View allAll Photos Tagged decency
20220613 HELSINKI. PIKKU-FINLANDIA. NAFM2022. Ministry for Foreign Affairs produces photo material for media representatives. Please feel free to use the photos for journalistic purposes, considering the following restrictions: One-time picture publishing right, no archiving or reselling. Editorial use only. When publishing the pictures, the name of the photographer and organisation shall be mentioned as a source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. The publisher is not entitled to transfer rights to a third party. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall also obtain the permissions needed for any names, persons, works of art, trademarks, and proprietary rights shown in the pictures. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity. Photo: Atte Kajova
Shida and Bhats collab. Fortitude Valley, Brisbane. At least a car had the decency to move for my photo.
in a Troy Van Helsing lighting moment
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Along the highway in Kealakekua stands a lone monument on a hillside just across from the Kona Historical Society. I've driven past it hundreds of times not giving it a second's thought. Recently, I climbed the leaf-strewn steps that lead to it to take a closer look. On the side facing me was the inscription: "W. Henry Greenwell Born June 7, 1869 Died June 17, 1927". Underneath the English inscription was another one in Japanese characters. The Greenwell name is well-known on the Kona side of the island as a family of ranchers and merchants. What I saw on the other side shocked and moved me. The inscription there read: "As an eternal remembrance to his friendship this monument is erected by his Japanese friends. TO HIM ALL PEOPLE ALIKE".
This rich, influential white man was born right after the American Civil War. Throughout his lifetime, racial intolerance was accepted among his kind and lynchings of African-Americans occurred regularly on the mainland. However, here on this speck of land in the middle of the ocean, there lived a man so decent to people of another race that they actually built a monument to him. Just fourteen years later, America would enter a war with the Empire of Japan. These same citizens who Mr. Greenwell saw as equals would be dehumanized in propaganda, treated with suspicion, and face overwhelming prejudice.
This lonely monument symbolizes the capacity for compassion and decency in every human being. I am better for having seen it.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
I'm dead from all the loneliness
And this is how I feel
Understanding everything
Has never been my deal
Maybe you have crossed my path
To live inside of me
Or maybe you're the reason
Why i'm losing all my decency
But I believe that you and me
We could be so happy and free
Inside a world of misery
Unspoilt, peaceful, Georgian country parish church, mostly dating from 1719-20 but built on the foundation of a much older church. From the outside, it is a handsome church, X-plan, with an additional wing at the west end, topped by a belfry tower, containing the ducal retiring rooms. The interior, renovated 1784-5 and re-arranged circa 1870, has a typical presbyterian layout with central pulpit and three galleries. Many of the box pews have a central communion table. The north aisle of the church is taller and more sophisticated, built for the Duke of Queensberry and remaining from the earlier church. Inside the Queensberry Aisle is the real jewel of the church: the most amazing monument for the Queensberry burial vault, a baroque mural monument and free-standing baldacchino carved in 1695 by John van Nost to the design of James Smith who was also architect of the later church. A riot of swagged fabric, garlands of flowers, urns, barley-sugar columns, cherubs, skulls and pediments, all in gleaming white marble. 'There are few buildings in which baroque magnificence and presbyterian decency are so happily combined.' (George Hay, Architecture of Scottish Post-Reformation Churches). The churchyard contains some fine 17th-19th century stone monuments, many with classical ornament, including the martyr's monument to Daniel MacMichael and the 1685 monument to the children of William Lukup, Master of Works at nearby Drumlanrig.
Washington DC, The Walter E. Washington Convention Center, the afternoon of March 1, 2015. Around one hundred social justice activists affiliated with Code Pink, Jewish Voice For Justice, AVAAZ, US Campaign To End The Israeli Occupation, Boycott From Within, Answer Coaltion and other peace and faith groups demonstrate in front of the Convention Center to protest the American Israeli Public Affairs Committee (AIPAC) yearly DC meeting. AIPAC is regarded by many as the most powerful lobbying group in town. AIPAC has a policy agenda that's out of step with the values of most Jewish Americans and other participants in civilized society but they call the tune because our corrupt political culture is fueled by money, not decency. In an act of peaceful civil disobedience, five demonstrators, all women, were arrested for failing to obey police orders to remove themselves from the granite in front of one of the Convention Center's many doorways. They were given three warnings before being arrested. I photographed one of women as she was being lead away in plastic handcuffs. "I'm a Jewish mother!" she proclaimed. I gave her the 'thumbs up'.
Most of the DC cops kept their cool but when some of the demonstrators got in their face a brief scuffle ensued. Some of us locked arms and and helped lift up one of the Code Pink ladies who was almost knocked down onto the steps by a DC officer who lost it.
Marshall, one of Michigan's most beautiful cities, boasts one of the state's most hideous county buildings. Go figure.
(The county government, at least, has the decency not to label this snoozefest a "courthouse.")
We perched in this posi for an hour, bathed in stunning setting sun mood lighting all was looking well for a fab shot, but alas we just ran out of time.... the sun sank beyond the clouds and the warm tones turned cold as the camera was pushed to limits of common decency to get a worthy shot.
VISIT TO NOKIA AND SITRA. PHOTO: ATTE KAJOVA
Ministry for Foreign Affairs produces photo material for media representatives. Please feel free to use the photos for journalistic purposes, considering the following restrictions: One-time picture publishing right, no archiving or reselling. Editorial use only. When publishing the pictures, the name of the photographer and organisation shall be mentioned as a source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. The publisher is not entitled to transfer rights to a third party. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall also obtain the permissions needed for any names, persons, works of art, trademarks, and proprietary rights shown in the pictures. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
We had the distinct pleasure of meeting and listening to Rabbi Forman in Jerusalem on the Fourth Day of our tour. He spoke to us on the subject "La Da'at, The Geopolitics of Jerusalem' and from high above Jerusalem (at the Rhoda Goldman Promenade looking out over the Old City to the north and the Judean Desert to the east) he pointed out the 'security fence" between Israel and the West Bank. This is Israel's barrier wall built to minimize the infiltration of suicide bombers. From the Promenade we toured the West Bank perimeter by bus and, in one poignant episode, stopped at a bus-stop where a young woman had lost her life to a suicide bomber years before. A memorial to honor her memory had been set up at the bus-stop and, in that moment while we were there, her father appeared and talked to Rabbi Forman. The father came weekly to tend to his daughters memorial and, as he left, Rabbi Forman told us who he was.....not one of us was unaffected by that moment and many could not hold back their tears.
Rabbi David J. Forman, educator, human-rights activist, author and long-time columnist for The Jerusalem Post passed away in May of 2010....may his memory be a blessing.
The Common Blue Violet were flowering in a grove of Birch Trees along the Groundhog River in Reeves Township part of the Sudbury District in Northern Ontario, Ontario Canada
©Copyright Notice
This photograph and all those within my photostream are protected by copyright. The photos may not be reproduced, copied, transmitted or manipulated without my written permission.
, Manhattan, New York City, New York, United States
The Everett Building is a sixteen-story commercial structure located on the northwest corner of East 17th Street and Park Avenue South. Named for Union Square's nineteenth-century Everett Hotel, and built in 1908 for the Everett Investing Company, it was designed by Goldwin Starrett & Van Vleck, a firm known for its commercial architecture.
It is a quintessential example of a building type defined by A. C. David : functional, fireproof, speedy to construct, while also demonstrating a concern for "architectural decency;" as such, this building is a uniquely American architectural expression. In its design, the Everett Building synthesizes classical elements with key aspects of both the New York and the Chicago styles; Goldwin Starrett was familiar with the Chicago style as a result of his years in Daniel Burnham's Chicago office.
The building reflects its structure in its cladding, while employing a design vocabulary that includes classical motifs. The Everett Building is prominently located on a site on the north side of Union Square and, together with the monumental Germania Life Insurance Company Building directly across the avenue, forms an imposing terminus to Park Avenue South.
The Development of Union Square
The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road, , and the Bowery intersected at 16th Street.
The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.
Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:
It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.
In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary. As the city expanded northward and land use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city."
Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized.
Graded, paved, and fenced, Union Place was finally opened to the public in July, 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.
By the 1850s, Union Square was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.
The land on which the Everett Building stands was originally part of Cornelius Tiebout's farm. From 1853 on, the site was occupied by the Everett House, a hotel frequented by the singers and musicians performing at the new opera house, the Academy of Music .
Like the Belvedere and the Clarendon, hotels which were also demolished to make way for 'modern' office and loft buildings, the Everett House was razed to clear the site for the Everett Building.
The Everett Building is prominently situated on the northwest corner of East 17th Street and Union Square North, at the base of Park Avenue South . Stations for major subway, surface, and "El" lines were close to the site, which was characterized by Real Estate Record & Guide in 1908 as "one of the most accessible locations for modern office buildings in the city."
Although when built, the Everett Building was associated with a possible transformation of Union Square to be effected by the construction of a new courthouse, the building was later seen as evidence of the concentration of the silk, woolen, cotton, and dry goods trades on Fourth Avenue, the area around the Square and lateral streets.
By September, 1910, about seventeen new loft and office buildings had been erected, conveniently located near hotels and transportation.
In October 1911, Real Estate Record & Guide noted that "the Everett Building and those along the avenue, in which dry goods people are tenants, are all filled up."
Larger than the late nineteenth-century buildings on Union Square West, the new loft and office buildings, such as the Everett Building, altered the scale of structures on the Square's northern and southern ends and formed the core of a new mercantile district developed as an economical alternative to the commercial district along lower Fifth Avenue.
Notice of Goldwin Starrett & Van Vleck's selection as the recipients of the commission to design the Everett Building appeared in Real Estate Record & Guide for August 1, 1908.
The Everett Building was built for the Everett Investing Company; included among its early tenants were a wide variety of businesses and occupations, including William Skinner & Sons, an operating establishment "in the broad silk end"; the firm of W. G. Cornell, which was responsible for the plumbing for the new Gimbel Building and the offices of Goldwin Starrett & Van Vleck.
Goldwin Starrett & Van Vleck
The firm was founded in 1907 by Goldwin Starrett and Ernest Allen Van Vleck . Starrett was one of five brothers, all active in the construction and architectural fields. Born in Lawrence, Kansas, his family later moved to Chicago. Starrett attended the engineering school of the University of Michigan, graduating in 1894. He then entered the architectural offices of D. H. Burnham & Co. , as had his two older brothers, Theodore and Paul. He remained in Burnham's employ for four years, rising to be one of Burnham's principal assistants.
In 1898 Goldwin entered the New York offices of the George A. Fuller Construction Co. as superintendent and assistant manager, joining his brother Theodore.
In 1901, along with Theodore, and his brothers, Ralph and William A., he formed the Thompson-Starrett Construction Company; he remained with the firm for four years, during which time he designed the Algonquin Hotel, a designated New York City Landmark, for Albert Foster of the Puritan Realty Company. Goldwin then entered into a four-year association with the E. B. Ellis Granite Company, which had its quarries in Vermont. In the construction business, Goldwin was associated with many important buildings, including Union Station in Washington, D.C. and the Woolworth Building in New York, a designated New York City Landmark.
In 1907, Ernest Allen Van Vleck joined Starrett to form the firm of Goldwin Starrett & Van Vleck. A native of Bell Creek, Nebraska, Van Vleck received a degree from the Cornell School of Architecture in 1897. He then traveled to Europe on a fellowship.
About 1908, Orrin Rice was admitted to the partnership, and in 1913, William A. Starrett joined the firm, which then became known as Starrett & Van Vleck, with Goldwin Starrett becoming the senior partner.
Starrett & Van Vleck specialized in commercial buildings and schools but also designed many other structures. Among the firm's ma j or commissions were the Lord & Taylor department store, a building that was termed "frankly commercial as well as dignified" in contrast to the residential nature of most other contemporary commercial designs; Saks Fifth Avenue, a designated New York City Landmark; a major expansion of Bloomingdale's; the facade of the Curb Exchange Building; the Downtown Athletic Club; the La Salle & Koch store in Toledo, Ohio ; the Court & Remsen Street Building in Brooklyn; The Equitable Life Assurance Society Building, and the Royal Insurance Building.
The firm was also responsible for designing the Hale Publishing Co. Building, the Berkeley Building, and the twelve-story neo-Italian Renaissance apartment houses at 82 0 and 817 Fifth Avenue, within the Upper East Side Historic District.
Other works by the firm include the Mills-Gibb Building, a mercantile building at Fourth Avenue and 22nd Street; a building for John T. Underwood, president of Underwood Typewriter Co. located at Church and Vesey Streets; the Mercantile Building at Fifth Avenue and 38th Street; 28-30 West 38th Street, a twelve-story building for Capt. W. H. Wheeler; and the twelve-story Sixteenth Street Building, at Irving Place and 16th Street.
Loft and Commercial Building
The Everett Building is a quintessential example of the new commercial style of architecture built around 1910 in New York and concentrated on Fourth Avenue from Union Square to 30th Street.
Its design was considered innovative when it was illustrated in the Architectural Record , as part of a tribute to the new corridor of commercial buildings in what is now Park Avenue South.
These buildings termed "thoroughly contemporary" and "strictly commercial" were erected with exceptional rapidity; the Everett Building "was ready for occupants within four months from the time the first column shoe was set."
In "The New Architecture," A. C. David specified a tall order for architects of these loft and commercial buildings, one which Starrett & Van Vleck fulfilled. Tenants required a maximum amount of clear, preferably square or rectangular, floor space so that large numbers of employees could be supervised by a floor manager.
In order to secure the greatest amount of natural light, a corner site, large windows, and high ceilings were imperative. In addition, the planning of building services affected the amount of "clear and available" floor space. These new structures had to meet the specifications of the insurance companies and of the building laws for fireproofing, in order to obtain the lowest insurance rates .
Combining the stairway and fire escape provisions of the building law and omission of power plants in the building were additional ways to cut costs. At the same time, the building must be economical to operate. Speedy construction, a goal facilitated by granolithic or concrete floors, the use of metal trim, the omission of ornamental plastering, and the standardization of detail, was also essential.
In his article, David also suggested that attention to the building's design was necessary because "a structure which presents a good appearance sells better."
The Everett Building fulfilled these specifications as well. Like the Everett Building, the ideal loft and commercial structure was to consist of "a frame work, usually about sixteen stories high of piers and floors, the lines of both of which are separated by fixed distances, and both of which cannot be disguised by much ornamentation."
An ornamental cornice was not merely permitted but encouraged, even if the natural light on the top floor was impaired. The employment of glazed orange and green terra-cotta panels and medallions brings this desired attention to the Everett Building's crown.
According to David, windows should be grouped in order to emphasize the corners and to convey an impression of solidity; a building could thus be made to resemble a tower rather than a cage.
Face brick, laid in patterns, and architectural terra cotta were recommended for the cladding of the shaft. In other instances, exemplified by the Everett Building, "white glazed terra cotta decorated with superficial ornamental patterns has been effectively employed."
David continues that these buildings were a specific and original American type, "the only genuine commercial architecture in the world." These characteristics constitute what may be called a New York style.
Classical Aspects of the Building's Design
The Everett Building incorporates many classical elements in its design. As in other nearby skyscrapers including Bruce Price's Bank of the Metropolis, a designated New York City Landmark, the tripartite skyscraper elevation inspired by the parts of a classical column is employed in the Everett Building. A rusticated base is surmounted by a decorative transitional story; an eleven-story shaft leads to yet another transitional story, which is capped by a two-story attic crowned by an elaborate bracketed cornice.
The two-story base is articulated by rusticated piers which carry a classically-derived entablature that is embellished with stylized triglyphs and metopes. The building's two-story crown evokes a giant order; the elements of the pilasters are articulated and embellished by abstract terracotta elements. The doorway as built was pedimented with acroteria at center and sides.
William H. Jordy has observed that such commercial buildings retain "something of the blocky quality of the Renaissance palace format" which permitted the anonymity and interchangeability of functions.Real Estate Record & Guide concluded that the building "an investor might expect for $900,000," would be a structure "not — gaudy ... the whole with its straight, Renaissance architecture giving the impression of commercial utility."
Influence of the Chicago School
Goldwin Starrett's years working in Daniel Burnham's prestigious office are of clear influence to the design of the Everett Building which frankly expresses function. Starrett doubtless knew such monuments of Chicago architecture as Burnham & Root's Rand McNally Building and Burnham & Atwood's Reliance Building .
Starrett's Chicago connections also would have insured his familiarity with the Carson, Pirie, Scott Store . All three buildings contain innovations later incorporated in the Everett Building. The Rand McNally by Burnham & Root was formed of a consistent steel frame with facades "of terra cotta produced specifically to fit the frame."
The steel and terra cotta combination introduced in the Rand McNally was further refined after Root's death by Burnham and his designer Charles Atwood in the Reliance Building .
Terra cotta, which although lighter, less expensive, and more solid than masonry, had heretofore been employed only as a fireproof undercoating to masonry and for ornamental embellishment. Its use as sheathing for the skyscraper was a precedent followed by Goldwin Starrett & Van Vleck and in many contemporary office and loft buildings in New York City.
By creating the appearance of a grid on the elevations, Starrett incorporated a major tenet of the Chicago School: the articulation on the exterior of interior structure. In this building, verticals are juxtaposed against horizontals and thus serve as visible surrogates for the concealed skeletal frame; such a system is one of the most important characteristics of the Chicago School.
The panels which emphasize the spandrel beams, the use of textured, ribbed moldings to articulate the panels themselves, and the vertical alignment of the windows is, in some respects, reminiscent of Carson, Pirie, Scott's structural expressiveness.
In Carson, Pirie, Scott, the terra-cotta panels and the fenestration create the impression of a grid and of horizontality; like the Chicago structure, the Everett Building can be viewed as both grids "expressing the frame" and as bands of horizontals.
The Everett Building, however, is more overtly classical than Carson, Pirie, Scott. In contrast to the receding two-story loggia which originally capped the two portions of the store designed by Sullivan, Starrett's design articulates the top two stories with terra-cotta moldings.
Starrett topped the building with an avowedly classical cresting that features acroteria and rests the building on rusticated piers.
Starrett and Van Vleck also render the Chicago idiom more traditionally. For example, the tripartite "Chicago window" with wide central pane and two narrow sash windows has here been translated into a bay containing three equally sized one-over-one windows. Although the end piers of the Everett Building are of the same width as those between bays, an additional textured molding has been added to their outer edges. Moreover, at the intersection of the Park Avenue South and Union Square elevations, the rusticated pier emphasizes the effect of the corner.
Description
Prominently located at the corner of East 17th Street and Park Avenue South, fronting on Union Square, the Everett Building is a sixteen-story, steel-framed office and loft building. A seventeenth story is concealed beneath the cornice and is evident only on the north and west walls. The building is sheathed in white terra-cotta panels and has applied green and orange architectural terra-cotta ornament. It is rectangular in shape with a rectangular light-court in the northwestern portion.
There are six bays on the Union Square side; the Park Avenue South elevation consists of eight bays. Each bay is divided into three parts, , each of which contains a window; above each first story window and framed by the rusticated piers are three narrow, rectangular panels.
A two-story base with rusticated piers is set off from the rest of the building by a cornice embellished with stylized triglyphs and metopes. Mullions separating windows in the bays of the second story resemble pilasters; they are set on blocks and feature consoles supporting pyramid-shaped blocks that reiterate the rustication on the piers and serve as capitals. A cornice with mutules completes the frieze above the second story. On the Union Square facade, atop the aperture of the bay on the extreme left, the original overdoor consisting of several thin moldings remains. On the Park Avenue South elevation, the bay to the extreme right contains the original transom treatment: above the shop windows and entrance , the transom area is divided into three panels each consisting of twelve lights, arranged in three rows of four. Two faciae separate each group of twelve lights; directly above these faciae, on the beltcourse, two dark bezants appear, serving both to embellish and to link the dark frames of the glazed panels below and the windows above.
The third story consists of ornamented piers demarcating the transition from the two-story base to the eleven-story shaft above. Set atop a plain base, the shaft of each pier is ornamented by borders with foliated and ribboned embellishments and palmette accents set diagonally into the corners.
Pilasters between the windows are also set atop plain bases; they are ornamented by long, thin recessed panels. The capitals of both piers and pilasters are both embellished by palmettes. A frieze embellished by garlands draped over bezants completes the transitional story and signals the beginning of the shaft.
On the eleven-story shaft, the crossings of the ribbed mullions and the outer textured edges of the panels which cover the spandrel beams establishes a grid, which reflects the building's construction and underscores the grid created by the intersection of windows, spandrel beams, and piers. On the Union Square facade, spandrel bands below each window are three panels wide and two panels high; each such group "of six panels is outlined by raised moldings.
Each bay consists of a total of three such groups. On the Park Avenue South elevation, each group is two panels wide and two panels high; each such group of four panels is outlined by raised moldings. On both elevations, the moldings which separate each group of panels are both continuations of the window mullions and indications of the window's outer edges. Piers are also indicated by outlined terra-cotta panels, one panel wide and two panels high.
The intersection of the horizontal spandrel demarcation and the window's mullions and outer edges sets up a grid motif. The regularity of the grid deflects attention from the bay which consists of only two windows and from the change from a width of three panels for each subsection of each bay on the Union Square facade to two panels for each subsection on the Park Avenue South elevation.
A beltcourse tops the eleven-story shaft and sets off the two-story crown, which corresponds to the "capital" of the "tripartite column," from the body of the building. The piers are transformed into abstract pilasters by the application of applied reiterating polychrome terra-cotta ornament.
Within raised borders of white terra cotta that extend the length of both stories, orange rectangular panels embellished at their midpoints by applied green circles appear.
The spandrel beams between the two stories are covered with white terra-cotta panels within which are rectangular orange panels. Mullions which abut spandrel beams are also embellished with recessed panels. The two-story section is topped with several moldings including one incorporating applied polychrome geometric motifs: in this scheme, paired and single green and orange rectangular lozenges alternate with green circular motifs. An elaborate dentilled cornice crested by acroteria tops the building.
On the west elevation, a brick wall pierced by four-over-four sash windows is visible from the ninth story upward; two windows indicate the seventeenth story. Bands demarcate borders that correspond to the terra-cotta spandrel beam covers on the facade. This elevation features interpretations of the stringcourse separating the top two stories and of the polychrome panelling and cornice treatment on the Union Square facade. To the right of and above the seventeenth story windows, a substantial amount of replacement brick appears.
On the north elevation visible above the ninth story, a buff brick wall features eight windows per floor; the remaining originals have four-over-four sash. From the visible base of this elevation through the fourteenth story, a terra-cotta border appears; above this, the border continues as panels. On this elevation, windows indicate the presence of the seventeenth story. A significant portion of the top two stories appears to be resurfaced. With its essential architectural features unchanged, this building continues to function as an office building with retail spaces at the ground story.
- From the 1988 NYCLPC Landmark Designation Report
Queens Of The Stone Age, Salt Mine show, 700m under Sondershausen, Germany
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
AAP workers Vs Aam Aadmi
After the arrest of Amanatullah Khan in molestation case, Protesting AAP workers choke Delhi traffic, stopped ambulance, even after several requests not allowed the ambulance to go and says "You are not worried about our arrested MLA,but worried about a patient."
Mindless aaptards dont even have decency to let an ambulance pass, for them their molester and rapists MLAs are more important. This shows the ego these MLA's and their workers have.
Queens Of The Stone Age with John Garcia at the Wiltern Theater, Los Angeles, 20th Dec 2005
* if you are going to ignore the copyright on these images and post them elsewhere on the web then at least have the decency to credit me with them *
Arriva North West 2953 [MX09LXZ] VDL SB200/Wright B44F at the waiting area for buses taking up service on Stamford Street or Stamford New Road. In the background is an office block, St John's House, which, while not of any great architectural merit, at least isn't a boring glass and concrete or brick slab, and they have had the decency to shield it with trees, though I bet they'll be felled when they get larger.
.
A digital original.
My ref: P1000278
November 24
We got up early this morning and hit the road for Arkansas. I was pleasantly surprised at how much of the trip I was able to spend with Autopilot turned on. Pretty much all of my time on the highway was on Autopilot, with periodic steering wheel wiggles to let it know I was paying attention. We stopped at Superchargers, all in Oklahoma. We stopped in Ardmore (just a sad floor store), OKC (a great little outlet mall, where we were able to shop while charging), and Catoosa (a massive empty parking lot by a giant Hard Rock Hotel and Casino).
I did learn on this trip that I pretty much hate Oklahoma. This is mostly due to the fact that, after cruising along 44 we were suddenly confronted with toll signs. There was zero warning or notification that we were even on a toll road to begin with, and there were no opportunities to exit without paying the toll first, which required exact change, in cash. It was frustrating. Oklahoma, if you’re going to spring a toll on me without warning, at least have the decency to accept a debit card as payment.
We arrived in Fayetteville just in time for Emily to get her booth built before shopping began. Tonight was a special VIP show, where people paid to get in. Tomorrow’s show is all day and free to the public.
After tonight’s part of the show was over, we made the short drive to Emily’s Aunt and Uncle’s place, where we visited until I started to pass out. Their house is ridiculously cool.
After the shock of Donald Trump’s inauguration day, when millions of Americans (and visiting foreigners like me) felt understandably distraught, bereft, dismayed, as the grotesque, narcissistic, predatory, corrupt fraud that is Donald Trump delivered a bleak and graceless inauguration speech, it was nothing short of a delight on Saturday, Jan. 21, Day 2 of the aberrant Trump presidency, when, across the country and around the world, millions of women (plus large numbers of supportive men) marched in protest against Trump and all he and his administration stand for — his disdain for women, his racism, his xenophobia, his adherence to intolerant white Christian fundamentalism, and, last but not least, his opaque, but very obviously corrupt business practices. Two US academics have estimated that between 3.3m and 4.6m people marched in total across the US, with New York’s turnout estimated at between 400,000 and 500,000 people.
This photo was taken on my arrival from Brooklyn at Grand Central Station, where there was already a buzz, but stepping out of Grand Central Station into a river of protest, with more clever, witty and insightful handmade posters than you could imagine, and with chants and cheers punctuating the general hubbub at regular intervals was to feel that perhaps this dystopian vision of America can indeed be overthrown before it wreaks untold havoc at home and abroad. And with no beginning or end of the protest in sight, it was easy to believe that the number marching was much larger than even the academics’ estimate.
It will take more than one day, of course, as the people of America need to unite like never before — everyone who didn’t vote for Trump, everyone threatened by Trump, everyone appalled by Trump, including, of course, those who voted for him but might already be having second thoughts. This could be a disastrous presidency, or it could be even worse than that, but people need to put aside any notions of complacency, and work out how to resist. This was a great start, and a historic moment that everyone there will remember, but now there needs to be much more action and organizing.
As you look at these photos, however, I hope they are a reminder of a day of hope across the US and around the world, when ordinary people demonstrated that fundamental decency will not be silenced, and that a tolerant, multi-racial society, featuring, at its heart, equality between women and men, and between people whatever their race, creed or color, has humour, intelligence and compassion that throw into even sharper relief how troublingly miserable, negative and ungenerous Donald Trump and his advisors are.
For an article by US Uncut about the numbers attending the protests, see: usuncut.com/news/womens-march-largest-protest-us-history/
For the turnout estimates, see: docs.google.com/spreadsheets/d/1xa0iLqYKz8x9Yc_rfhtmSOJQ2...
For an article in New York Daily News, which ran a front page devoted to the protests, under the headline, “See them roar,” see: www.nydailynews.com/news/politics/women-march-washington-...
For my website, see: www.andyworthington.co.uk
For my Facebook posts after Trump’s inauguration, see:
www.facebook.com/andyworthingtonUK/posts/1015497574252380...
www.facebook.com/photo.php?fbid=10154975238073804&set...
For my most interesting photos, see: www.flickriver.com/photos/andyworthington/popular-interes...
“Costume Design and Home Planning” by Estelle Peel Izor who copyrighted in 1916. Illustrated by Katherine Porter Brown and Rachel Taft Dixon. Published by Atkinson, Mentzer and Co., of Boston, New York, Chicago and Dallas.
“The first purpose of Clothes was not for warmth, or decency, but ornament. What changes are wrought, not by Time, yet in, Time! Clothes gave us individuality, distinctions, social polity; Clothes have made men of us.” Carlyle
20220614 HELSINKI. KULOSAAREN KASINO. NAFM2022. PHOTO: ATTE KAJOVA
Ministry for Foreign Affairs produces photo material for media representatives. Please feel free to use the photos for journalistic purposes, considering the following restrictions: One-time picture publishing right, no archiving or reselling. Editorial use only. When publishing the pictures, the name of the photographer and organisation shall be mentioned as a source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. The publisher is not entitled to transfer rights to a third party. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall also obtain the permissions needed for any names, persons, works of art, trademarks, and proprietary rights shown in the pictures. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
Farewell Reception on the occasion of the 11th Arctic Council Ministerial Meeting at Arktikum.
Tenor Petrus Schroderus perfoming at Arktikum Glass Hall.
Finland hosts the 11th Arctic Council Ministerial Meeting on 7 May in Rovaniemi. Minister-level representatives from the eight Arctic States will convene to review and approve work completed under the two-year Finnish Chairmanship to improve sustainable development and environmental protection in the Arctic.
Ministry for Foreign Affairs provides photo material for media representatives, participants and organisers of the meeting. Please feel free to use the photos, considering the following restrictions: Not for commercial purposes nor reselling. When publishing the pictures, the name of the photographer and organization shall be mentioned as the source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
Photo: Jouni Porsanger / Ministry for Foreign Affairs of Finland
VISIT TO NOKIA AND SITRA. PHOTO: ATTE KAJOVA
Ministry for Foreign Affairs produces photo material for media representatives. Please feel free to use the photos for journalistic purposes, considering the following restrictions: One-time picture publishing right, no archiving or reselling. Editorial use only. When publishing the pictures, the name of the photographer and organisation shall be mentioned as a source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. The publisher is not entitled to transfer rights to a third party. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall also obtain the permissions needed for any names, persons, works of art, trademarks, and proprietary rights shown in the pictures. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
“Costume Design and Home Planning” by Estelle Peel Izor who copyrighted in 1916. Illustrated by Katherine Porter Brown and Rachel Taft Dixon. Published by Atkinson, Mentzer and Co., of Boston, New York, Chicago and Dallas.
“The first purpose of Clothes was not for warmth, or decency, but ornament. What changes are wrought, not by Time, yet in, Time! Clothes gave us individuality, distinctions, social polity; Clothes have made men of us.” Carlyle
This really big dragonfly did not have the decency to pose on something pretty . Actually on a beam on the pergola with the netting for the climatis...But i liked his inner workings!!
VISIT TO NOKIA AND SITRA. PHOTO: ATTE KAJOVA
Ministry for Foreign Affairs produces photo material for media representatives. Please feel free to use the photos for journalistic purposes, considering the following restrictions: One-time picture publishing right, no archiving or reselling. Editorial use only. When publishing the pictures, the name of the photographer and organisation shall be mentioned as a source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. The publisher is not entitled to transfer rights to a third party. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall also obtain the permissions needed for any names, persons, works of art, trademarks, and proprietary rights shown in the pictures. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
I didn't complete the project (yet... someday I will... it'll have a shattered glass effect) but I figured I'd share.
A while back, I got extremely angry with someone I loved very very much and wrote the following about him. I was so angry, so that is what inspired this project. The background typography is actually all of the words of the piece I wrote. Warning: it's very angry! ;) I'm not anymore, though :)
What is left but dormant rage?
I feel as though I'm getting a little farther away from anything worthwhile. Every day that I spend in contemplative disinterest, every hour of dispassionate existence, every worthless minute of self-constructed solitude, every endless second of persistent vexation. I cannot forgive, not truly, not yet, because all the things that went wrong are still going wrong, and my life is still in flames, and all I can do is look away, pretend not to give a fuck. But the truth is, I'm angry. There are ups, but they aren't the norm anymore. I'm not happy now, with a bad day once in a while - instead I've become a lethargic disinterested wretch who forces herself to recognize once in a while that there are still things that are beautiful, worth living for, worth pursuing. But my heart isn't in it now, and my pursuits are nil. It's been so long since I've achieved. Not only that, but it's been long since I've even attempted. No investment of self, no sacrifice, no courage, no hope. And every day, I look at myself and see everything that I lack, and not only can I not figure out how to change it, how to grow, but for the first time in my life, I don't really even care. It's become tremendously difficult for me to care about anything enough to do anything about it. Only enough for me to remember why I'm in the state I'm in, the one I try to suppress and escape from, and think of my sorry scapegoat, and all of the reasons for me to hate him. Then the hate goes nowhere, and does nothing. It simply takes the reels of tape from my most repulsive memories and plays them back in perfect clarity, so that I can be reminded further of my weaknesses. I can't help but hate him for everything. It's a near perpetual loathing that I try to deny for the sake of goodness and decency and forgiveness, but every day that spend distracting myself from my self-orchestrated symphony of perfectly harmonic worthlessness, I return to the fateful question, why? And the answer is always that some people are no damn good, that I got played, lied to, used, manipulated, pressured, run down, attacked, and abandoned. Misfortune, that I ever met him. And the only thing I don't regret about the whole damn thing is telling him that I sincerely wish we'd never met, that my knowing him has been the undisputedly most wretched experience of my entire life. And I can't fucking help but be angry. Every day I waste clenching my fists reminds me, and my life continues to be absolutely empty.
Next job was to look at the 'decency' screen(?) by the door as the bottom section showed major signs of rot. It was rubbed down and the rotten bits cut out.
Here's a drawing a created for our up-coming-semi-annually-Lockwasher-poker-extravagance. I get some of the good ol' boys together for an evening is filled with BS & debauchery. Rules of decency are loosely enforced, if at all. Let the poker chip fly!
“Costume Design and Home Planning” by Estelle Peel Izor who copyrighted in 1916. Illustrated by Katherine Porter Brown and Rachel Taft Dixon. Published by Atkinson, Mentzer and Co., of Boston, New York, Chicago and Dallas.
“The first purpose of Clothes was not for warmth, or decency, but ornament. What changes are wrought, not by Time, yet in, Time! Clothes gave us individuality, distinctions, social polity; Clothes have made men of us.” Carlyle
Queens Of The Stone Age, Schlossberg, Graz, Austria
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Destroyed by the 1906 Earthquake was improperly engineered and some say the victim of corruption by Boss Abe Ruef and Mayor Eugene Schmitz
more from Wikipedia:
In the years following the San Francisco earthquake, Unitarian minister Rev. Leavitt worked with the city's mayor and civil service on relief work. But, ironically, Leavitt later turned against the Mayor and his lieutenants after his discovery of corruption at the highest levels of San Francisco's City Hall, which Leavitt later helped expose. The city's mayor was convicted in the investigation that followed, and the entire Board of Supervisors resigned in the wake of the scandal. "We have dreamed we were living under the government of laws," Leavitt wrote following the attempted assassination of Assistant San Francisco District Attorney Heney, who was investigating corruption Leavitt helped uncover, "whereas we were living under the government of newspapers hired by corrupt corporations, and the enemies of civic decency."
Lesbian, Gay, Bisexual, Transvestite, Freedom, Self Expression, All, Inclusive, Acceptance, Acknowledge, Parade, Charlotte, Downtown, Girl, Backside, Young, Different, Rainbow, Colors,Skirt, Tutu, Walk, Legs, Topless, Cover, Decency, Legal, Normal, Diversity
Unspoilt, peaceful, Georgian country parish church, mostly dating from 1719-20 but built on the foundation of a much older church. From the outside, it is a handsome church, X-plan, with an additional wing at the west end, topped by a belfry tower, containing the ducal retiring rooms. The interior, renovated 1784-5 and re-arranged circa 1870, has a typical presbyterian layout with central pulpit and three galleries. Many of the box pews have a central communion table. The north aisle of the church is taller and more sophisticated, built for the Duke of Queensberry and remaining from the earlier church. Inside the Queensberry Aisle is the real jewel of the church: the most amazing monument for the Queensberry burial vault, a baroque mural monument and free-standing baldacchino carved in 1695 by John van Nost to the design of James Smith who was also architect of the later church. A riot of swagged fabric, garlands of flowers, urns, barley-sugar columns, cherubs, skulls and pediments, all in gleaming white marble. 'There are few buildings in which baroque magnificence and presbyterian decency are so happily combined.' (George Hay, Architecture of Scottish Post-Reformation Churches). The churchyard contains some fine 17th-19th century stone monuments, many with classical ornament, including the martyr's monument to Daniel MacMichael and the 1685 monument to the children of William Lukup, Master of Works at nearby Drumlanrig.
Catching up on some back shots from the beginning of the year
On a walk around the Addington Cemetery with a wonderful Flickr friend. February 13, 2016 Christchurch New Zealand.
There is so much damaged in the cemetery because of the earthquake we have had. It is such a pity as I don' think it will ever be fully repaired.
The Addington Cemetery was established in 1858 when the Scottish Presbyterians of St Andrew’s Church purchased land for a cemetery in Selwyn Street. Although not the first cemetery in Christchurch, Addington was in fact the first “public” cemetery, “being open to all persons of any religious community” and allowing the performance of any religious service “not contrary to public decency”.
The first burial took place on the 10th of November 1858. The cemetery has several persons of note buried within its grounds including activist Kate Sheppard, Christchurch Mayor Tommy Taylor and members of the pioneer family, the Deans.
For More Info:http://my.christchurchcitylibraries.com/addington-cemetery/
Runner-up in the 'Strangest Misshape' category at the Halifax Agricultural Show. The first prize winner seemed to have vanished, perhaps to protect public decency.
Suomen ulkomaanedustustojen päälliköt kokoontuvat vuosittaiseen tapaamiseensa Helsinkiin 19.–22. elokuuta. Kokous järjestetään Kulttuuritehdas Korjaamolla Töölössä. #slsk19
Kuvat: Petri Krook/ Ulkoministeriö
Ministry for Foreign Affairs provides photo material for media representatives, participants and organisers of the meeting. Please feel free to use the photos, considering the following restrictions: Not for commercial purposes nor reselling. When publishing the pictures, the name of the photographer and organization shall be mentioned as the source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
As you can see there is yet another PHOTO THIEF @ work!
How sad, do people really not know what COPYRIGHT means, in SIMPLE words... IF IT IS NOT YOUR IMAGE, THEN, YOU HAVE NO RIGHT TO IT!!!
It is an INFRINGEMENT of the LAW!
If you love an image SOOOOO MUCH that you'd like to 'use' it, you have the duty and obligation to ask the creative brain behind the image AND HAVE THE COURTESY and DECENCY then to credit the artist, like you would with a painting or sculpture!
From now on I am going to publicly NAME AND SHAME THEM.
This here is Nadja71 www.flickr.com/photos/43653864@N07/4134418002/
It is not just from me that she stole… many more, best check!
Also, I know we live in ‘busy’ times, but do give a quick glance at comments above yours, I wrote mine in BOLD and CAPITALS and STLL people invited and awarded!
I again thank ALL the admins for their help and sympathy, Theoro, Weirena, juntos, Geniebell.
YOU CAN HELP BY SENDING THIS TO AS MANY GROUPS AS POSSIBLE!
Prevent it from happening to YOU!
All the best, I’ll have a lie-down now, this exhausts me, I’d much rather be creatively busy then dealing with all this….
THANX, M, (*_*)
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
“Costume Design and Home Planning” by Estelle Peel Izor who copyrighted in 1916. Illustrated by Katherine Porter Brown and Rachel Taft Dixon. Published by Atkinson, Mentzer and Co., of Boston, New York, Chicago and Dallas.
“The first purpose of Clothes was not for warmth, or decency, but ornament. What changes are wrought, not by Time, yet in, Time! Clothes gave us individuality, distinctions, social polity; Clothes have made men of us.” Carlyle
Sikhism originated in the 15th century, in the Punjab region by Guru Nanak, who preached ideas that were radical for his age: he denounced Hinduism's oppressive caste system and Islam's gender discrimination, preaching that all people can commune with the divine equally, without the intervention of rituals or priests. The Sikh faith is a monotheistic religion, meaning Sikhs worship one God. The three core pillars of Sikhism are: vaṇḍ chakkō (sharing with others, helping those in need, as well as participating as part of a community), kirat karō (earning/making a living honestly, without exploitation or fraud, and speaking the truth at all times) and naam japna (meditating on God’s name to live a life of decency and humility).
The temporary distractions of the material world are seen as an illusion. The qualities of ego, anger, greed, attachment and lust are known as the Five Thieves that rob a person of their ability to realize their oneness with God and creation. Sikhs work to counteract the temptations of these qualities through the values of service, equality, and seeking justice for all. Sikhs also believe that one’s form on Earth is only a temporary vessel for the eternal soul. Thus, the death of the physical body is a natural part of the life cycle, while the soul remains. Death is not an end, but merely the progression of the soul on its journey toward God.
Nine more gurus succeeded Guru Nanak (Angad, Amar Das, Ram Das, Arjan, Har Gobind, Har Rai, Har Krishan, Tegh Bahadur, and Gobind Singh), and continued to spread his teachings across the world.
The last guru, Guru Gobind Singh, named the Sikh sacred text, the Guru Granth Sahib, to be the eternal Guru that would guide the Sikhs going forward. It consists of 1,430 Anks, or pages, and 6,000 Sabads, or line compositions, all are written in poetic verse and are aligning to the rhythmic forms of ancient north Indian classical music. At the core of the Guru Granth Sahib is a yearning for a world governed by divine justice, without oppression of any kind.
The final living guru, Gobind Singh, also established the Khalsa, or order of Sikh soldier-saints. They are recognizable by "The 5 k's," their physical articles of faith: Kesh (unshorn hair and beard), Kirpan (ceremonial sword), Kangha (comb), Kara (steel bracelet) and Kachha (drawers). The Dastar, or turban, is considered a spiritual crown, a token of remembrance of the Sikh principles.
Subathu, Himachal Pradesh, India
Depeche Mode Walking In My Shoes (youtu.be/srqTq3juh_0)
I would tell you about the things
They put me through
The pain I've been subjected to
But the Lord himself would blush
The countless feasts laid at my feet
Forbidden fruits for me to eat
But I think your pulse would start to rush
Now I'm not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Morality would frown upon
Decency look down upon
The scapegoat fate's made of me
But I promise now, my judge and jurors
My intentions couldn't have been purer
My case is easy to see
I'm not looking for a clearer conscience
Peace of mind after what I've been through
And before we talk of any repentance
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
If you try walking in my shoes
Try walking in my shoes
Now I'm not looking for absolution
Forgiveness for the things I do
But before you come to any conclusions
Try walking in my shoes
Try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
You'll stumble in my footsteps
Keep the same appointments I kept
If you try walking in my shoes
Try walking in my shoes
If you try walking in my shoes
Try walking in my shoes
Minister for Foreign Affairs of Finland Timo Soini and Secretary General Thorbjørn Jagland.
The Session of the Committee of Ministers, to be held at Finlandia Hall on 17 May 2019, will mark the end of Finland’s Presidency of the Committee of Ministers of the Council of Europe. At the meeting, Finland will hand over the Presidency to France. More than 30 ministers from the member States of the Council of Europe will attend the meeting. The meeting will be chaired by Foreign Minister Timo Soini.
Ministry for Foreign Affairs provides photo material for media representatives, participants and organisers of the meeting. Please feel free to use the photos, considering the following restrictions: Not for commercial purposes nor reselling. When publishing the pictures, the name of the photographer and organization shall be mentioned as the source. No picture manipulation is permitted. The holder of the picture rights and/or the organisation shall at all times retain the copyright to the picture. When publishing the pictures, the publisher shall ensure the legality of the context where the pictures are used, obtain the permissions and consents required for their publication, and observe the generally established practices and decency. The publisher shall ensure that publication of the pictures does not insult anyone’s privacy or dignity.
Photo: Kimmo Räisänen / Ministry for Foreign Affairs of Finland