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The Shah-i-Zinda Ensemble includes mausoleums and other ritual buildings of 11th – 15th and 19th centuries. The name Shah-i-Zinda (meaning "The living king") is connected with the legend that Qutham ibn Abbas, a cousin of Muhammad, is buried here. He came to Samarkand with the Arab invasion in the 7th century to preach Islam.
The Shah-i-Zinda complex was formed over eight (from the 11th until the 19th) centuries and now includes more than twenty buildings
The Richardson Olmsted Complex in Buffalo, New York was designed by architect HH Richardson and landscape planner Frederick Olmsted in 1870. Originally the complex was built to be a hospital to treat mental illness. It was in use as Buffalo State Hospital until the 1970s. Today the 93-acre complex is being redeveloped with a mix of uses including a hotel.
The Richardson Olmsted Complex is a National Historic Landmark.
This complex of reflection nebulae lies some 6,000 light-years away, toward the high-flying northern constellation Cygnus and the plane of our Milky Way Galaxy.
Obscuring interstellar dust clouds appear in silhouette while reddish hydrogen emission nebulae, along with the dusty blue reflection nebulae, fill the cosmic canvas.
Ultraviolet radiation from the massive, hot, young stars of the extensive Cygnus OB2 association ionize the region's atomic hydrogen gas, producing the characteristic red glow.
Embedded Cygnus OB2 stars also provide the blue starlight strongly reflected by the dust clouds.
As Galaxy season was over, it was time to shoot some Ha! This picture is the result of 2 nights (6h10) from last week.
I'm happy with the result, and especially happy to be able to start shooting again. :D
Clear skies !
Lights : 37 x 600 sec (6h10)
Darks : 60 ~ Offset : 100 ~ Flats : 100
Setup :
Camera : ZWO ASI 2600 MC
Main Scope : Skywatcher Esprit 100 ED
Guide Camera : ZWO ASI 120MM Mini
Guide Scope : ZWO Mini Guide Scope
Mount : Skywatcher EQ6-R
Filters : Optolong L-Extreme
Others : ZWO ASIAIR PRO, ZWO EAF
Nestled around the Vltava River, Prague survived virtually intact, while other European cities were flattened during WWII. This is a view of part of Prague Castle and the spires of St. Vitus Cathedral, taken within the world’s largest ancient castle complex and still the seat of political power. The castle was built during the 9th Century and has evolved architecturally as a blend of Romanesque, Gothic, and even Spanish styles.
Using Atmosfear 3 in combination with Absolute Texture, enhanced grass draw distance, console controlled FOV, 'GOTZ' for enemy-, weather- and location-spawn, ingame console commands (fov, tilt), user.ltx tweaks (r2_lumscale etc.), CheatEngine (slomo, fake 'timestop' by setting timescale to 0.0 - no camera movement possible though), ReShade 2.x.
Supreme Court Complex, Hobart, by Department of Public Works / Peter Partridge won the 25 Year Award for Enduring Architecture at the AIA's 2010 National Architecture Awards.
This building is an exemplary, enduring piece of public architecture that makes a poised contribution to the city of Hobart. The plaza between the two court buildings opens up a diagonal landscape link between St Davids Park above, the adjacent Parliament Square and the Sullivans Cove waterfront.
From Salamanca Place a slate base folds up like a piece of carved landscape and supports two sandstone-clad pavilions. This is a building that is indebted to classicism but carries the burden of a period of architecture much maligned for its material brutality. The use of materials here is super direct and the detailing studious. Inside, the complex is judicially innovative through the planning of four courts in the round. The interior carries the gravity of the building’s function but is human in its detail and scale.
The complex is in remarkably original order because of the skill with which it was designed. Here is a reminder that investment in public architecture has a lasting effect on the city.
– Jury citation
Architect
Department of Public Works Tasmania
Sources
Architecture Australia – November 2010 (Vol 99 No 6)
Tags
Architecture Awards, Awards, Buildings, National Architecture Awards 2010
Now that the Babylon temple figures have been removed from the wall it takes on a boring look, like some arch that signifies nothing. But seeing it this way you get a good sense of perspective as to what we are seeing in the distance and where this complex is located. Perhaps someone will think of projecting images on this wall at night, but I wouldn't hold my breath on it.
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Yesterday afternoon down in Bernardo, NM
For Sliders Sunday, and the original is in the first comment box below.
In Lightroom, things like curves adjustments and cropping and leveling of horizon. In Photoshop more of those adjustments and cloning out stuff that was distracting.
Benozzo Gozzoli (Benozzo di Lese di Sandro (Scandicci, circa 1420 - Pistoia, October 4, 1497) - fake polyptych with the Madonna Enthroned among Saints - Chapel of Saint Jerome (1452) - frescoes - Museum complex of Saint Francis - Montefalco
La Cappella di San Girolamo è situata sulla parete destra, in prossimità dell’ingresso Gli affreschi di questa cappella furono gli ultimi eseguiti a Montefalco da Benozzo Gozzoli (1452). Il committente fu forse il notaio montefalchese Girolamo di Ser Giovanni Battista de Filippis.
Gran parte della decorazione pittorica con le storie della vita di san Girolamo, si è persa in seguito all’abbattimento del muro di sinistra e all’apertura dell’ingresso laterale della chiesa sul lato destro della cappella.
The Chapel of San Girolamo is located on the right-hand wall, near the entrance. The frescoes in this chapel were the last to be painted in Montefalco by Benozzo Gozzoli (1452). The client was perhaps the notary of Montefalco Girolamo di Ser Giovanni Battista de Filippis.
Great part of the pictorial decoration with the histories of the life of san Girolamo, has been lost following the demolition of the left wall and the opening of the lateral entry of the church on the right side of the chapel.
Perugino (Pietro di Cristoforo Vannucci, known as the divine painter or as Pietro Perugino - about 1448 - February 1523) - Nativity, in the lunette the Eternal in glory between two angels and Annunciation (1503) - fresco - Museum Complex of San Francesco, Montefalco
L’affresco riveste interamente una grande edicola posta a sinistra dell’ingresso della chiesa dei Frati Minori Conventuali, nella parete interna di facciata. La storia principale segue fedelmente l’impianto compositivo della Natività dipinta da Pietro Perugino intorno al 1502 per una cappella del convento francescano di Monteripido di Perugia, a sua volta ripresa dalla Natività del Collegio del Cambio datata 1500. L’affresco di Montefalco è il più tardo della serie ed è stato collegato ad un soggiorno di Pietro Vannucci nella cittadina umbra documentato nel 1503
The fresco entirely covers a large aedicule placed to the left of the entrance of the church of the Friars Minor Conventual, in the internal wall of the facade. The principal story faithfully follows the compositional plant of the Nativity painted from Pietro Perugino around 1502 for a chapel of the Franciscan convent of Monteripido of Perugia, to its turn resumed from the Nativity of the College of the Change dated 1500. The fresco of Montefalco is the most late of the series and has been connected to a stay of Pietro Vannucci in the Umbrian town documented in 1503.
Lots going on here. Mid-level clouds dominated this afternoon with unusual altocumulus patterns highlighting this cloudscape.
Same sky 14 minutes earlier: www.flickr.com/photos/79387036@N07/38298095341/in/datepos...
An impressive clock.
The Great Hall marks the final chamber inside Burghley House that is open to the public. It's over 60 feet in height, and measures 30 feet wide and 68 feet lengthwise. It features a fine example of a double-beam roof.
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
Taken at the edge of a mixed group of trees, I was taken by the left to right sweep of the branches as they were lit up by the morning sun. Shot at Little Wittenham Wood, South Oxfordshire.
IN ENGLISH BELOW THE LINE
La Nº 1A Speed Kodak fou una cà mera produida en baix nombre (unes 2100) entre 1909 i 1913, i crec que era una de les més complexes oferides per Kodak, que en general s'orientà a models barats i amateur. La Speed Kodak era inusual en aquell moment per incorporar un obturador de pla focal i no un obturador central com totes les cà meres del tipus "folding pocket", molt populars.
L'obturador, que ocupa tot el cos de la mà quina, permetia velocitats de fins a 1/1000, i per això la cà mera s'anomena Speed Kodak (de fet, encara hi havia un model més gran i complexe, la Nº 4A Speed Kodak). De fet, aquest obturador indica clà rament el seu origen en les cà meres Graflex, de Folmer & Schwing, empresa recentment adquirida per Eastman Kodak. Fins i tot té una "cosina" produida dins la marca Graflex, la 1A Graflex, amb la que comparteix molts elements (però aquella és una SLR, més complexa). El numeral 1A indica que empraven el desaparescut format 116, però es poden adaptar facilment al encara actual 120.
Fins i tot hi ha la possibilitat que aquesta cà mera influÃs en el naixement de la famosa Leica, tot i que no de manera directa. Si Oskar Barnack, el creador de la famosa cà mera de 35mm, va coneixer aquesta Speed Kodak (fabricà els seus prototipus el mateix 1913), potser es fixà en les seves possibilitat, sobretot si es reduïa encara més el volum de la cà mera.
Aquest exemplar en concret està en un estat de conservació extern impecable, però l'obturador té alguns problemas, afortunadament minimitzats. L'objectiu és un Bausch & Lomb-Zeiss Tessar, Series Ic f4.5 / 3 1/4x4 1/4. Alhora de provar-la el disparador es movia però la cortina del obturador no. Per sort vaig trobar dibuixos tecnics del mecanisme (en les patents americanes). De fet, les peces son grans i relativament poques, pel que fou facil veure que el problema era que la peça que en apretar el disparador havia de deixar que la cortina es mogues (impelida per una molla que funciona prou bé), estava torçada. Donat que adreçar-la podia comportar trencar-la, vaig llimar les fraccions de mm que molestaven (la gran mida de les peces facilitava això), i ara l'obturador funciona i la cà mera fa fotos!
El nº de serie està entorn el 2.400; considernat que van del 1000 a entorn el 3100, és més aviat tardana, fabricada probablement cap al 1911-13.
Desgraciament més de la meitat de les velocitats menys rà pides fan que la cortina no tingui la tensió suficient i no es poden fer servir, però amb les que queden, la cà mera pot tirar prou bé!
camerapedia.fandom.com/wiki/No._1A_Speed_Kodak
journal.graflex.org/journal-2015-01.pdf
kodak.3106.net/index.php?p=212&cam=1465
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The Nº 1A Speed ​​Kodak was a camera produced in small numbers (about 2100) between 1909 and 1913, and I think it was one of the most complex offered by Kodak, which was generally geared towards cheap and amateur models. The Speed Kodak ​​was unusual at the time to incorporate a focal plane shutter and not a leaf shutter like all the very popular "folding pocket" type cameras that share this size & body.
This shutter allowed speeds of up to 1/1000, which is why the camera is called Speed ​​Kodak (there was still a larger and more complex model, the Nº 4A Speed Kodak). In fact, this shutter clearly indicates its origin in the Graflex cameras, from Folmer & Schwing, a company recently acquired by Eastman Kodak. It even has a "cousin" produced within the Graflex brand, the 1A Graflex, with which it shares many elements (but that's a more complex camera, being a SLR). The numeral 1A indicates that they used the long gone format 116, but they can be easily adapted to the still current 120.
There is even a possibility that this camera influenced the birth of the famous Leica, although not directly. If Oskar Barnack, the creator of the first really working 35mm camera, came to know this Speed ​​Kodak (he made his prototypes in 1913), perhaps he would look at its possibilities, especially if the volume of the camera was further reduced to 35mm cinema film. Obviously there ara many differences in the mechanism, but not so with the first prototypes (the Ur-Leica), with a quite similar shutter cloth.
This particular specimen is in an impeccable cosmetic condition, but the shutter has some problems, fortunately minimized. The lens is a Bausch & Lomb-Zeiss Tessar, Series Ic f4.5 / 3 1 / 4x4 1/4. At the time of testing it the shutter release did move but the shutter curtain did not. Luckily I found technical drawings of the mechanism (in American patents). In fact, the internal parts are large and relatively few, so it was easy to see that the problem was that when you pulled the trigger, the part that had to let the curtain move (driven by a spring that works well enough), was slightly bent. Since straightening it could lead to breaking it, I filed the annoying mm fractions (the large size of the pieces made that easier), and now the shutter works and the camera takes pictures!
The serial number is around 2,400; considered to range from 1000 to around 3100, it is a rather later camera, probably manufactured around 1911-13.
Unfortunately for more than half of the slower speeds the curtain does not have enough tension and they can’t be used, but with the ones left, the camera can shoot well enough!
camerapedia.fandom.com/wiki/No._1A_Speed_Kodak
This image from the NASA/ESA/CSA James Webb Space Telescope features an H II region in the Large Magellanic Cloud (LMC), a satellite galaxy of our Milky Way. This nebula, known as N79, is a region of interstellar atomic hydrogen that is ionised, captured here by Webb’s Mid-InfraRed Instrument (MIRI).
N79 is a massive star-forming complex spanning roughly 1630 light-years in the generally unexplored southwest region of the LMC. N79 is typically regarded as a younger version of 30 Doradus (also known as the Tarantula Nebula), another of Webb’s recent targets. Research suggests that N79 has a star formation efficiency exceeding that of 30 Doradus by a factor of two over the past 500 000 years.
This particular image centres on one of the three giant molecular cloud complexes, dubbed N79 South (S1 for short). The distinct ‘starburst’ pattern surrounding this bright object is a series of diffraction spikes. All telescopes which use a mirror to collect light, as Webb does, have this form of artifact which arises from the design of the telescope. In Webb's case, the six largest starburst spikes appear because of the hexagonal symmetry of Webb's 18 primary mirror segments. Patterns like these are only noticeable around very bright, compact objects, where all the light comes from the same place. Most galaxies, even though they appear very small to our eyes, are darker and more spread out than a single star, and therefore do not show this pattern.
At the longer wavelengths of light captured by MIRI, Webb’s view of N79 showcases the region’s glowing gas and dust. This is because mid-infrared light is able to reveal what is happening deeper inside the clouds (while shorter wavelengths of light would be absorbed or scattered by dust grains in the nebula). Some still-embedded protostars also appear in this field.
Star-forming regions such as this are of interest to astronomers because their chemical composition is similar to that of the gigantic star-forming regions observed when the Universe was only a few billion years old and star formation was at its peak. Star-forming regions in our Milky Way galaxy are not producing stars at the same furious rate as N79, and have a different chemical composition. Webb is now providing astronomers the opportunity to compare and contrast observations of star formation in N79 with the telescope’s deep observations of distant galaxies in the early Universe.
These observations of N79 are part of a Webb programme that is studying the evolution of the circumstellar discs and envelopes of forming stars over a wide range in mass and at different evolutionary stages. Webb’s sensitivity will enable scientists to detect for the first time the planet-forming dust discs around stars of similar mass to that of our Sun at the distance of the LMC.
This image includes 7.7-micron light shown in blue, 10 microns in cyan, 15 microns in yellow, and 21 microns in red (770W, 1000W, 1500W, and 2100W filters, respectively).
[Image description: A bright young star within a colourful nebula. The star is identifiable as the brightest spot in the image, surrounded by six large spokes of light that cross the image. A number of other bright spots can also be seen in the clouds, which are shown in great detail as layers of colourful wisps.]
Credits: ESA/Webb, NASA & CSA, O. Nayak, M. Meixner
Het laatste Tsjechische metersporige trambedrijf, dat van Liberec, wordt sinds 1990 geleidelijk omgebouwd tot normaalspoor. In 2001 waren de stadslijnen klaar. Het laatst omgebouwde traject kreeg alleen normaalspoor, het overige deel is drierailig. De interlokale lijn naar Jablonec heeft nog smalspoor, maar is op de recent vernieuwde delen voorbereid voor normaalspoor.
De in- en uitrit van de remise is uiteraard drierailig uitgevoerd. Hier - maar ook elders in de stad - liggen wissels met drie tongen. Voorbij het wissel ligt een nog zeldzamere railconstructie, waar smalspoortrams van gezamenlijk gebruik van de rechter rail naar de linker rail overgaan. Deze constructie kan het zonder bewegende delen stellen: ook zonder wisseltong worden de wielstellen van een smalspoortram op het hartstuk naar links gedwongen. Zulke eigenaardigheden komen om de hoek kijken daar waar een drierailig systeem in twee richtingen bereden moet kunnen worden. Het alternatief is een vierrailige trambaan.
De uitrijdende gerenoveerde Tatra heeft voorop een rode sticker '1435'. De smalspoortrams hebben een blauwe sticker '1000'
The last Czech metre-gauge tramway network, that of Liberec, is in a conversion process to standard gauge since 1990. The urban lines were completed in 2001. The last reconstructed line is purely standard gauge, while the rest got three-rail track. The interurban line to Jablonec kept its narrow gauge track, but the recently renovated parts are prepared for standard gauge.
Of course, the depot entrance and exit have three-rail track with suiting points. Beyond the track switch is an even more uncommon device: a crossover for narrow gauge trams to change from right to left shared rail. It has no moving parts, because the left wheels force the right wheels to choose the right path on the switch diamond.
The renovated Tatra tram leaving the depot has a red tag '1435' on the front. Narrow gauge trams carry a blue version with the number 1000