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The squall line which developed north of Bangor drifted across the border by evening. Its motion was slow enough and the lightning frequent enough allowing me to get a few daytime bolts. Marble size hail was reported in nearby Nackawic around the time these shots were taken, along with torrential rain and gusty winds.
A hidden house covered by plants, at a small land by an alley, downtown Taipei. Those lands were sold, piece by piece (small ones), probable by City government, so that old and ruined can be transformed into new and high for more families (rich ones though, considering their location).
I still prefer those old flat dormitories in JPN style, though I could never afford one, as something you let go now (instead of preserving it) it's gone forever.
Hard to get a good trade-off/balance between city development (physically) and historical moments (of humanity), yet not impossible.
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PS - This roll was done on 2014/2/17, developed by a local studio (五色鳥) on 2014/2/19, and scanned with "Epson Perfection V600 Photo" on 2014/2/27.
The C-46 was developed from the new and unproven commercial aircraft design, the CW-20, which first flew in March 1940. Deliveries of AAF C-46s began in July 1942 for the Air Transport Command and Troop Carrier Command. During World War II, the USAAF accepted 3,144 C-46s for hauling cargo and personnel and for towing gliders. Of this total, 1,410 were C-46Ds.
The C-46 gained its greatest fame during WWII transporting war materials over the "Hump" from India to China after the Japanese had closed the Burma Road. C-46 flights on the treacherous air route over the Himalayas began in May 1943. The Commando carried more cargo than the famous C-47 and offered better performance at higher altitudes, but under these difficult flying conditions, C-46s required extensive maintenance and had a relatively high loss rate. In Europe, C-46s dropped paratroopers during the aerial crossing of the Rhine River near Wesel in March 1945. C-46s saw additional service during the Korean War.
The C-46D on display is painted as a C-46 flying the Hump in 1944. This aircraft was retired from USAF service in Panama in 1968 and was flown to the museum in 1972.
TECHNICAL NOTES:
Armament: None
Engines: Two Pratt & Whitney R-2800s of 2,000 hp each
Maximum speed: 245 mph
Cruising speed: 175 mph
Range: 1,200 miles
Ceiling: 27,600 ft.
Span: 108 ft.
Length: 76 ft. 4 in.
Height: 22 ft.
Weight: 51,000 lbs. maximum
Cost: $233,000
Serial number: 44-78018
After striking out the previous day (having missed a powerful storm which struck the Denver area) there would be another chance on 7 June as a lee trof established itself along the Front Range. Wind fields were supportive of classic supercells in the highly unstable air with more potential for tornadoes and large hail, and by mid-afternoon intense storms had developed in Platte and Goshen counties in Wyoming.
Developed C41 in black and white developer.
Presoak for a couple of minutes.
2 rotations in the first minute, stand develop for 30 minutes, 1 rotation and twist, develop for another 30 minutes.
5ml Rodinal Spezial and 495ml of water. 5 minute stop.
One of the last prints I was able to make in my semester long photo course, which ends tomorrow :(
Part of a series I shot with Paloma.
part 1 of 2
Hand Developed and Printed.
The dastardly practice of artificially carbonating beer began early.
In 1885, a process of carbon dioxide beer dispense and in-line carbonation had already been developed. Here is an advertisement from the British Trade Journal and Export World of that year:
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"NEW METHOD OF RAISING AND AËRATING BEER
A new method of raising beer from the barrel in the cellar to the bar tap, and ail-rating it at the same time, was practically illustrated by Messrs. A. 6: M. Zimmermann, Z7 Mincing Lane, London, E.C. The pressure used is that of liquefied carbonic acid, stored in a small cylinder, and led into a gasometer, whence it is forced as gas into the barrel, and thence to the taps. The beer is therefore fully charged with carbonic-acid gas, which produces an agreeable lightness and mellowness of flavour, to say nothing of liveliness and an abundant froth or head. The carbonic acid is obtained from pure natural springs, and by a new patent process, that of Raydt-Kumheim, is liquefied in order to render it portable in a small compass, two gallons of the liquid being equal to 1,000 gallons of gas, or sufficient for from 12 to 15 barrels, and costing about Is. per barrel. Draught beer thus treated is more digestible and wholesome than that into which the atmosphere of the cellar is forced, as is the case with the usual lager-beer machine, or that which is mixed with ordinary air by being pumped up by the 'engines' seen in this country and in the colonies. The admixture of carbonic acid with beer also enables it to be kept longer in the barrel, and robs it of much of its intoxicating effect—a fact which results in increased consumption.
The new liquid carbonic acid is also being used for bottling beer. The gas from a small gauged gasholder is forced into the bottle in lieu of atmospheric air by means of a bottling machine of suitable construction. It is claimed that beer thus bottled is lighter and more likely to remain in sound condition than that bottled by the present method. Another use to which it can be put relates to the manufacture of mineral or aërated water. Instead of carbonic acid being specially made, the mineral-water manufacturer can purchase this liquefied carbonic gas in two-gallon cylinders. He has then but to reduce the pressure by discharging the gas into the gasometer."
— The British Trade Journal and Export World, Volume 23; p. 79.(1885)
(p. 818, Google Books)
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Roll 2 Kodak Gold 200 Minolta Dynax 5 35-105mm f3.5-4.5 Developed In Bellini Foto C41 Kit Bury St Edmunds May-June 2022
Yet another day at home during lockdown so I developed 14 films that have been taking up room in my fridge. I use a Sous vide to control the temperature in a water bath set to 41 deg C. I use a double Paterson system 4 tank to do 2 films at once. I used a Bellini Foto Monopart 1lt C41 Kit. The Developer was heated to 40 deg C as it drops by 2 deg c when poured into the tank. The rest is just timing and the temperatures are not as rigid as the developer. All 14 films came out OK with no problems. Tomorrow is scanning day.
In the paddock
Having been raced and developed continuously for about fifty years this 'original' hot rod Jag is being sympathetically updated for hill climb competitions and a bit of track work after a 12 year slumber. The engine has 60 thou' overbored pistons making it 4 litres over the original 3.8 litres, D-type cams and triple carbs. At the back is an E-type independant suspension and V12 E-type brakes. Chatting to the very nice owner he is hoping to get the original 503 TPJ registration re-issued so the car can be prepared FOR ROAD USE!!!
Under the Swastika
In the history of the Friends of the Kunsthalle too the seizure of power by the Nazis is a deep cut. The Nazi regime developed a practice of arts funding which was marked by the mandatory relationship of art and state.
The enforced conformity of friends meant the loss of independence and the orientation of the association's activities to the objectives of the National Socialist government. Decisive for this change of course, was the board meeting on 10 June 1933. The poet and art historian Wilhelm Niemeyer played the key role as the representative of the Militant League for German Culture (Kampfbund). The Kampfbund was a Nazi-oriented organization which represented a nationalist-racist concept of art. Although Niemeyer since 1927 no longer belonged to the board of the association, he participated against the resistance of Gustav Pauli and the other board members at the meeting to introduce a list of the Executive Board drawn up by the Kampfbund.
As a result of the meeting Pauli on the same day sent a list of candidates for the election of the new board of the Friends to the Kampfbund. This was his last official act for the Friends of the Kunsthalle. The new board then was no longer elected but appointed by the First Mayor Carl Vincent Krogmann and was completely re-assembled, with two exceptions.
New chairman became Hermann Maetzig who also headed the official business at the Kunsthalle from the beginning of October, Pauli in late September 1933 as director of the Kunsthalle was sent into retirement. On the part of the club members, there was no opposition against the replacement of the Board, they confirmed this one after a short debate on their general meeting on 31 October 1933.
The era Maetzig did not last long. Already in April 1934, he had to give up all offices for belonging to the Freemasons. His successor Wilhelm Freiherr Kleinschmit of Lengefeld remained until August 1937 executive director of the Kunsthalle and Chairman of Friends. In the action "degenerate art" to which the set up by Pauli collection of modern art in the summer of 1937 fell victim he did not participate. However, in the tenure of Kleinschmit fell the exclusion of Jewish club members. This marks the blackest chapters in the history of the club.
At the beginning of 1936, the Statute of friends was officially completed by an "Aryan paragraph". But already at the end of the fiscal year 1935, the Jewish members had been forced to leave the club. In September 1935, the new program of events was sent with a message of Kleinschmit. It was said there, the membership card will be issued only to those persons who signed a statement that they were "Aryans".
Alone in September and October 1935, 29 Jewish donors, so financially particularly committed members, had to leave the club. Among them are such famous names as Bleichröder, Budge or Warburg. In addition, there were also about 100 regular members who had been excluded. Against this background is hardly surprising that the number of members of the Friends in 1936 with 1,124 members reached a historic low.
The lecture program of friends during the Nazi period designed primarily Wilhelm Niemeyer, who was secretary of the association since August 1933. As already Pauli, he also succeeded to win a number of known German art historians. Speeches were held by university professors as Hans Jantzen, Hans Kauffmann or the befriended with Niemeyer, Wilhelm Pinder. Although the Kunsthalle was closed at the beginning of World War II to the public, the friends continued to offer lectures. Those ones, however, unlike as in the days of the Weimar Republic, as regards contents offered only little direct references to the collection fund of the Kunsthalle.
Unter dem Hakenkreuz
Auch in der Geschichte der Freunde der Kunsthalle stellt die Machtergreifung der Nationalsozialisten einen tiefen Einschnitt dar. Das NS-Regime entwickelte eine Praxis der Kunstförderung, die durch die zwangsweise Verbindung von Kunst und Staat gekennzeichnet war.
Die Gleichschaltung der Freunde bedeutete den Verlust der Selbstständigkeit und die Ausrichtung der Vereinsaktivitäten auf die Ziele der nationalsozialistischen Regierung. Entscheidend für diesen Kurswechsel wurde die Vorstandssitzung am 10. Juni 1933. Der Dichter und Kunsthistoriker Wilhelm Niemeyer spielte als Repräsentant des Kampfbundes für deutsche Kultur die maßgebliche Rolle. Der Kampfbund war eine NSDAP-nahe Organisation, die einen völkisch-rassistischen Kunstbegriff vertrat. Obwohl Niemeyer seit 1927 nicht mehr dem Vorstand des Vereins angehörte, nahm er gegen den Widerstand Gustav Paulis und der übrigen Vorstandsmitglieder an der Sitzung teil, um eine vom Kampfbund erstellte Vorstandsliste einzubringen.
Als Ergebnis der Sitzung schickte Pauli noch am selben Tag eine Vorschlagliste für die Wahl des neuen Vorstandes der Freunde an den Kampfbund. Dies war seine letzte Amtshandlung für die Freunde der Kunsthalle. Der neue Vorstand wurde dann nicht mehr gewählt, sondern vom Ersten Bürgermeister Carl Vincent Krogmann bestimmt und war bis auf zwei Ausnahmen völlig neu zusammengesetzt.
Neuer Vorsitzender wurde Hermann Maetzig, der ab Anfang Oktober auch die Amtsgeschäfte in der Kunsthalle leitete; Pauli wurde Ende September 1933 als Direktor der Kunsthalle in den Ruhestand versetzt. Von Seiten der Vereinsmitglieder gab es keinerlei Widerstände gegen die Neubesetzung des Vorstandes, sie bestätigten diesen nach kurzer Aussprache auf ihrer Mitgliederversammlung am 31. Oktober 1933.
Die Ära Maetzig währte nicht lange. Bereits im April 1934 musste er wegen seiner Zugehörigkeit zu den Freimaurern alle Ämter aufgeben. Sein Nachfolger Wilhelm Freiherr Kleinschmit von Lengefeld blieb bis August 1937 verantwortlicher Leiter der Kunsthalle und Vorsitzender der Freunde. An der Aktion „entartete Kunst“, der im Sommer 1937 die von Pauli aufgebaute Sammlung der Moderne zum Opfer fiel, war er allerdings nicht beteiligt. In Kleinschmits Amtszeit kam es jedoch zum Ausschluss der jüdischen Vereinsmitglieder. Dies markiert das schwärzeste Kapitel in der Geschichte des Vereins.
Zu Beginn des Jahres 1936 wurde die Satzung der Freunde offiziell um einen „Arierparagraphen“ ergänzt. Doch bereits am Ende des Geschäftsjahres 1935 hatten die jüdischen Mitglieder den Verein verlassen müssen. Im September 1935 wurde das neue Veranstaltungsprogramm mit einer Mitteilung Kleinschmits versandt. Dort hieß es, die Mitgliedskarte werde nur an solche Personen ausgestellt, die eine Erklärung unterschrieben, dass sie „ arischer Abstammung“ seien.
Allein 29 jüdische Stifter, also finanziell besonders engagierte Mitglieder, mussten im September und Oktober 1935 den Verein verlassen. Unter ihnen finden sich so berühmte Namen wie Bleichröder, Budge oder Warburg. Hinzu kamen noch ungefähr 100 ordentliche Mitglieder, die ausgeschlossen wurden. Vor diesem Hintergrund verwundert wenig, dass die Mitgliederzahl der Freunde im Jahr 1936 mit 1.124 Mitgliedern einen historischen Tiefststand erreichte.
Das Vortragsprogramm der Freunde während der NS-Zeit gestaltete in erster Linie Wilhelm Niemeyer, der seit August 1933 Schriftführer des Vereins war. Wie bereits Pauli gelang es auch ihm, eine Reihe bekannter deutscher Kunsthistoriker zu gewinnen. Es sprachen Universitätsprofessoren wie Hans Jantzen, Hans Kauffmann oder der mit Niemeyer befreundete Wilhelm Pinder. Obwohl die Kunsthalle mit Beginn des Zweiten Weltkrieges für das Publikum geschlossen wurde, boten die Freunde weiterhin Vorträge an. Diese wiesen allerdings – anders als zu Zeiten der Weimarer Republik – inhaltlich nur wenig direkte Bezüge zum Sammlungsbestand der Kunsthalle auf
freunde-der-kunsthalle.de/meta/ueber-uns/geschichte/unter...
Developing the right skills, acquiring complete knowledge of the fashion process and putting into practice your competencies in the best way: these are the very true secrets to become a successful manager in fashion industry.
Developing Models for Cooperative Security
General Tea Banh, Deputy Prime Minister; Minister of National Defense, Cambodia
Richard Marles, Deputy Prime Minister; Minister for Defence, Australia
Dr Ng Eng Hen, Minister for Defence, Singapore
Morning in kaohsiung city, Taiwan
Hasselblad Xpan 45mm F4
Kodak EASTMAN 5222 DOUBLE-X Black & White Camera Film
Self develop
D96 EI250 2015.3.19
Jobo 1520
Epson Perfection V700
2009 Develop Don't Destroy Brooklyn Press Conference
New York State Court of Appeals ruling in Goldstein v. ESDC, the Eminent Domain case
November 24, 2009
Freddy's Bar & Backroom
485 Dean Street at 6th Avenue
Brooklyn, New York
If Atlantic Yards is built, New York State would seize this property and others in the project footprint and transfer ownership to Forest City Ratner.
Read more at Atlantic Yards Report.