View allAll Photos Tagged buildup
Lots of condensation buildup over night inside the tent.... even with all the vents open. I'm guessing the 100% humidity and temps just barely above freezing had something to do with it. All the walls inside of the tent were covered in ice and the outside of my sleeping bag was all wet as well. So I took a trip into town for some Bagels and coffee at the Roadhouse in Talkeetna.
Canon 5D MK III
Canon EF 15mm f/2.8 Fisheye
Talkeetna, Alaska
Cornice buildup for the Classical Colonial Molding Style.
sku# WOCM001
dimensions: 3/4" x 3-9/16"
sku# WOCM002
dimensions: 3/4" x 4-5/16"
sku# S4SSE
dimensions: 1 x 6
sku# WOCM003
dimensions: 1-5/8" x 4"
One of four styles in the WindsorONE Classic American Molding Collection.
Historical Background: 1725-1820
The Classical Colonial Style captures the feel of the 18th century. Designed after the historic William Gibbes House in Charleston, South Carolina, where the rooms and walls are symmetrical, balanced and perfectly proportionate.
More info on Classical Colonial Moldings at www.windsorone.com/moldings_classical_Colonial.php
Construction workers at Sauer in Oak Hill, Florida, work on the buildup of the first of 10 new work platforms that will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
Construction workers at Sauer Co. in Oak Hill, Florida, work on the buildup of the first of 10 new work platforms that will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
A view looking up reveals the buildup of the first of 10 new work platforms at Sauer Co. in Oak Hill, Florida. When completed, the first platform will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
Construction workers at Sauer Co. in Oak Hill, Florida, work on the buildup of the first of 10 new work platforms that will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
Construction workers at Sauer Co. in Oak Hill, Florida, work on the buildup of the first of 10 new work platforms that will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
Construction workers at Sauer Co. in Oak Hill, Florida, work on the buildup of the first of 10 new work platforms that will be delivered for installation in high bay 3 of the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. A contract to modify high bay 3 was awarded by NASA to the Hensel Phelps Construction Co. of Orlando, Florida in March 2014. Sauer is a subcontractor to Hensel Phelps. The Ground Systems Development and Operations Program is overseeing upgrades and modifications to the high bay to support processing of NASA's Space Launch System and Orion spacecraft, and other exploration vehicles. Photo credit: NASA/Ben Smegelsky
Shot with Canon 5D Mk II & Canon EF 40mm F2.8 STM Lens, on 30 Sep 2013 @ Bangalore.
Settings: F8; 1/640 Sec; ISO160
This chart shows some large California wildfires and their causes between 2012 and 2019. Some fires take hold in forests and are fueled by the buildup of dead plant material. Other fires ignite in chaparral, often sparked by power lines, and are spread by the wind.
Read more in Knowable Magazine
Controlled burns won’t save all of California from wildfire
Q&A — Fire ecologist Jon Keeley: There are two types of wildfire in the state, and they’re on the rise for different reasons. Each needs a distinct management approach, a researcher says.
knowablemagazine.org/article/living-world/2023/controlled...
What are California megafires? | Things to know
VIDEO: Megafires, which burn over 100,000 acres, can cause catastrophic damage. Researchers are studying fire behavior in the lab and in the field in order to fight these flames more effectively.
knowablemagazine.org/article/physical-world/2019/what-are...
How to rebuild California forests, with climate in mind
After the catastrophic fires of the past decade, land managers may need to reseed vast acreages. Can they buffer against climate change in the process?
knowablemagazine.org/article/food-environment/2020/how-re...
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Here's the back-story: We bought an old church to turn into a house. There were several factors that went into the decision, not the least of which was the available wall space on the north wall to create this HDTV projection display.
This space is behind where the pulpit was, up on a stage that is about two feet higher than the rest of the main floor; if you look closely, you can just see a rack of DVDs at the lower left of the screen to give you a sense of scale.
The image is a pause/still from a satellite HD broadcast in 1080.
Here's the gear list.
A/V:
o Optoma HD80 1080p projector
o Sony STR-DA5300ES receiver
o Mac Mini w/ Delicious LIbrary [720p DVI/HDMI connection]
o PS3 w/Blu-ray [1080p HDMI connection]
o XBox 360 w/HD drive [1080i component connection]
o Wii [480p component connection]
o PS2 [480i composite connection]
o XBox (original) [480i composite connection]
o Gamecube [480i composite connection]
o HD-DVD [1080p HDMI connection]
o HD satellite DVR [1080i HDMI connection] [Zone 2 component to library]
o DVD [480p HDMI connection]
o VCR [480i S-VHS connection]
o 16-channel, one terabyte networked security DVR w/DVD burner [480i S-VHS connection]
Audio only:
o Sirius satellite radio *
o XM satellite radio
o CD changer
o Marantz turntable
o Sony MD/CD recorder
o Tascam cassette deck
* The Sirius is also hooked to a low-power FM transmitter so that the various FM tuners around the house have something decent to tune to. FM radio in this rural area leaves something to be desired, unless your "thing" is the "farm report."
I route all the video sources via one component, S-VHS and composite switcher and a Sony receiver. The Mini connects to the receiver via a DVI-to-HDMI cable. We use a bluetooth keyboard and mouse to fiddle about with it, so there are no wiring issues.
Everything is on uninterruptible power supplies (UPSes), which in turn are backed by a generator, because we have power reliability problems here. The projector in particular would be at considerable risk if we allowed power to fail, because it would be unable to cool itself at shutdown, resulting in harmful residual heat buildup and a shortening of the bulb life. Projector bulbs are in the $300 to $400 range, so that's no minor issue!
We built all this (except the UPSes and generator, they're in the utility portion of the basement underneath the stage) into a 12' by 2' by 2' custom unit at the front of the stage where the podium used to be. I made the unit out of ACX plywood, stained and poly-urethaned it, and Deb, my sweetheart, routed and finished the trim for all the edges and shelves. There are three shelves, one about 9 inches high, one about eight and one about seven, going from top to bottom; each shelf has six 2' sections for a total of 18 generous locations for gear. The back of the unit is covered with a black-out cloth so no light comes through it, but you can still get at all the wiring, and the top has an oriental throw all the way across it. The cats like to sit on that. :-)
Eventually, we're going to trim the sides with some red velvet curtains and put an art deco style medallion on the ceiling to give it that theater feel.
Venus, the 2nd planet from the Sun, has the hottest surface temperature in the Solar System at a scorching 867°F (464°C). This is caused by a runaway greenhouse effect from the buildup of carbon dioxide. Inevitably, Earth will suffer a similar fate within a few billion years as the Sun's luminosity increases. At the rate we're going, humans will be long gone before then.
Because its orbit is smaller than ours, Venus goes through phases from our perspective just like the moon does. But unlike the moon, Venus grows significantly larger during the thin crescent phases as it gets closer to us (and largest at "inferior conjunction," the equivalent to new moon).
This is the conclusion of my 4-month-long project. Its position is not ideal for imaging near inferior conjunction this time, and the conditions have been garbage here. So this is it until 2024/2025!
04/11/23
Percent illuminated: 73.7%
Apparent magnitude: -4.05
Apparent diameter: 14.93"
05/04/23
Percent illuminated: 64.8%
Apparent magnitude: -4.17
Apparent diameter: 17.56"
06/05/23
Percent illuminated: 48.9%
Apparent magnitude: -4.42
Apparent diameter: 23.97"
07/11/23
Percent illuminated: 23.0%
Apparent magnitude: -4.71
Apparent diameter: 39.81"
07/18/23
Percent illuminated: 16.7%
Apparent magnitude: -4.69
Apparent diameter: 44.54"
07/30/23
Percent illuminated: 6.3%
Apparent magnitude: -4.38
Apparent diameter: 52.92"
Location: Summerville/Ladson, SC
Camera: ZWO ASI224MC
Filters: Baader 685nm IR-Pass (for luminance), ZWO UV/IR-Cut (for RGB)
Telescope: Celestron C6 Schmidt-Cassegrain Telescope
Barlow: Tele Vue 2x 1.25" Barlow (with ZWO ADC before Barlow, gives an effective focal length of ~3950mm at f/26.3)
Mount: Orion Sirius EQ-G (unguided)
Capture software: FireCapture
Processing software: PIPP, AutoStakkert! 3 (with 3x drizzle), PixInsight, GIMP
Ice buildup on the leaves and berries of a flowering shrub. The winter storm of February 2014 is wreaking havoc on the entire Southeastern US. But, the ice is also beautiful, even if it is destructive.
Temperatures at the Big Bar landslide site reached -40 C, resulting in significant ice buildup in the Fraser River, including just south of the slide. Heavy snowfall and freezing rain caused periodic shutdowns. These interruptions have affected the timeline for some of the cliff stabilization work and the upcoming pile driving for the north end of the fishway. To make up time, prime contractor, Peter Kiewit Sons ULC, has added double shifts in some areas.
Learn more:
www.pac.dfo-mpo.gc.ca/pacific-smon-pacifique/big-bar-land...
www2.gov.bc.ca/gov/content?id=636BAFFB10A1492C964B5FE1E90...
Photo: Peter Kiewit Sons ULC, February 16, 2021
Wasting gas by flaring it at oil drilling sites symbolizes questionable oil development. Oil companies burn off natural gas for several reasons: sometimes to prevent a dangerous buildup of methane at a drilling site, but more often because the companies do not have the equipment or the financial incentive to capture and sell it. Hopefully Ecuador, as one of the oil-proving countries in the world, will in the future set better examples of using its resources sustainably. It will be a challenge and matter of wise political decisions for the country to combine its further development of oil (and gas) resources with preserving its pristine and highly diverse natural habitats and increasing its protected areas and nature-based tourism economy. The decision in 2013 to abandon a plan to spare the species-rich Yasuni rain forest in eastern Ecuador from oil development points so far to a wrong direction.
For any form of publication, please include the link to this page: www.grida.no/resources/3820
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Peter Prokosch
Gorgeous 1/100 Exia buildup by "theo" (?) incorporating the oversized sword from the "Astray Blue Frame 2nd L". Full gallery (Japanese): www.geocities.jp/a2crafts/exia00.htm
The G20 was the biggest police buildup Hamburg has ever seen. 23.000 riot police from all over Germany and numerous anti-terror squads from Germany and Austria were also on scene. Around 45 high tech water- cannons , armoured police SUVs as well as dozens of helicopters and patrol boats were also deployed. In Hamburg-Harburg a detention center for 400 people was erected at costs of about 3 Million Euro.
Weeks before the summit police conducted training with helicopters, road-blocks and anti-terror practice. During the summit-week police, beside establishing the red zone near the summit center, also installed a blue zone as a demonstration and gathering free area that stretched out about one thirds of the city area and covered 38km².
In many ways the police build-up was exceptional in a dense populated City like Hamburg. The lessons learnt after the Genua G20 riots in 2001 in summit policing did not much apply in Hamburg. Instead Hamburg minister of the interior proclaimed a “festival of democracy” and a police acting with low threshold of intervention.
The Hamburg police tactic can for sure be described as “zero tolerance”. Order was given for a hardline approach, preventing any breach of law promptly. This lead to a series of confrontations and feelings of besiegement among protesters and citizens of Hamburg - all in advance of the actual summit-riots. Weeks before the summit people all around the city were stopped and strip-searched, because “they looked suspicious”. Days before the summit, protest- camps, in some cases legally approved by courts, were blocked and disturbed by the police. For days police helicopters were hoovering above the city day and night. Main streets were blocked for “convoy-practise” and during the summit deliveries of goods and services were significantly disturbed.
During the summit-protests, police stuck to their hardline approach, leading to a significant escalation at the “welcome to hell” demonstration on Thursday the 6th, when police stopped and broke up the demonstration, before any physical violence occurred on side of the protesters.
From this point on, Hamburg saw 3 days of massive peaceful protests, as well as significant rioting and looting, which lead to the deployment of special forces (SEK) with hand held grenade launchers and assault rifles against rioters on the night of the 7th and 8th of July.
Police claims about 500 injured policemen, half of them probably due to friendly teargas fire, exhaustion and illness, others through injuries on duty and in riot. Many police had insufficient accommodation and many were on duty for 3 days without sleep.
There are no official numbers of injured protesters so far, but it is estimated that it must be more than a thousand, some with life threatening conditions, many broken limbs and head- injuries.
The question wether police could have prevented the worst is now widely discussed. Also in question is the fact that riots in the Schanzenviertel could spread for hours without any police present on Friday night. Also no police was on the scene when a group of hundred marched through the City of Altona burning cars and smashing shops on Friday morning. People of Hamburg are asking why 23.000 police were not able to prevent what was happening and why the police was conducting violence on peaceful protesters too.
The Hamburg Senate coalition of Social-Democrats and Green Party, so far, see no evidence of a failed police- tactic nor any evidence of police violence. It will be to the civil rights movements to investigate.
The promised “Festival of Democracy” and the safety of the citizens of Hamburg was a joke. The police failed to prevent mass riots and failed to handle the situation in many cases. The costs of all this is not just a money issue, but also an issue of basic democratic rights, that have been suspended for the safety of 20 world leaders.
Around 100.000 peaceful protesters on more than 80 events, were basically not represented in the public view. Instead police and media reports, in most cases, only focused on the riots.
Stool buildup for the Colonial Revival Molding Style.
stool
sku# WOWS001
dimensions: 1-1/16" x 4-1/2"
apron
sku# WOCS006
dimensions: 3/4" x 3-9/16"
One of four styles in the WindsorONE Classic American Molding Collection.
Historical Background: 1920-1940
Capturing the spirit of classical details on a smaller scale and the revival of old world styles, the Colonial Revival Style reflects a new interpretation of classical orders with a distinctively American feel.
More info on Colonial Revival Moldings at: www.windsorone.com/moldings_Colonial_Revival.php
The G20 was the biggest police buildup Hamburg has ever seen. 23.000 riot police from all over Germany and numerous anti-terror squads from Germany and Austria were also on scene. Around 45 high tech water- cannons , armoured police SUVs as well as dozens of helicopters and patrol boats were also deployed. In Hamburg-Harburg a detention center for 400 people was erected at costs of about 3 Million Euro.
Weeks before the summit police conducted training with helicopters, road-blocks and anti-terror practice. During the summit-week police, beside establishing the red zone near the summit center, also installed a blue zone as a demonstration and gathering free area that stretched out about one thirds of the city area and covered 38km².
In many ways the police build-up was exceptional in a dense populated City like Hamburg. The lessons learnt after the Genua G20 riots in 2001 in summit policing did not much apply in Hamburg. Instead Hamburg minister of the interior proclaimed a “festival of democracy” and a police acting with low threshold of intervention.
The Hamburg police tactic can for sure be described as “zero tolerance”. Order was given for a hardline approach, preventing any breach of law promptly. This lead to a series of confrontations and feelings of besiegement among protesters and citizens of Hamburg - all in advance of the actual summit-riots. Weeks before the summit people all around the city were stopped and strip-searched, because “they looked suspicious”. Days before the summit, protest- camps, in some cases legally approved by courts, were blocked and disturbed by the police. For days police helicopters were hoovering above the city day and night. Main streets were blocked for “convoy-practise” and during the summit deliveries of goods and services were significantly disturbed.
During the summit-protests, police stuck to their hardline approach, leading to a significant escalation at the “welcome to hell” demonstration on Thursday the 6th, when police stopped and broke up the demonstration, before any physical violence occurred on side of the protesters.
From this point on, Hamburg saw 3 days of massive peaceful protests, as well as significant rioting and looting, which lead to the deployment of special forces (SEK) with hand held grenade launchers and assault rifles against rioters on the night of the 7th and 8th of July.
Police claims about 500 injured policemen, half of them probably due to friendly teargas fire, exhaustion and illness, others through injuries on duty and in riot. Many police had insufficient accommodation and many were on duty for 3 days without sleep.
There are no official numbers of injured protesters so far, but it is estimated that it must be more than a thousand, some with life threatening conditions, many broken limbs and head- injuries.
The question wether police could have prevented the worst is now widely discussed. Also in question is the fact that riots in the Schanzenviertel could spread for hours without any police present on Friday night. Also no police was on the scene when a group of hundred marched through the City of Altona burning cars and smashing shops on Friday morning. People of Hamburg are asking why 23.000 police were not able to prevent what was happening and why the police was conducting violence on peaceful protesters too.
The Hamburg Senate coalition of Social-Democrats and Green Party, so far, see no evidence of a failed police- tactic nor any evidence of police violence. It will be to the civil rights movements to investigate.
The promised “Festival of Democracy” and the safety of the citizens of Hamburg was a joke. The police failed to prevent mass riots and failed to handle the situation in many cases. The costs of all this is not just a money issue, but also an issue of basic democratic rights, that have been suspended for the safety of 20 world leaders.
Around 100.000 peaceful protesters on more than 80 events, were basically not represented in the public view. Instead police and media reports, in most cases, only focused on the riots.
Sunset just after the first sprinkle in the rain glass to give a tantalising glimpse of the coming Wet season, as well as welcome temporary relief from the oppressive heat of the Buildup. So many months since the last rains. When will more come?
Sincere thanks for your dropping by to view, comment and/or fave my nature offerings from various parts of Australia!
All my photographs are © Copyrighted & All Rights Reserved. Please do not reproduce or transmit in any form or by any means without full acknowledgement of it being my work. Use without permission is illegal so please contact me first if you’d like to use it.
Scene on one of the invasion beaches, during force buildup operations in June 1944. Note: Shore party relaxing (left foreground); Bulldozer with heavy fenders on its blade, possibly for boat salvage purposes (behind the shore party); Beached landing vessels, including (from left to right): USS LCT-852; British LCT-2302 and a Rhino (RHF) pontoon barge. This photograph, taken by Combat Photo Unit Eleven (CPU-11), was received by the Navy Photo Science Laboratory on 3 July 1944. Official U.S. Navy Photograph. Local Identifier: 80-G-253145
Indian River quarterback Dominique Brooks beats his old school… sweet revenge!
All week long, he heard the buildup surrounding the big Southeastern District showdown between No. 2 Indian River and No. 1 Oscar Smith. He also was going against his former team as he was the starting quarterback during the Tigers’ run to a third consecutive state championship game last season.
But Brooks handled the pressure as he threw for 206 yards and two touchdowns to lead the Braves to a 28-16 win over Oscar Smith in front of more 5,000 fans. It was the Braves’ first win over the Tigers since 1998. And the win also put Indian River in the driver’s seat to the district title, which they haven’t won since 1996. The Braves finish the season against Grassfield (4-4) and Western Branch (0-8).
Brooks overcame early jitters that included two penalties and back-to-back incompletions on his team's first possession, but he settled down with throws of 25, 15 and 24 yards.
Ahshawn Moore completed the drive with a 1-yard touchdown run to help the Indian River take a 7-0 lead.
The Tigers, who have lost just two Southeastern District games since 2007, answered when quarterback Cam’Ron Kelly threw a 21-yard touchdown pass to Kenny Etheridge.
Indian River (8-0, 7-0) regained the lead in the second quarter when Brooks threw an 85-yard touchdown pass to Rasheen Brooks for a 14-7 lead.
Oscar Smith cut the deficit to 14-10 on Austin Benoit’s 27-yard field goal with 3:04 left in the half.
The Braves added to their lead before the half on Carmello Sweat's 69-yard touchdown run to make it 21-10.
The second half started well for Indian River as the Braves capitalized on a muffed snap on a punt to get the ball on the Oscar Smith 31. Three plays later, Brooks threw a 19-yard touchdown pass to Moore, who made an incredible one-handed catch in the corner of the end zone. The Braves led 28-10 with 5:33 left in the third quarter.
But Indian River coach Glenwood Ferebee couldn’t relax. He remembered 2015 when the Braves led 14-2 in the fourth quarter, only to watch Oscar Smith score 13 points in the final 3:24 to beat them.
He thought about it even more after Kelly's 24-yard touchdown pass to Etheridge to help cut the deficit to 28-16 with 6:08 left in the game.
And the Braves held on as Ferebee beat Oscar Smith for the first time in his career.
All of the pictures were taken by Kirk Allen of RWM Sports | Red Weasel Media. Sponsored by King Neppy Clothing www.kingneppy.com
High weather. Cumulus buildup now is omnipresent again this year, will it be another early monsoon season like last year??
The 4th SteineWahn happens in Berlin last weekend. There was a lot of work to be done previously.
I think this is a very important part of an exhibition for the participants. Everyone is concentrate to make sure that his moc is presented well. But everybody also helps each other. So i take my time to make some pictures of those moments.
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More information and pics up: THE BRICK TIME
Be sure to visit the BrickLink-Shop: THE BRICK TIME - Store
Buildup of a steel structure is underway for Load Test #1 on the Interim Cryogenic Propulsive Stage Umbilical (ICPSU) arm for NASA's Space Launch System (SLS) at Coastal Steel in Cocoa, Florida. The test will consist of applying six vertical loads and eight horizontal loads onto the truss in the retracted position to simulate the effects of a launch on the structure. A load test tower was designed and fabricated at Coastal Steel for the test. Engineers and technicians from NASA Kennedy Space Center and Coastal will apply the loads by hanging weights off the ICPSU structure. Vertical loads will be applied by hanging the weights directly, and horizontal loads will be applied by a rope that wraps over an adjacent pipe on the load test tower. The ICPSU is one of the umbilical arms that will be attached to the mobile launcher. The umbilical will be located at the about the 240-foot-level of the mobile launcher and will supply fuel, oxidizer, pneumatics, hazard gas leak detection, electrical commodities and environmental control systems to the interim cryogenic propulsive stage of the SLS rocket during launch. Photo credit: Daniel Casper
Juan Bautista Martinez del Mazo (c. 1612-1667), active in Madrid
Family of the artist, circa 1664-65
Mazo was a co-worker and son-in-law of Velázquez and his successor as a Spanish Court painter. The picture gives an insight into his studio and shows in the foreground left four children from the marriage with Francisca Velázquez; right his second wife with her children. The image buildup is a continuation of the famous royal family portrait "Las Meninas" of Velázques (Museo del Prado, Madrid).
Juan Bautista Martinez del Mazo (um 1612-1667), tätig in Madrid
Familie des Künstlers, um 1664-65
Mazo war Mitarbeiter und Schwiegersohn von Velázquez und dessen Nachfolger als spanischer Hofmaler. Das Bild gibt Einblick in sein Atelier und zeigt im Vordergrund links vier Kinder aus der Ehe mit Francisca Velázquez; rechts seine zweite Frau mit ihren Kindern. Der Bildaufbau schließt an das berühmte königliche Familienbild "Las Meninas" von Velázques (Museo del Prado, Madrid) an.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Ice buildup around the glycol supply line and condensation on the lid of the conical after crashing a batch to 36* in the humid summertime
To compete with fast American airliners, namely the Lockheed 12 Electra and Boeing 247, Ernst Heinkel directed his aircraft company to develop the fastest airliner in the world, sacrificing number of passengers for speed. It would use elliptical, inverted gull wings for better stability and lift. Initially, this would be the single-engined Heinkel He 70 Blitz, but since the He 70 could only carry four passengers, it was expanded to a two-engined, larger aircraft with a capacity for 8-12 passengers as the He 111. It was indeed the fastest airliner in the world when it first flew in February 1935, but its speed and capacity attracted the interest of the Luftwaffe, which was engaged in a steady buildup following Hitler’s accession to power in Germany. The Luftwaffe had no interest in a fast transport, but in a medium bomber. Though the He 111 would continue to be referred to as a “passenger aircraft” until the beginning of World War II, it was obvious to both friend and foe that it was being developed into a bomber—though Lufthansa would operate a few He 111C airliners until 1939 in that role.
The initial design used in the He 111A through L variants was a conventional stepped-nose, similar to that used in the Boeing B-17. These stepped-nose variants were used operationally by the Condor Legion force Hitler sent to fight in the Spanish Civil War, while others were sold to Nationalist China (who, ironically, would use them against Germany’s ally, Japan). While the stepped-nose aircraft flew no worse or better than any other aircraft, the Luftwaffe desired speed and more visibility for pilots, who reported difficulty seeing over the nose on landing.
This led to a complete redesign of the nose, which deleted the cockpit “step” in favor of a bullet shape, with the entire nose glassed-in. The pilot and bombardier remained on the flight deck, with the instrument panel relocated slightly above the pilot and the rudder pedals on bars: essentially, there was no floor to the flight deck. To get to his bombsight, the bombardier slid his seat back and went forward. This added significant speed to the He 111P, the first variant with the redesigned nose, and pilots liked the superb visibility afforded by the all-glass nose. Because of the fuselage diameter, the bombs on the He 111 were carried vertically, which caused them to drop tail-first from the bomb bay before spinning the bomb nose-down. This caused a loss in both payload and accuracy, but the Luftwaffe never intended to be the He 111 to be a strategic bomber nor worried much about accuracy.
Though stepped-nose He 111s would be used in small numbers as transports throughout World War II, the bullet-nose He 111Ps were quickly superseded on Heinkel’s production lines by the Junkers Jumo-engined He 111H, the definitive variant; the Daimler-Benz DB 601 engine was needed by Luftwaffe fighters. The first test of the He 111P/H series was over Poland in September 1939. Immediately, German crews learned the He 111’s fatal flaw: it did not have enough defensive armament. Lessons learned over Spain had led the Luftwaffe to believe that the He 111 was too fast for fighters to intercept, but an alarming number of losses over Poland—whose air force was obsolescent—proved otherwise. He 111 crews began finding spots for machine guns all over the aircraft as Heinkel itself began producing dizzying variants of the He 111, each with different defensive armament setups. Even this proved inadequate when the He 111 was committed to attacking England during the Battle of Britain: Hurricane and Spitfire fighters found the He 111 easy prey. In the bomber’s defense, this was due less to the He 111’s lack of armament and more towards flawed tactics by the Luftwaffe: the He 111, along with other bombers used by the Luftwaffe, were simply not designed for what they were attempting to do. The He 111 nonetheless did inflict a great deal of damage to England’s cities; following the Battle of Britain, the Luftwaffe bomber force switched to night bombing, and thousands of British citizens were killed by He 111s in the Blitz of London and the near-destruction of other British cities such as Coventry and Liverpool. While the He 111 was not effective as anything but an area bomber and lacked defensive armament, it was still liked by its crews for its easy handling, and surprisingly, if the pilot was not killed or catastrophic damage done to the aircraft, it proved to be relatively resilient to battle damage.
Following the end of the Blitz, the He 111 was recognized by the Luftwaffe as being practically obsolete, but as Germany itself came under attack, replacement designs (such as the He 177 Greif) were either never built or never progressed beyond prototype stage, as emphasis shifted to fighter production. As a result, the He 111 remained in service and would continue to see action in the Mediterranean, over the Soviet Union, and in Norway, where it served as an adequate torpedo bomber. Production was slowed in favor of the Junkers Ju 88, which was far more versatile, and finally ended for good in 1944. By that time, the remaining He 111s in Luftwaffe service had their bomb racks removed and were flying as transports (ironically, what Heinkel had intended all along); a few were rebuilt as He 111Z Zwilling (Twin) heavy glider tugs, which were two He 111Hs joined at the wingtip with a fifth engine.
At the end of World War II, nearly all He 111s were scrapped. A large number survived in Spain, however, where they were built as CASA C.211s for some time after war’s end. These would be ironically reengined with Rolls-Royce Merlin engines and updated with new cockpit instruments, but remained basically the same as the He 111H. 6714 He 111s and C.211s were built, and the Spanish did not retire their aircraft until 1973. Of this number, 14 C.211s and four He 111s remain today, all in museums; the last flyable example, a C.211, crashed in 2003.
I bought the Minicraft 1/144 He 111 some years ago, and finally got around to building it. I wanted to do something a bit different, and inspired by another builder on the Scale Modeler Facebook page, decided to try my hand at desert camouflage. For the splotch pattern, I dipped a felt block into olive drab paint and dabbed it onto the desert yellow base coat; since the actual camouflage was applied with a mop, the rough appearance looks fairly accurate. The most difficult part of the kit was painting the framing on the nose glazing, which was done with a toothpick. No swastikas were included with the kit decals.
Overall, I'm impressed on how this came out, and it looks nice next to my Ju 88. This model represents a He 111H-6 assigned to KG 26, based at Grossetto, Italy.
PictionID:46834694 - Catalog:14_023112 - Title:Vandenberg AFB Details: OSTF-2; Launcher Platform Buildup; Hydraulic Accumlator Tanks with Control Ppanel in Background Date: 10/31/1960 - Filename:14_023112.TIF - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
This is a photograph from the annual BHAA Government Services/Social Protection Group's 5 Mile Road Race took place on Tuesday 27th May 2013 at 20:00 in Dunboyne, Co. Meath, Ireland. The course is a fast flat course which begins on the Dunboyne-Maynooth Road between the two entrances to Dunboyne Castle Estate. The race then proceeds in an anti-clockwise direction back to the Dunboyne Athletic Club on the Rooske Road in Dunboyne. The race reaches higher standards with every passing year. Paul Gorey and his team of volunteers must be given great credit for putting on such a wonderful race event. Thanks are also extended to Dunboyne Athletic Club, the BHAA, and the local community who all make this possible.
This photograph is part of a large set of photographs taken at the finish line area of the race. There are also some races of the buildup and the start of the race. The full set is available at www.flickr.com/photos/peterm7/sets/72157644466844507/
Overall Race Summary
Participants: There were approximately 500 participants .
Weather: A bright sunny evening with little breeze
Course: This course is fully left handed with very little in the way of inclines. Good road surface. These are nice narrow country roads with shelter provided by mature hedgerows. This year the race finished with 3/4 of a lap of the Dunboyne AC track.
Refreshments: Lots and lots as is the tradition with BHAA Events - served outside the scouts hall at the track.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links
Results of the 2014 race will appear here: bhaa.ie/results/
Our photographs from the BHAA Dunboyne Race 2011: www.flickr.com/photos/peterm7/sets/72157626730168603/
Our photographs from the BHAA Dunboyne Race 2012: www.flickr.com/photos/peterm7/sets/72157629959245726/
Our photographs from the BHAA Dunboyne Race 2013: www.flickr.com/photos/peterm7/sets/72157633772077781/
Tom Healy BHAA usually photographs these BHAA events - his Flickr set is at www.flickr.com/photos/tomhealy/sets/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
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I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
The reactor pressure vessel at the Davis-Besse Nuclear Power Station shows a buildup of boric acid deposits from leaking nozzles (not shown). The plant later discovered the acid had corroded part of the pressure vessel head, triggering a two-year shut down to repair the damage. Photo taken during the refueling outage at Davis-Besse in 2000.
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