War II, which implied the loss of many foreign markets, meant the end of the company.
Although the 1930s were Charles Laughton’s best cinematic years, there were as well some remarkable post-1930s performances. An example is a cowardly schoolmaster in occupied France in This Land is Mine (Jean Renoir, 1943). He played a modest, henpecked husband who eventually murders his wife in The Suspect (1944), directed by Robert Siodmak, who later became a good friend of Laughton. He played sympathetically an impoverished composer-pianist in Tales of Manhattan (Julien Duvivier, 1942) and starred in an updated version of Oscar Wilde's The Canterville Ghost (Jules Dassin, 1944). Apart from these, he would enjoy his work in the two comedies he made with Deanna Durbin, It Started with Eve (Henry Koster, 1941) and Because of Him (Richard Wallace, 1946). He portrayed a bloodthirsty pirate in Captain Kidd (Rowland V. Lee, 1945) and a malevolent judge in Alfred Hitchcock's The Paradine Case (1948) with Alida Valli. Laughton played a megalomaniac press tycoon in The Big Clock (John Farrow, 1948) starring Ray Milland. Laughton made his first color film in Paris as Inspector Maigret in The Man on the Eiffel Tower (Burgess Meredith, 1949). In 1950, Charles Laughton and Elsa Lanchester became American citizens. In one of his funniest roles of the 1950s, he played a tramp in O. Henry's Full House (Henry Koster a.o., 1952), in which he had a one-minute scene with Marilyn Monroe. In later years he was frequently accused by the critics of hamming, although he remained a popular star. He became a pirate again, buffoon style this time, in Abbott and Costello Meet Captain Kidd (Charles Lamont, 1952). He guest-starred in an episode of the Colgate Comedy Hour on TV that also featured Abbot and Costello and that was notable for his delivery of the Gettysburg Address. He played Herod Antipas in Salome (William Dieterle, 1953) with Rita Hayworth in the title role, and repeated his role as Henry VIII in Young Bess (George Sidney, 1953) starring Jean Simmons. He returned to England for a memorable turn in Hobson's Choice (David Lean, 1954) as the patriarch brought to heel opposite John Mills. Laughton directed several plays on Broadway. His most notable box-office success as a director came in 1954, with The Caine Mutiny Court-Martial, a full-length stage dramatization by Herman Wouk of the court-martial scene in Wouk's novel The Caine Mutiny. In 1955, Laughton directed (but did not act in) the film The Night of the Hunter. This poetic thriller has become a critical and cult favorite thanks to Laughton's intriguing combination of expressionism and realism, a fine script co-written by James Agee, and compelling performances by an excellent cast headed by Robert Mitchum as a psychotic preacher and Lillian Gish as a resolute farm woman. At the time of its original release, however, it was a critical and box-office failure, and Laughton never had another chance to direct a film. Laughton received Academy Award and Golden Globe nominations for his role as Sir Wilfrid Robarts in the screen version of Agatha Christie's play Witness for the Prosecution (Billy Wilder, 1957) with Marlene Dietrich. He played a British admiral in the Italian war film Sotto dieci bandiere/Under Ten Flags (Duilio Coletti, 1960) and worked for the only time with Laurence Olivier in Spartacus (Stanley Kubrick, 1960) as a wily Roman senator. He also gave highly successful one-man reading tours for many years. His material ranged from the Bible to Jack Kerouac's The Dharma Bums. His final film was Advise and Consent (Otto Preminger, 1962), for which he received favorable comments for his performance as a southern U.S. Senator (for which accent he studied recordings of Mississippi Senator John Stennis). Laughton worked on the film, which was directed by Otto Preminger, while he was dying from cancer. In January 1962 he was diagnosed with cancer after being hospitalized with collapsed vertebrae following a fall in the bath. Over the course of his final eleven months, his weight dropped to just ninety pounds. Following Laughton's death in 1962, Laughton's wife Elsa Lanchester wrote a memoir in which she stated that they never had children because Laughton was actually homosexual. The lesbian and gay magazine Fyne Times writes about the couple: “Only two years into the marriage, Lanchester learnt of her husband’s homosexuality. Although she was initially shocked and deeply upset, over time the couple began to develop an altered relationship, one of close friendship. They decided to remain married, although both of them took lovers, and were instead constant companions, looking after and supporting each other as in any other marriage.”
Sources: Anthony Slide (Encyclopedia of British Film), Gloria (Rooting for Laughton), Fyne Times, TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Front façade of the former Tegernsee Abbey with the Church of St. Quirinus in the centre, Tegernsee, Bavaria, Germany
Some background information:
Tegernsee Abbey is a former Benedictine monastery in the town of Tegernsee in Bavaria. Both the abbey and the town are named after Lake Tegernsee and are located on its southeastern bank. The monastery, officially known as St. Quirinus Abbey for its patron saint St. Quirinus, was founded in the 8th century by the princely brothers Oatkar and Adalbert from the family of the Huosi, one of the five old ruling clans of Bavaria.
The precise year of foundation of the monastic community at Tegernsee was 746 and the place of foundation was a spot near the little Church of Our Saviour that was already in existence. In 754, the abbey was consecrated and occupied. It was settled by monks from St. Gall and dedicated to Saint Quirinus, a Roman martyr. It is well established that the founders of the abbey obtained the relics of Quirinus from Pope Paul I and that these relics were brought from Rome to Tegernsee in the second half of the eighth century, where they were placed in the Church of Our Saviour. Subsequently, Tegernsee Abbey spread the message of Christianity as far as Tyrol and Lower Austria.
After the fall of Tassilo III, Duke of Bavaria, in 788, Tegernsee became a Carolingian Empire royal monastery during the Carolingian Renaissance. But the community was greatly weakened by Hungarian raids in the first half of the 10th century. Arnulf, then Duke of Bavaria, also had to face the Hungarian thread, and hence, had to strengthen his defence. He achieved this by confiscation of church lands and the secularization of numerous monastery estates. As a consequence, Tegernsee Abbey suffered a sustained decline, culminating in the fire of around 970.
However, under Emperor Otto II, the monstery was restored and re-established as an imperial abbey in 978. Monks from St. Maximin's Abbey in Trier moved to Lake Tegernsee and the abbey entered a new period of growth. In the 11th century, Tegernsee Abbey became a centre of literature, manuscript production and learning, and was also active in the resettlement of other Benedictine houses in Bavaria, including the newly founded Abbey of Saints Ulrich and Afra in Augsburg. A little later a glass works for stained-glass windows and a bell foundry were established at Tegernsee Abbey too.
Thie abbey‘s golden age lasted almost to the end of the 12th century. However, a period of decline followed. After the political and economic interests of the noble families of Berg, Andechs and Hohenstaufen had began to dominate Tegernsee Abbey as the result of political intrigue, it declined during the 13th and 14th centuries into little more than a private monastery dependent on a small number of noble families. And to make matters even worse, it burnt down in 1410.
However, the year 1426 marked a new beginning. With the support of the Pope, Tegernsee Abbey became a focus of the Reforms of Melk Abbey, which opened Benedictine houses hitherto restricted to the nobility to a wider range of social classes. This second flowering continued into the early modern period. From 1573, the monastery had its own printing press, which was allowed to print many books on theology, liturgy and the theory of music. The monastic community even survived the confusion of the Thirty Years' War, when the abbey was raided by Swedish soldiers.
In 1684, Tegernsee Abbey became also a prominent member of the Benedictine Bavarian Congregation. But in 1803, the secularisation in Bavaria brought Tegernsee Abbey to an end. The greater part of the site was bought by baron von Drechsel for his brewery, but he later sold a small part back to an unofficial monastic community, which remained until 1861. The main buildings of the monastery itself were acquired in 1817 by King Maximilian I Joseph of Bavaria. Shortly afterwards, they became a possession of the Dukes in Bavaria (a side branch of the ruling Wittelsbach family, the Kings of Bavaria).
The Dukes in Bavaira were attracted by the unusually beautiful location, and turned Tegernsee Abbey into their summer residence. Known since then as Schloss Tegernsee, it is still the property of that family. The present owner is Prince Max, Duke in Bavaria. The building is home to the Ducal Bavarian Brewery of Tegernsee, an affiliated restaurant, the Tegernsee Grammar School, and the twin-towered church of St. Quirinus right in the middle of the building. The brewery is owned by Duchess Maria Anna Henriette Gabrielle Julie in Bavaria, the youngest daughter of the duke.
The huge building complex, as it can be seen today, consists of a four-wing structure encompassing two inner courtyards. Basically, it dates from the Gothic period, but between 1684 and 1688, the monastic buildings and the church were refurbished in the Baroque style. However, parts of the crypt and the lower sections of the twin-towered facade may even date back to the rebuilding of the monastery around 980.
The Tegernsee is a so-called tongue-basin lake in the Bavarian Alps in southern Germany. The lake is the centre of a popular recreation area 50 kilometres (31 miles) south-east of Munich. Communities on the lake include the eponymous Tegernsee, as well as Bad Wiessee, Kreuth, Gmund, and Rottach-Egern.
The lake is some 6.5 kilometres (4.0 miles) in length, 1.4 kilometres (0.87 miles) across at its widest, and spans an area of 8.934 square kilometres (3.449 square miles). It reaches a maximum depth of 72.6 metres (238 feet), with an average depth of 36.3 metres (119 feet). Its normal water level is 725.5 metres (2,380 feet) above sea level. The lake flows into the River Mangfall, a tributary of the River Inn and thence the River Danube.
Versatile multirole space fighter with bounty hunter pilot(He stole it from the dreaded united space force skull squadron). Don't mess with these guys!
This little beauty kept distracting me from the waves at Porthcurno. About time i got back to The Dictionary of Image
Since its retiral from front-line service in the summer of 2009, Lothian Buses' Olympian 285 has become something of a celebrity amongst the Edinburgh enthusiast fraternity. Its official status is a special events vehicle, which sees it brought out for the likes of the annual SVBM Open Weekend, Doors Open Days, and ETG evening trips.
However, it also has another status, as the spare vehicle for the Bus & Boat Tour which operates during the summer season. On the morning of 2nd July 2011 Olympian 433, the regular Bus & Boat Tour vehicle, failed at South Queensferry whilst working the tour, and was replaced for that run by 285. 433 managed to make it back to Edinburgh after repairs and was noted working the 1415 Bus & Boat Tour departure, but it was decided to keep 285 on standby at Waverley Bridge for the rest of the day, in case 433 failed again.
This fine vehicle is seen catching the sun on Waverley Bridge, with the Balmoral Hotel forming part of the backdrop. The hotel's clock is traditionally kept two minutes fast for the benefit of passengers heading for Waverley Station. On Hogmanay, though, the clock is put to the correct time for the "bells", after which it is put 2 mins fast again.
285's presence raised a lot of eyebrows amongst the Edinburgh Bus Tours staff, although the tourists passing by didn't seem to take much notice of it! Nonetheless, it was a delight to see a real madder and white bus back on the streets of Edinburgh - if only for an afternoon.
The eagle-eyed amongst you may notice some evidence of 285's use on the June 2011 ETG evening trip still visible in its nearside windscreen!
EDIT: David Wilson aka VV773 has provided some addtional information about how 285 was called into use. See below.
These are the adapters i have for it, from left to right, top to bottom:
* Canon EF (with AF function)
* Fuji X
* Olympus OM
* Minolta A
* Nikon F
* M42
* Konica AR
* Pentax PK
* Contax/Yashica
* Topcor UV
* Exakta
* Minolta MD/SR
* Olympus PEN
* Canon FD
A Sea King helicopter is loaded into the back of a Canadian C-17 Globemaster at RNAS Yeovilton. Picture: LA(Phot) Dan Rosenbaum
Late afternoon on the 20th October 2015, a Canadian C-17 Gobemaster touched down on Runway 27 at RNAS Yeovilton. Her purpose of the visit to the busy Air Station was to pick up a Canadian Seaking to take back to Canada. The turnaround from landing, loading the cargo and taking off the following day, for the long journey back to Canada proves the versatility that RNAS Yeovilton can cater and provide for any size and type of aircraft from all over the world.
VL150090
I like the SX70 for versatility - supermacro and zoom.
ppc - postprocessing by Aviary on flickr,
saved as a new photo
Places / Germany / Baden-Wurttemberg / Tuebingen
Highest position: 255 on Friday, January 9, 2015
Original
here: half file size
bighugelabs.com/scout.php?mode=history&id=16041233569
Mondphase und Mondstand
am
8.1.2015
stand der Mond im Sternzeichen:
Löwe ♂
bei (Phase):
abnehmendem Mond (3. Viertel)
abnehmend bis
bis Dienstag 20.01.2015 -
--------
1. Vollmond:
2015
Schneemond
war am 5-1- 2015 - 6:00 Uhr
Nutzen Sie Voll- und Neumondtage als Fastentage ( z.B. Saftfasten o.ä.) bis zum Dienstag 20.01.2015.
Beginnen Sie Ihre Diät bei abnehmendem Mond z.B. direkt nach dem Vollmond. Der Körper entschlackt, entgiftet und entwässert in dieser Mondphase am besten. Es ist einfacher überhaupt anzufangen, geht müheloser und schneller.
Stimmt!
Effi
Auch wenn Sie Sportlernahrung oder Nahrungsergänzung zu sich nehmen, wird es wahrscheinlich nicht schaden, den Mond zu berücksichtigen ;-)
Raspberry ketone
Das Himbeer-Keton kommt auch im Tabakrauch vor, wobei es im Tabak selbst nicht gefunden wurde.
It is one of the most expensive natural flavor components used in the food industry. The natural compound can cost as much as $20,000 per kg.
de.wikipedia.org/wiki/Himbeerketon
4-(4-Hydroxyphenyl)butan-2-on, Frambinon, Oxyphenalon, Rheosmin
Summenformal: C-10 H-12 O-2
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Views about 10.000 clicks
tags/views10000/
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listed on
www.flickr.com/explore/2015/01/08
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THE EXPLORE GROUP
www.flickr.com/groups/inexplore/pool/
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From Raw-file, ".CR2", aka "Canon-Raw-File"
The CR2 file type is primarily associated with 'Canon Digital Camera' by Canon, Inc.. Raw image format for some Canon digital cameras. Raw images are basically the data as it comes directly from the CCD detector in the camera. Raw files can also contain text information about the picture and conditions in the camera when the picture was taken. These images are based on the TIFF image standard. Konvertor will display these EXIF metadata.
www.graphicregion.com/ablerawer.htm
converted by Faststone viewer IMG_2911
- hand-held
- with hands fixed on the wall,
- taken with the articulated display control
as good as it gets
Besser ging es nicht!
***
Jetzt bin ich mit der Canon SX60 d'accord.
Diese angemessene Qualität einer Bridge Kamera wollte ich unbedingt haben.
Den Vergleich mit der SX50 hat sie überwunden, wenn auch nur mit RAW-File!
Ein Quantensprung seit der Vorstellung der Canon Powershot SX1 von 2009.
Im Super-macro-modus (f/2,8), Foliage Modus für natürliche Farben und Sonneuntergang Modus ist die SX1 allerdings immer noch super!
weitreichenden Dioptrienausgleich: -6.0 bis +2.0 dpt (SX1)
Manches hat die SX60 nicht mehr genauso gut wie die Vorgänger-Modelle!
***
Canon PowerShot SX60 HS,
Canon, PowerShot, SX60, HS, Bridgecamera, bridge, camera, Canon PowerShot SX60, Canon SX60,Powershot SX60,SX60HS,eagle1effi, Powershot SX60,
Vorteil raw
Record Mode CR2+JPEG
Continuous Drive- Continuous 4.8 fps
postprocessing
Raw lässt sich 50% nachschärfen
JPG nur 15%
-
Camera Canon PowerShot SX60 HS
Exposure 0.017 sec (1/60)
Aperture f/6.5
Focal Length 247 mm ~1365 mm analog 35 mm film
ISO Speed 100
Exposure Bias - 1/3 EV
..
daily
File Number 612-2911
...
How do you actually visit the full 500 Explore list of any past date?
December 2014
www.flickr.com/explore/interesting/2014/12/
January 2015
Dutch postcard by Hercules, Haarlem, no. 262.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English-speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western, she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France, she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, 'Moi Claudia, Toi Claudia' (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema, she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
British postcard, no. 140.
American actress Meryl Streep (1949) is one of the best actresses of her generation, known for her versatility and accents.She has been nominated for the Oscar an astonishing 21 times, and has won it three times. Among her other accolades, she has received 32 Golden Globe nominations, more than any other person, and won eight.
Mary Louise 'Meryl' Streep was born in 1949, in Summit, New Jersey. She is the daughter of Mary Wilkinson Streep (née Mary Wolf Wilkinson), a commercial artist and art editor; and Harry William Streep, Jr., a pharmaceutical executive. She has two younger brothers: Harry William Streep III and Dana David Streep, who are also actors. At the age of 12, Streep was selected to sing at a school recital, leading to her having opera lessons from Estelle Liebling. She quit after four years. Although Streep appeared in numerous school plays during her high school years, she was uninterested in serious theatre until acting in the play Miss Julie at Vassar College in 1969, in which she gained attention across the campus. She received her B.A. cum laude from the college in 1971, before applying for an MFA from the Yale School of Drama. Streep played a variety of roles on stage, from Helena in A Midsummer Night's Dream to an 80-year-old woman in a wheelchair in a comedy written by then-unknown playwrights Christopher Durang and Albert Innaurato. She received her MFA from Yale in 1975. That year, Streep made her stage debut in New York in Trelawny of the Wells by Arthur Wing Pinero. The following year, she received a Tony Award nomination for Best Featured Actress in a Play for appearing in the 1976 double bill of '27 Wagons Full of Cotton' by Tennessee Williams and 'A Memory of Two Mondays' by Arthur Miller. She made her screen debut in the television film The Deadliest Season (Robert Markowitz, 1977), a sports drama with Michael Moriarty. Her film debut was the award-winning Holocaust drama Julia (Fred Zinnemann, 1977), starring Jane Fonda and Vanessa Redgrave. It is based on a chapter from Lillian Hellman's book Pentimento about the author's relationship with a lifelong friend, 'Julia,' who fought against the Nazis in the years prior to World War II. Streep had a small role during a flashback sequence. She received her first Oscar nomination for the epic war drama The Deer Hunter (Michael Cimino, 1978). Critic Pauline Kael remarked that she was a "real beauty" who brought much freshness to the film with her performance. The film, starring Robert De Niro and Christopher Walken, was also successful at the box office, grossing $49 million. She also won an Emmy Award for her role in the miniseries Holocaust (Marvin J. Chomsky, 1978), which recounts the trajectory of the Holocaust from the perspectives of the fictional Weiss family of German Jews and that of a rising member of the SS (Michael Moriarty), who gradually becomes a merciless war criminal. Streep travelled to Germany and Austria for filming while her partner, actor John Cazale, who had been diagnosed with lung cancer, remained in New York. Upon her return, Streep found that Cazale's illness had progressed, and she nursed him until his death in March 1978. Streep starred opposite Dustin Hoffman in the legal drama Kramer vs. Kramer (Robert Benton, 1979). It tells the story of a couple's (Streep and Dustin Hoffmann) divorce, its impact on their young son (Justin Henry), and the subsequent evolution of their relationship and views on parenting. For Kramer vs. Kramer, Streep won both the Golden Globe Award and the Academy Award for Best Supporting Actress, which she famously left in the ladies' room after giving her speech.
Meryl Streep's first leading role was in the British romantic drama The French Lieutenant's Woman (Karel Reisz, 1981), a story within a story drama. The film paired Streep with Jeremy Irons as contemporary actors, telling their modern story, as well as the Victorian era drama they were performing. She got an Oscar nomination for her performance. Streep won the Oscar for Best Actress for Sophie's Choice (Alan J. Pakula, 1982). Streep was very determined to get the role. After obtaining a bootlegged copy of the script, she went after Pakula, and threw herself on the ground, begging him to give her the part. She portrayed a Polish survivor of Auschwitz, caught in a love triangle between a young naïve writer (Peter MacNicol) and a Jewish intellectual (Kevin Kline). Janet Maslin of The New York Times wrote: "Though it's far from a flawless movie, 'Sophie's Choice' is a unified and deeply affecting one. Thanks in large part to Miss Streep's bravura performance, it's a film that casts a powerful, uninterrupted spell." In 1983, Streep played her first non-fictional character, the nuclear whistleblower and labor union activist Karen Silkwood, who died in a suspicious car accident while investigating alleged wrongdoing at the Kerr-McGee plutonium plant, in Mike Nichols' biographical drama Silkwood (Mike Nichols, 1983) with Cher. Then she portrayed a fighter for the French Resistance during World War II in the British drama Plenty (Fred Schepisi, 1985), adapted from the play by David Hare. Her next release, the epic romantic drama Out of Africa (Sydney Pollack, 1985), established her as a Hollywood superstar. In the film, Streep starred as the Danish writer Karen Blixen, opposite Robert Redford's Denys Finch Hatton. It earned her another Oscar nomination. Karina Longworth notes in 'Meryl Streep: Anatomy of an Actor' (2013) that the dramatic success of Out of Africa led to a backlash of critical opinion against Streep in the years that followed, especially as she was now demanding $4 million a picture. Unlike other stars at the time, such as Sylvester Stallone and Tom Cruise, Streep "never seemed to play herself", and certain critics felt her technical finesse led people to literally see her acting.
Meryl Streep's other Oscar-nominated roles were in Ironweed (Héctor Babenco, 1987) with Jack Nicholson, the Australian drama Evil Angels/A Cry in the Dark (Fred Schepisi, 1988), the comedy-drama Postcards from the Edge (Mike Nichols, 1990) with Shirley MacLaine, the romantic drama The Bridges of Madison County (Clint Eastwood, 1995), One True Thing (Carl Franklin, 1998) with Renee Zellweger, the musical drama Music of the Heart (Wes Craven, 1999), Adaptation (Spike Jonze, 2002) starring Nicholas Cage, the comedy-drama The Devil Wears Prada (David Frankel, 2006) with Anne Hathaway, the period drama Doubt (John Patrick Shanley, 2008), the comedy-drama Julie & Julia (Nora Ephron, 2009) with Amy Adams, August: Osage County (John Wells, 2013) with Julia Roberts, the musical fantasy Into the Woods (Rob Marshall, 2014), the biographical comedy-drama Florence Foster Jenkins (Stephen Frears, 2016) with Hugh Grant, and the historical political thriller The Post (Steven Spielberg, 2017), starring Tom Hanks. Streep won the Best Actress Oscar again for The Iron Lady (Phyllida Lloyd, 2011), the British-French biographical drama based on the life and career of Margaret Thatcher. While the film was met with mixed reviews, Streep's performance was widely acclaimed, and considered to be one of the greatest of her career. Her stage roles include The Public Theater's 2001 revival of 'The Seagull', and her television roles include two projects for HBO, the acclaimed miniseries Angels in America (2003), for which her performance won her another Emmy Award, and the drama series Big Little Lies (2019). Streep has also been the recipient of many honorary awards. She was awarded Commander of the Order of the Arts and Letters by French culture minister Jean-Jacques Aillagon in 2003. In the cinema, she appeared as Emmeline Pankhurst, a British political activist and leader of the British suffragette movement who helped women win the right to vote in the period drama Suffragette (Sarah Gavron, 2015), co-starring Carey Mulligan and Helena Bonham Carter. Streep reprised the role of Donna Sheridan in the musical sequel Mamma Mia! Here We Go Again (Ol Parker, 2018). She also played a supporting part in Mary Poppins Returns (Rob Marshall, ), starring Emily Blunt in the title role. In 2019, she starred in the biographical comedy The Laundromat (Steven Soderberg, 2019), the first Netflix film in which Streep starred. The film focused on the Panama Papers in particular and Beneficial ownership in general. Streep was whistleblower John Doe who released incriminating documents to the media. In addition, she played Aunt March in Little Women (Greta Gerwig, 2019). Despite her stardom, for decades Streep has managed to maintain a relatively normal personal life. Streep lived with actor John Cazale for three years until his death from lung cancer in March 1978. Streep married sculptor Don Gummer six months after Cazale's death. They have four children: one son and three daughters, son Henry Wolfe Gummer (1979), a musician; daughters Mary Willa 'Mamie' Gummer (1983), an actress; Grace Jane Gummer (1986), an actress; and Louisa Jacobson Gummer (1991), a model. In February 2019, Streep became a grandmother for the first time, through her eldest daughter Mamie.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
11 members took part, (a new record) entering 79 photos, with 6 members playing a full house of images. In order of play, these aces were Simone, Sharon, Cheryl, Dave, Andy, and Linda.
Robin, Maria and Michelle had health problems and only played one pic each - with Robin it was the health of her camera.
This montage is a representative selection of the ten themes, containing at least one image per theme and at least one image per member. I had wondered what I would do when we got more than ten players, and I was thinking the person with the least pics would miss out. Because of the health problems above, and because I have three lines of pics, I extended the canvas and put them in a column of their own on the right.
To view the complete challenge entries, click Here.
Thanks Sharon for this fab challenge within the Compositionally Challenged Group.
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This has gotta be large - PRESS "L" - 12 shot photomerge and blend in Adobe Photoshop CS3
LAWSON
From Sydney:
88kms · 82 mins by car · 102 mins by train
Quick Stats:
2,419 population · 732m elevation
Named Lawson in 1879, the town was originally called ‘Blue Mountain’ after the old ‘Blue Mountains Inn’ of the 1840’s. Prior to this time the town was known as ‘The Swamp’, while the area from Lawson through to Woodford was known as ‘24 Mile Hollow’. The town was renamed after Lieutenant William Lawson, one of the famous three explorers who first crossed the Blue Mountains.
793 YJ14 BWX was new to former Arriva subsidiary Yorkshire Tiger in 2014 for the 'Flying Tiger' 757 service between Leeds City Centre and Leeds Bradford International Airport.
It is seen still earning it's keep in Leeds City Centre, having been internally transferred to Arriva Yorkshire's Castleford Depot for the 167 and 168 routes between Leeds and Castleford. Here, it is seen loading on York Street working a 168 service towards its abode of Castleford.
(13/11/2021)