View allAll Photos Tagged Windows
Boo Windows is a dive site with beautiful soft coral and sea fans surrounding a small rock island. This rock island has a hole carved out by the waves where the sun shines down and opens a heavenly window to the sky.
Taken with DIY 3D Stereo Pinhole 135 Film Camera . 17 min for the inside room, 2 sec for the outside.
samples from the first two rolls of film i put through the EOS-1N. rather pleased with the results so far,
these were taken from the disk i got back with the negatives. i'll do some actual hi-res scans from the negatives (hopefully soon) when i have more time.
Shadows cast by the castle windows on a night-time stroll in Český Krumlov, which is a small city in the South Bohemian Region of the Czech Republic, best known for the fine architecture and art of the historic old town and Český Krumlov Castle.
Escapes from KP were few and far between. Two of the most famous escapes involved going over the wall with a ladder.
In 1923, the man who has been called Canada's most notorious criminal, bank robber Red Ryan, led four inmates over the wall after first setting fire to a shed as a distraction. Ryan went back to robbing banks, was captured three months later and ended up back in KP.
A model prisoner, he was released on parole in 1935, became a poster boy for prison reform, even hosting a radio program. However, in his leisure hours, Ryan had secretly returned to robbery until he was shot dead by a policeman during a botched liquor store holdup in 1936.
Bank robber Tyrone William Conn, who had already escaped from three other prisons, got over KP's 10-metre perimeter fence one night in 1999 by using a hand-made ladder and grappling hook he constructed in the prison shop. Thanks to a dummy he made by stuffing clothing with paper, his escape was not discovered until the morning.
Across from the Mandarin Oriental Hyde Park Hotel (reflected in the window), so possibly the Harvey Nichols window display? Or one of the other shops nearby.
Houses rise up the bank to look down on the harbour at Whitby, with the Abbey peering out in the distance.
Martyrdom of St Thomas Becket window in the north aisle at Solihull by the late Lawrence Lee, one of our finest postwar glass artists who created this work in 1961. The dynamic composition helps to suggest the violence of the moment.
St Alphege's in Solihull is a large cruciform building dating mainly from the late 13th and early 14th centuries. It's size and splendour befits it's status as the major church of a town.
Inside the spacious aisled nave is somewhat dark (there is much Victorian glass), the chancel byond the gloom of the crossing by contrast is a beacon of light. The chancel has the church's most unusual feature in the two-storied St Alphege Chapel, the chapel itself being upstairs with a vaulted crypt below.
Of the transepts only that on the north is accessible as a chapel, the south is sealed off at the crossing by the organ with vestry space beyond.
The church has a fine collection of stained glass of various dates, from dark medieval fragments and grisaille traceries in the north chapel to contemporary glass in the north aisle. There are many of the main Victorian firms represented and fine Arts & Crafts glass in the St Alphege chapel.
The church is normally open to visitors between 10am and 3pm.
Housing built 1911-13 for self-sufficient single women by a group of women, one of them Julia von Bahr, CEO in the housing company Hemtrefnad. Prominent men in Gothenburg also bought shares to support the company Hemtrefnad. A lot of women had started to work and had difficulties to afford an apartment. The building contained more than 50 apartments, most of them a room with a small kitchen. On the top floor there was a restaurant and a lounge, in the basement laundry and bath. The apartments were sought after and there was constantly a queue. Many of the tenants were female teachers and there were special rooms to give private lessons. The building was designed in national romantic style by the architects Hans Hedlund and his son Björner Hedlund.
In 1972 the times had changed and the building was rebuilt to student housing.
sv.m.wikipedia.org/wiki/Hemtrevnad_(byggnad) (website in Swedish)
Location- Nottingham- Radford
This object is of a set of windows and a concrete brick wall. I like the reflection that has been formed in the window's glass. You can see the opposite house in them, this in turn creates a photo within a photo. The object does not smell of anything but is rough, hard and smooth. It has been lit up by natural light and that is why reflection has happened.
First roll of film through my Olympus Pen EES camera. The Olympus Pen EES was a half frame camera built between 1962-1966. The EES was the Pen EE with a focusing lens. It had a 30mm f2.8-22 focusing lens with three focus-indents for near, far, and intermediate distances. Shutter of 1/40 or 1/200 with f-stop selected by the selenium meter at 1/200. F-stop can be set manually with the shutter speed at 1/40. No flash shoe only a PC connector. As with the earlier models, the slow shutter speed setting occurs when the film speed/aperture dial is set to an aperture setting. When the same dial is set to a film speed setting, the shutter is set to 1/200 and the f-stop is set by the meter. So, the camera can be used in low-light situations by setting the dial to the aperture settings - with or without a flash. Film speeds from 10-200ASA. Close focusing to 3 feet. The camera could use 22.5mm filters over the lens or 43.5mm filters over the lens and meter.
Taken day time around 12:30 noon from inside mosque at riyadh. It was with light inside. I opened Photoshop CS3>Image>Adjustments>Curves>...... adjusted until this result....
See on large size.... for more clarity
St Martin's in the Bull Ring Birmingham.
Installed in 1877 by William Morris from designs created by Burne Jones, it is one of the earliest examples of their work and contains some unique features.
The window survived the Blitz by a matter of hours. The church council had decided, in an extraordinary lapse, that if it were destroyed it could be replaced. This so annoyed Bishop Barnes that he ordered them to preserve it. The window was promptly removed, carefully packed, and put in the south porch ready to take to storage. That same night the bombs fell destroying every other window in the church.
In 1873, the church was demolished and rebuilt by architect J. A. Chatwin, preserving the earlier tower and spire. During the demolition, medieval wall paintings and decorations were discovered in the chancel, including one showing the charity of St Martin dividing his cloak with a beggar. Two painted beams were also found behind the plaster ceiling.
The exterior is built of rockfaced Grinshill stone. The interior is of sandstone with an open timber roof, which shows the influence of the great hammerbeam roof of Westminster Hall. The beams are decorated with fine tracery and end in large carvings of angels. The roof weighs 93 tons (94.5 tonnes), spans 22 ft (6.7m) over the 100 ft (30.4m) long nave and is 60 ft (18.2m) high.
West window of the south aisle, containing an intriguing assemblage of late 17th century enamel-painted elements from a lost (and somewhat larger) window.
Fawsley church has long been a favourite of mine, ever since we first stumbled across it on a family outing in my youth. Seeing it standing alone in its field we simply had to stop and investigate, and were not prepared for the wealth of interest awaiting us inside. The memory thus is a strong one, and we liked it enough to revisit all those years ago, but it had been a good three decades and more since then and I was most eager to return.
To reach the church one has to pass through a gate and a field usually full of roaming sheep. The church is protected by a ditch that encloses it and the very small churchyard on the south side, beyond which is a lake. A short distance to the west stands the late medieval Fawsley Hall, now a hotel but formerly the ancient home of the Knightley Family who at the time of the Reformation decided to clear away Fawsley village to enclose the area for sheep grazing, living only the church standing alone as it still does today.
The earliest parts of the building are 13th century but what we see today is the result of various modifications since, the square tower being of 14th century date and the nave clerestorey and square-headed aisle windows from the early Tudor period. Lastly the small chancel was rebuilt in 1690, an example of Gothic Survival, blending well with the rest of the building. The material used is as usual in this area the warm Northamptonshire ironstone, though here it has a more silvery appearance as a result of being loud with lichen, though much of the whiteness of the north face of the tower appears to be the remnants of an external limewash. The effect is attractive and gives the northern face of the building a rather chalky finish.
Stepping inside through the narrow north door reveals an interior full of interesting features. a light interior that though not large feels more spacious than it is owing to the lack of pews except for the rare Tudor box pews at the west end. These only fill the first bay of the nave but are replete with linenfold below and fascinating carved panels above which include many strange human and animal figures. The style is a fusion of late medieval and Renaissance and the date may be perhaps 1530s.
The windows meanwhile are filled with an assortment of heraldic medallions and Flemish figurative roundels, all mainly of 16th century date with a few notable exceptions (some late medieval elements remain amidst the heraldry while the west window of the south aisle has an intriguing patchwork of 17th century enamel-painted pieces). The only evidence of the Victorian period is the east window of the chancel which is a fairly standard work by Hardman's.
Perhaps the most memorable features here however are the monuments, the best being the magnificent Tudor alabaster tomb of Sir Richard and Lady Knightley with splendid effigies lying on a tomb chest adorned with small figures of their eight sons and four daughters. It is one of the finest church monuments in the country and remarkable for fusing Gothic and Renaissance details (though it remains more medieval in spirit) and retaining so much of its original colouring. Nearby in the nave are two fine late medieval brasses whilst opposite is an extraordinarily massive Jacobean monument to members of the Knightley family that fills much of the wall of the north aisle, flanked by a pair of later urn like memorials. Various grand tablets adorn the walls elsewhere in the church.
Fawsley church is unspoilt and unforgettable and if one has limited time visiting the area then this is the church to see, it is a delightful and hugely rewarding place in every sense. Happily it is normally open and welcoming to visitors too, and I was glad to see that several came in for a look throughout my visit.
The church suffered in recent years owing to the theft of lead from the roof but all is now restored. It is a heavy burden for the tiny congregation that support it, but they soldier on and will doubtless welcome any support this lovely building can attract.
Ascension window
This use to be one of the most breathtaking windows when the full sun hit it back before that building on the south side was erected. Now it lives in a perpetual deep shadow and is difficult to get a good photograph of it.
The old Germans attention to detail is incredible. These are not just stain glass or junks of colored glass but translucent paintings where the paint has been fired on the glass to form a age resistant master piece. Mayer & .Co. is still in business in Munich Germany.
More photos at:
www.tom-wineman.com PHOTO ALBUMS