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My write up on photographing the new Cosmopolitan of Las Vegas here
On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.
This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.
To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.
Continuing the blue theme from yesterday with this awesome 360 Spider with an equally awesome number plate
©Russell Pritchard 10th August 2013
2013 World Police and Fire Games continue across Belfast and Northern Ireland.
Pool, at Newforge, Belfast
Belfast Harbour Police, Neil McKelvey
©Russell Pritchard / Presseye
Bread being fed to mullet, some larger milkfish lurking nearby.
From the Aquascene website:
" At high tide hundreds of fish come into the shallows looking for a free feed ... It is a ritual that began in the late 1950's when a local resident threw scraps of food to a few mullet. Somehow word got around ... and now milkfish, bream, catfish and many other species join the mullet in the skirmish for a meal."
Darwin, Australia
*For a better look at the milkfish, check out my brother's photo:
Continuing to test the trial version of Topaz Adjust.
This shot has been edited with a couple of different Topaz filters, applied at various opacities as PSE8 layers, and has a LR3 graduated filter on the sky.
Probably a bit over-cooked, but I am testing. ;)
The original photo is here.
Continuing on in the trio of days where 'stuff was happening' and today, a Saturday an interesting move all the way down from Kilmarnock in East Ayrshire south-west of Glasgow towards the Irish Sea coast. This was a GBRf Empty Coaching Stock move with the added attraction of it being in GWR, Great Western Railway, green livery with a couple of midnight blue barrier coaches thrown in for good measure. Added to this the locomotives were class 47s, Titan STar and ex-'Pride of Eastleigh', D1652 and D1816, or in more modern classification, 47848 and 47812. By sheer good fortune, it turned out that the 2-car set operated by TPE was also in the area and so this first shot shows the ECS working coming along along the up freight line on the right, heading southwards to Chesterfield whist on the up fast on the left, class 170, 170308 is hurtling south towards Sheffield. The TPE service is on the 1B77 Cleethorpes to Manchester Airport but in the event the service terminated at Manchester Piccadilly due, the time-table reported to 'Cancelled at MANCHESTER PICCADILLY (14:07) due to INWD STOCK - Late arrival of inward stock/unit'.. whatever that means. In very similar livery, over on the right, a pair of well turned out GBRf class 47s, operated by 'R.O.G.', the 'Rail Operation Group', in charge is 47848 and behind in double-headed fashion, 47812. The stock consists of a midnight-blue barrier coach, nine bottle-green Great Western passenger coaches followed by two more barrier coaches. This is the 5V47, Kilmarnock Barclay Sidings to the Laira T&R.S.M.D. working and the set, which left 30 minutes early at 04:47, picked up an hours delay but lost that and is here, 4 minutes early. From here on, as it was a Saturday afternoon, presumably, the set didn't stop in any of the loops on the way south, which it didn't do north of here either, and therefore picked up a 163 minute headway, arriving at Laira, near Plymouth on the south-west coast, at 19:11.
Work continues on the Greenpoint tubes on the G line under Newtown Creek on the weekend of August 24, 2013 as part of Fix&Fortify efforts to recover from Hurricane Sandy. Infrastructure crew installs brackets above the track at Greenpoint Ave. which will carry cable through the tunnel.
Photo: Marc A. Hermann / MTA New York City Transit
Hey everyone ;-)
Continuing on with Autumn/Fall/Winter at Laminak, I have created a range of tracksuits, available now on the Zooby Animesh Baby texture hud.
They come in mix and match colours, some brights, and some neutrals, perfect for those chilly days and nights during the cooler seasons.
Items used:
Hooded Top
Leggings
Velcro Shoes
Search Laminak on your texture huds ;-)
Hope you like them! ;-)
Love and hugs to you and your babies.
Casey
xxxx
TARANAKI, New Plymouth/New Zealand (Thursday, April 28, 2011) – ASP World No. 2 Sally Fitzgibbons (AUS) continued to ride her wave of victory to New Zealand, posting another top class performance during Round 1 of the Subaru Pro TSB Bank Women’s Surf Festival in Taranaki, today.
After strong winds delayed the start of competition until 1:15pm, Round 1 was completed in great 0.5- meter left-hand waves at Back Beach, that saw no shortage of excellent rides against the snowy backdrop of Mount Taranaki.
Fitzgibbons, fresh off her maiden ASP World Title Tour victory at the Rip Curl Pro Bells Beach in Australia this week, proved her backhand to be as polished as her forehand, netting the highest two-wave heat total of the round, an 18.45 (out of a possible 20.00) to defeat Claire Bevilacqua (AUS) and Pauline Ado (FRA).
“It still feels exciting coming straight off a win at Bells,” Fitzgibbons said. “I feel like my surfing has been on the right track for the last couple of years but I was making a few mistakes. I think I’ve learned a lot from the ins and outs of losing as well as winning so it feels really nice to get another win out here today.”
Driving unprecedented speed off her flawless bottom turns, Fitzgibbons posted the top five individual wave scores of the day, which include her winning 8.95 and 9.50 (out of 10) rides.
“I’m so psyched to be going left, we’ve had Snapper and Bells and we’ve been going right for so long, so it’s a nice change to be looking down the line the other way,” Fitzgibbons said.
Four times ASP World Champion Stephanie Gilmore (AUS) shone just as brightly in the wind affected waves, her superb wave selection proving crucial to her victory when she stroked into the best wave of the heat in the dying minutes to unleash a powerful series of backhand snaps on a reeling lefthander for a near perfect 9.00 ride.
“Its actually pretty fun out there, there’s a good little left and it was nice to feel some power in the wave,” Gilmore said. “It’s an interesting experience sitting in the lineup looking at a snow covered mountain but I love it, it’s really raw here and it’s great to be back.”
Gilmore, who has had a relatively slow start to the season, posting equal fifth and third place results at the first two events of the season, now finds herself in the ASP World No. 4 position, and while sealing a victory over Laura Enever (AUS) and Alana Blanchard (USA) today, sighted two of today’s standout girls to beat at this year’s event.
“I think Sally Fitzgibbons and Carissa Moore will be tough to beat this year, the Hawaiian girls are looking really strong and Sally having just come off a win, is looking like the girl to beat,” Gilmore said.
Local surf star Paige Hareb (NZ) attracted a large crowd during her round clash against Chelsea Hedges (AUS) and Tyler Wright (AUS), the ASP Women’s World Title Tour’s only kiwi surfer proving determined to advance in first place.
“I was lucky to get the two better waves of the whole heat,” Hareb said. “I just surfed them and didn’t try too hard, I wanted to get a score under my belt and it paid off. It’s my best result of the season so I’m stoked.”
ASP World Tour rookie Courtney Conlogue (USA) out-surfed tour veterans Silvana Lima (BRA) and Rebecca Woods (AUS), holding nothing back to advance with a pair of excellent 8.00 rides.
“I didn’t know if I’d scored an eight or a six so I just tried to stay busy and keep the exchanges going ‘cos its hard to hear out there,” Conlogue admitted. “I was so ready to surf at 7am this morning but it was called off until lunch time so you’ve just got to be able to turn it off and on, I’m definitely learning that this year.”
ASP World No. 1 and defending event champion Carissa Moore (HAW) joined fellow Round 1 winners by advancing into Round 3 ahead of wildcard Sarah Mason (NZL) and tour veteran Jessi Miley-Dyer (AUS).
“The waves were pretty good, but I’m not too psyched with my performance,” Moore said. “I didn’t get too many great waves and only scored two sixes. I wish I could have done a better job but we had some fun waves and at least I’m through.”
The final heat of the day revealed an intense battled between Hawaii’s Melanie Bartels and Coco Ho, the pair exchanging rides with Bartels advancing ahead of Ho by less than a point.
Surfers will reconvene at Fitzroy Beach for the next call at 06.30 tomorrow.
The TSB Bank Women’s Surf Festival will be webcast LIVE via www.nzsurffestival.co.nz/
Visit the Press Room on www.aspworldtour.com for news, images, transcribed athlete interviews and more.
TSB Bank Women’s Surf Festival Round 1 Results:
Heat 1: Paige Hareb (NZL) 15.00; Chelsea Hedges (AUS) 7.90; Tyler Wright (AUS) 6.75
Heat 2: Courtney Conlogue (USA) 16.10; Silvana Lima (PER) 14.10; Rebecca Woods (AUS) 11.20
Heat 3: Carissa Moore (HAW) 12.75; ); Sarah Mason (NZL) 11.30; Jessi Miley-Dyer (AUS) 10.50
Heat 4: Sally Fitzgibbons (AUS) 18.45; Claire Bevilacqua (AUS) 15.53; Pauline Ado (FRA) 10.00
Heat 5: Stephanie Gilmore (AUS) 16.10; Laura Enever (AUS) 9.15; Alana Blanchard (HAW) 3.10
Heat 6: Melanie Bartels (HAW) 13.95; Coco Ho (HAW) 13.40; Sofia Mulanovich (PER) 12.90
Photo Steve Dickenson / Curl Magazine www.pacificmedia.co.nz
Fonte Official Slayer FB Page :
Slayer, the long-reigning titans of thrash, returns with Repentless, the band’s 11th studio album and its first album for Nuclear Blast. Produced by Terry Date, Repentless was written and recorded by guitarist Kerry King and singer/bassist Tom Araya at Henson Studios in Los Angeles, along with returning drummer Paul Bostaph and guitarist Gary Holt. Repentless is crushing and brutal, steadfastly refusing to cater to the mainstream.
Thirty-four years into its career, Slayer remains the preeminent punk-thrash band that helped establish the genre and that up-and-coming metal heads continue to revere and emulate. Slayer is a five-time nominated, two-time Grammy Award-winning metal juggernaut that writes songs which mirror the turmoil and aberrations of our society. Repentless, the band’s first new album in six years, continues the Slaytanic offensive with a twelve-song, blood-shaking sonic attack. Repentless is dark, fast, aggressive and without mercy. It was also the most challenging record Slayer has ever had to make.
In 2013 the world mourned the loss of guitarist Jeff Hanneman who died from complications following a two-year illness. A co-founder of Slayer, losing Jeff was very difficult for the band. During Jeff’s illness, friend of the band, guitarist Holt stepped in to help out on tour with Jeff’s blessing and stayed on. Around that time, drummer Dave Lombardo exited the band for the third time and Paul Bostaph, (who played with the band from 1992 – 2001), returned to take over the throne. Slayer never skipped a beat and since Holt and Bostaph both played in Exodus, it was all-in-the-thrash-family.
But it didn’t come easily. As guitarist and Slayer co-founder Kerry King puts it, “I remember the day that Jeff died. It was the day of the Revolver Golden Gods Awards. We knew he’d been sick but nobody expected it to be so quick. I assumed I’d be able to go out there and see him after I got done with whatever business I had to do and that day never came.
“We went out and toured afterwards to see how we felt about it. That’s what you do as a musician: you either go out and tour or you stop working. Even though we’d been touring for two years without Jeff, thinking he was going to come back, now there was finality to it. And the thing with Gary was that we were all friends. Exodus was the first band we’d ever met that became our friends immediately and we stayed friends throughout the years. Gary is just a guitar dynamo and he was the guy.”
Tom Araya agrees. “Jeff would want us to continue. I’d think that if something were to happen to someone else in the band, whoever it was would feel the same way. Just get on with it. Gary’s a friend, a friend of Jeff’s, he knew what was going on and he wanted to help in any way he could, so Gary made Slayer a comfortable place to be. Having Paul back was also a comforting feeling. He’s a former member and that’s the best thing about it. It wasn’t some other guy. Having Paul and Gary made everything a little easier to handle. It’s about the band. Slayer was a big thing for Jeff, and so I’m looking at it in that sense. It was his baby, too. And we hope we’ve done Slayer and him justice.”
King said that Slayer still had to test the water. “Now we were out to see if it made sense to continue, to see if we liked it, to see if the band still enjoyed it. And the way I looked at it was: if it wasn’t this, it was going to be something that sounded exactly like this, so why not continue doing this? It’s super-potent. We’re really tight right now and we’re stoked that we’re still doing it. Once we had that under our belts we started thinking about a record and never looked back.”
After two decades with American Recordings, Slayer found a new home with Nuclear Blast, the German independent label known for its metal roster. King is enthusiastic about the move, “I like it,” he declares, stressing the work like. “Having been with American for so long we wanted to give them first right of refusal because that’s how we are. I think continuity is far stronger than switching all the time. But at the end of the day, Nuclear Blast made us a great offer and so it was time to move on. At Nuclear Blast, people go to work, they do their job, get paid and they fuckin’ like it. All hands. So it was the right choice.”
When the time came, Slayer entered the studio with producer Terry Date. Date is the first producer the band has worked with since leaving American, where all their albums were produced or executive produced by Rick Rubin. On working with Date, Tom says, “He’d done all these great albums – Soundgarden, Pantera – and as a singer I need someone I respect who can tell me whether he likes it or not as opposed to telling me how to do something I’ve been doing for 30 years. He would guide me. That’s why I really liked working with him, because he was so cool. I regard him as a friend, for sure.”
Kerry adds, “It was as business as usual as it could be. The oddest thing for me was Jeff’s presence… not being there. When we were recording, in the past, whether he played or not, having him there and having his opinion and stuff like that: that was what I missed. Jeff’s not being there was the oddest thing.”
Gary Holt came on board to help out with tour commitments when Jeff first became ill. “My role in Slayer started out as a tour and happened to come when I was taking time off from Exodus and I spoke to Kerry who asked if I could help out. I went down to rehearsal and Jeff showed me some things. I’ve known Jeff forever but it wasn’t until his memorial that I learned how much of his blessing I really had. At the end of the day, we all wanted Jeff to come back and then tragedy struck; so here we are five years later and Repentless is coming out and I think Jeff would have loved it. I’m super-excited. It’s a good feeling and I know it’s got to be a great feeling for Tom and Kerry for all the work they’ve done – and Paul as well. Everybody’s excited.”
Repentless marks the return of drummer Paul Bostaph, who was extremely enthusiastic.
“Before I was in the band I was a fan and just because I’m the drummer doesn’t mean I stop being a fan: it just means my tickets are cheaper. After I left in 2002 I never thought I’d be sitting on the drum throne with the band again. This particular style of music delivers something for me, musically and physically, that’s challenging and exciting. I feel better as a player and I’m more mature and the band is maturing and getting better, like fine wine. It feels natural to be back and it’s good to be back with Kerry and Tom. The San Francisco Bay-area metal scene is very tight knit: everybody knows everybody. I consider Slayer to be part of that even though they’re from Southern California. Gary I played together in Exodus and he’s amazing – one of the godfathers of thrash with Exodus – so it’s like coming home for me. And we’re having fun and I think if we weren’t having fun we wouldn’t be doing this.”
Repentless marks a number of transitions for the band but with their undisputed attitude, Slayer emerges triumphant, says Tom. “After 35 years, the thing that Kerry and I share is our dedication to the band, and Jeff’s included in that. It’s the same with Gary. He’s been doing this a long time and he’s had the same commitment. It’s a common bond we share with a lot of musicians out there. I’m really excited about the new album, we’ve put a lot of work into it, Kerry especially, and it was all for Slayer.”
Repentless is loaded with sensational songs, from the hyper-aggressive metallic blasts of the title track, “Take Control”, “Implode” and “Atrocity Vendor” to the ferocious thrash pounding of “Vices” “When The Stillness Comes” and “Pride In Prejudice” the album is Slayer through and through. For Paul Bostaph it’s simple: “The songs are awesome.”
Tom puts it bluntly, “This is definitely Slayer. No one will be disappointed with what we’ve done.”
For Kerry King, the feeling is mutual. “Musically for me – it’s certainly not an “I told ya so” because Jeff’s not a part of it – but I do know that a lot of people assumed Slayer’s not going to be functional with Dave not being here and Jeff never being here again. But we did it and it fuckin’ sounds like Slayer – period.”
Slayer's place in music history is secure as one of The Big Four (alongside Metallica, Megadeth and Anthrax): they helped define the thrash-metal genre. With Repentless Kerry, Tom, Paul and Gary affirm that Slayer is unstoppable. Slayer continues fearlessly, aggressively and without contrition; and most importantly, fucking Slayer still rules!
Construction and renovation work continues Sept. 19, 2011 at the high school in Wiesbaden, Germany. The project, being managed by the U.S. Army Corps of Engineers Europe District, is part of a $1.4 billion DoDDS program to construct state-of-the-art learning facilities throughout Europe. The WHS project includes a new curriculum building at the site of the old gym. The new three-story classroom building will enhance the learning environment of Wiesbaden students. (U.S. Army Corps of Engineers photo by Jennifer Aldridge)
Construction work continues in the Cannon Building's west wing.
Phase 1 of the Cannon Renewal Project began in January 2017 and is scheduled to be complete in November 2018. The entire west side of the building, from the basement to the fifth floor, is closed. Work includes demolishing and rebuilding the fifth floor, conserving the exterior stonework and rehabilitating the individual office suites.
Full project details at www.aoc.gov/cannon.
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This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Reference: 477781
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
Continued : Half a million people march in London to stop the cuts. 26.03.2011
This large photo set celebrates the hundreds of thousands of decent, peaceful people who put so much effort into the best march you never saw...
Last weekend the TUC's "March for the Alternative" demonstration saw Central London streets packed with half a million Public Sector employees, Disability Rights and anti-war groups, students and many others angry at government cuts. As we all know the day's events were completely stolen by the selfish, cretinous actions of a couple of hundred juvenile "Anarchists" who used the day's events as cover to cause havoc all over Central London, attacking shops, businesses and the police for no reason other than jealousy, sociopathy and a desire to cause criminal damage. These are football thugs by any other name, no more, no less.
The so-called Anarchists claim they are fighting back against Capitalism, the Establishment and all Agents of the State - the Police, especially - and are doing what they do to show that they are not Slaves to the State or the Corporations, yet they are the first to complain if they think that someone has behaved illegally towards them like the immature children they are. I don't know if they can see the irony in organising their raids by Blackberry, Android phones and Twitter, but I can't help feeling that if someone attacked them in the street and stole their precious smartphones off them before kicking the living crap out of them they'd be crying and wailing all the way to the nearest police station to report the crime and wait there until Daddy comes to pick them up in the Range Rover...
The truth is that they are nothing more than Useful Idiots, serving the propaganda purposes of the very Corporations which they claim to detest, and if they had any vision beyond their aggressive juvenile male urge to smash the place up and piss on all the lamp posts to mark their fictitious territory, they'd maybe understand that they will always fail. You change large systems from within, and it takes time and intelligence, and the ability to win hearts and minds. At the moment in this country there are several million working and lower middle-class people fighting for their very survival at the hands of this ideology-driven right-wing government, and what they don't need are these utter morons robbing them of their huge public display of moral and social unity.
Predictably the Media the next week was awash with pornographic photos of Useful Idiots smashing bank windows and other Useful idiots throwing paintbombs at the police, and to all intents and puposes the half a million people who marched that day should have saved all the precious money they wasted hiring coaches, getting trains, driving down to London, because these Useful Idiots made a mockery of their aspirations as working class people.
As far as I'm concerned the tedious, unintelligent Black Bloc and Red Sky "anarchists" are as much our enemy as the Banks and Hedge Funds.
All photos © 2011 Pete Riches
Do not use my photos without my permission
Tamiya Pearl White outer shrouds over Blue Metallic Frame. Testors Flat and Gloss White base on various parts. Enamel wash to be added next.
Work continues on constructing 300 Main, a 40-storey residential apartment building connected to the retail shops of Winnipeg Square near the famous intersection of Portage & Main.
Construction work continues in the Cannon Building's west wing.
Phase 1 of the Cannon Renewal Project began in January 2017 and is scheduled to be complete in November 2018. The entire west side of the building, from the basement to the fifth floor, is closed. Work includes demolishing and rebuilding the fifth floor, conserving the exterior stonework and rehabilitating the individual office suites.
Full project details at www.aoc.gov/cannon.
-----
This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
Reference: 470773
I've done away with moving prongs in order to attach them to the back sections. Missing tail, jets, greebles, back landing gears.
A few more image from my Barn Project, many hours spent just watching from afar, watching the Owls hunt fields aways sometimes and not even entering the field where I'm positioned. Tucked away within a bush scrim netting up, and camera on a tripod awaiting the owl coming within my parameters to grab an image. Thank You all for viewing and comments.
Fighting and displacement continue in eastern Congo, but increasingly alongside this we are setting up development projects in the more peaceful areas. One of our major concerns in such projects is whether we will be able to get the participation of the villagers. The UNICEF management team were therefore very curious to visit our water and sanitation project in Lukananda. Lukananda is a village in the health zone Nyangezi about forty minutes from Bukavu the capital of South Kivu. During the years of fighting the village had never been attacked and the inhabitants had never been displaced. UNICEF had done the project with the BDD the development organization of the diocese and the health department. The project was to build a pipe water system for three villages and improve the sanitation of the village. Sanitation was improved by building: more hygienic latrines with concrete slabs, pig pens to keep animal faeces out of the village and spreading health messages on the importance of cleanliness.
UNICEF provided the materials for the construction of the piped water system and the fountains the villagers provided the land and the labour. For the sanitation project we trained the health department facilitators and provided materials for the latrine slabs.
I am continuing working on getting some decent images of Mountain Bluebird inflight. I learned a lot more about the challenges today and got a few that I will share but I am still not there yet. It was a lot of fun doing though.
Continuing on with my pickups from Vancouver comes a rather strange one. Not strange as in bad looking (lets face it - I talked about the the Funko x Playmobil Michaelangelo.. not gonna be able to beat that), but rather very, very random. Again, one of those right place, right time sort of things. Presenting the Alter 1/8 Celty Sturluson from Durarara!! I happened upon this piece, used, for $20 CAD, in Langley BC, about a half an hour away from Vancouver. It just so happened that I was passing through the area on a Saturday morning to go to a place that was hour away, and was able to get the details to work out flawlessly.
I've never seen an episode of Durarara!!, and know the character best from the usual place - cosplayers wearing skin tight black biker gear and a yellow helmet with cat ears. According to Wikipedia, Celty is known as the The Black Rider or The Headless Rider, is an Irish fairy called a Dullahan, who came to Japan looking for her stolen head. I'm not entirely sure what it is she actually does, but it seems Dullahans are Reapers of sorts, guiding the dead to the afterlife. As she has no head, Celty typically keeps her helmet on, and if taken off, there is a wisp of shadowy matter that is in place of her head - she apparently can control this shadowy matter in general.
Released originally in 2012, with a reissue in 2015, this particular statue is the only one I've personally seen, though there is another one that is slightly less modest looking. Not entirely sure what the state of rareness is for this piece, but I'm pretty sure I got a good deal.
Like with KOS-MOS, Celty come packed in a transparent plastic box with colour print, with a paper insert and clear plastic tray for the various parts. Parts wise, there's the tuft of smoke as an alternate head, her Scythe, her PDA, and a translucent orange base with black printing on it. Celty is posed is a rather relaxed posture, with one hand holding her PDA, and the other, slightly behind her back, is meant to grip her Scythe. The helmet/head can be pivoted, giving Celty exactly one point of articulation, which apparently is kind of a thing - its too bad that it wasn't a ball joint, as that would have opened even more display options.
Alter has never let me down when it comes to quality of final product, and they certainly didn't do that here. I think she's a bit more curvaceous in the anime, but it's not like she's a teenage boy either - overall, it seems that the sculptor nailed down the overall look and feel of the character model. Her Scythe is a good size, and has a substantial blade size, something that can't be said about the other scale statue I was able to research.
Now, compared to other anime statues, Celty is a much, much simpler design, which is both a pro and a con. Certainly much easier for animators to bring life to, but it can present challenges to manufacturers of things like action figures and statues, as there are fewer things to hide flaws and blemishes behind. Alter came through beautifully. Celty's jumpsuit has some wonderful fabric detailing in the form of folds, as well as some very good mechanical detailing in the zipper, which is undone just enough for a hint of skin. Helmet came out nicely as well, seeming properly proportioned, with a clear plastic visor showcasing the absolutely nothing where her head should be. Not really much to talk about with regards to the PDA other than, well, it looks like a PDA. Scythe blade, as mentioned above, is a good size, and I do enjoy seeing the various nicks and ripples on the cutting side of the blade. The tuft of shadow that is her secondary head is done well enough.. no real comments other than it looks like a blob.
Paint application and finish of parts are the final parts of the equation. When you have a body that is predominately one colour and is wrapped in a smooth skin tight outfit, even the slightest imperfection in finish of the statue will stick out more than a bearded man in the women's change room at a gym. The finish on Celty is flawless - no rough edges, no poor sanding, no assembly gaps. All this perfection is further enhanced by the excellent application of a semi-gloss black paint with some grey for contrast that looks damn good under flash photography - understandably, the paint on her zipper isn't as bullet proof, but we're talking microscope level of detailing before anyone actually notices. The work on the helmet is of an equal high caliber, with the use of an even glossier paint to replicate the hard plastic of her helmet. Decal work is also as expected - tack sharp and properly aligned. What little skin is exposed was also quite well implemented, with a predominately matte finish to again, differentiate the lustre of skin versus leather or the finish of her helmet.
So overall, another quality statue by Alter with high production values and some customization potential. If you had to find fault in one thing, it would be that perhaps Alter played it a bit safe with the pose and/or the amount of skin shown. For me though, this simple, but stylish look will do just fine. Celty will proudly go on display with the other statues that I own, and look damn good doing it.
The mission continues for the 553rd Forward Engineer Support Team– Advance regardless of location, climate, or terrain. Members of the elite engineering solutions team recently trudged through mud, sludge, wind and rain at a small forward operating base in southern Afghanistan to inspect electrical work, drainage and conduct a survey.
The 553rd FEST– A is one of only eight teams in the world; each comprised of one officer-in-charge, one non-commissioned officer and six highly-skilled U.S. Army Corps of Engineers civilian technical experts. From design, management, contracting, geospatial support and more, the teams quickly produce relevant engineering products and services.
A noteworthy development: March is women’s history month and this year’s theme is Women Inspiring Innovation through Imagination; Celebrating Women in Science, Technology, Engineering and Mathematics. Two of the 553rd’s technical experts are electrical engineer Donna Johnson and geologist Sandra Zelen (photographed).
The year continues to turn and it is a sign that the year is waning when the West Somerset Railway hold their annual Autumn Steam Gala. This year the Gala is being run from the 6th to the 9th of October. This year the home fleet engines have been joined by three guest engines.
This picture shows 1450 with Autocoach 233 standing at Crowcombe Heatfield after arriving with a shuttle service from Bishops Lydeard station on 8th October 2016.
1450 is one three surviving members of the 4800 class of 0-4-2T engines which were designed in the 1930’s for work on the more lightly used branch lines of the Great Western Railway, such as the Exe Valley line between Exeter and Dulverton.
95 of the class were built in total. 75, numbered 4800 to 4874 were fitted for working auto trains whilst 5800 to 5819 were not fitted with the equipment. In 1947 the GWR looked at fitting 28xx class heavy freight engines to burn oil and as the intention was to number these 4800 onwards the auto tanks were renumbered 1400 to 1474. The oil experiment was short lived but the engines were not renumbered again.
1450 was built at Swindon (as 4850) in 1935 and went to Oxford until 1952. It then had nine years based at Slough before returning to Oxford and then coming to Taunton in 1962. Finally it went to the Southern Region, being tried out on the Axminster- Lyme Regis line and being one of the last steam engines to work on the branch line to Seaton.
1450 entered preservation at the Dart Valley Railway (now the South Devon) along with class mate 1420. It was subsequently privately purchased by Mr Mike Little and is a regular visitor to heritage railways. Two other members of the class survive. 1442 is in Tiverton Museum and 1466 is at the Didcot Railway Centre.
Autocoach 233 was built in 1951 and remained in service until 1964. It was purchased in July 2013 by 5542 Limited and has been completely refurbished.
Autocoaches were designed to allow the driver to drive the train from a compartment at the end of the coach which eliminated the need for the engine being run round the coach for each journey on short branch lines.