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Week 6 beginning July 30, 2012 and ending August 3, 2012.
The sixth week of camp has come to an end and we have 2 weeks left! This past week of camp kicked off with "Puttin on the Hits" performed by our Jr. and Sr. groups! On Tuesday, the Willows and Jr. camp participated in Puppet Pizzazz! The CITs took a trip to Dave & Busters on Wednesday! We would like to congratulate everyone on a great and successful Color War. Both the Blue team (Superman) and the White team (Spiderman) did an amazing job. But in the end, Spiderman went webbing through the trees to beat Superman to the finish. All became friends and went on to have a great day! The sixth week of camp ended with the "All Camp Cookout & Dance Party". By the pictures you can tell we all had so much fun!
About Willow Grove Day Camp
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: www.willowgrovedaycamp.com.
Modane is a commune in the Savoie department in the Auvergne-Rhône-Alpes region in southeastern France.
The commune of Modane is home to an international railway station, the Gare de Modane, in which receives trains from Turin in Italy, through the Fréjus Rail Tunnel, and with trains to Chambéry, as well as the TGV on the Milan (Italy) to Paris route. The whole of the French part of the line is owned by the Réseau Ferré de France (RFF), the upstream network is managed by Rete Ferroviaria Italiana, society of FS (Ferrovie dello Stato), the lower part and the station being under the management of the SNCF. There is therefore an electrical disconnection and signaling changes upstream (catenary supports also bear inscriptions in Italian).
The railway line serving Modane is the Maurienne line, or its official name the ligne de Culoz à Modane (frontière) [line of Culoz to Modane (border)]. It marks the territory of the commune of Modane looping 180° between its exit from the station and its entry into the Fréjus tunnel. Source: www.wikiwand.com
Fotos Nuevas Agosto 2012
www.facebook.com/catedraleseiglesias
© Álbum 0527
By Catedrales e Iglesias
By Cathedrals and Churches
Diócesis de Morelia
Santa Iglesia Catedral
Av Madero Poniente
Col Centro
Apdo Postal 17
C.P.58000
Morelia,Estado de Michoacán
(443) 312-29-36
Horarios de Misa de Lunes a Sábado a las 6:00 am, 7:00 am, 8:00 am, 9:00 am, 12:00 pm, 5:00 pm, 7:00 pm y 8:00 pm. Domingos a las 6:00 am, 7:00 am, 8:00 am, 9:00 am, 10:30 am, 11:30 am, 12:30 pm, 5:00 pm, 6:00 pm, 7:30 pm y 8:30 pm. Horario de Rosario de Lunes a Viernes a las 6:00 pm. Hora de Confesión durante Misa. Confirmación los Domingos a las 12:30 pm. Bautizos Sábados y Domingos a las 12:00 pm.
La Catedral de Morelia es un recinto religioso sede de la Arquidiócesis de Morelia de la Iglesia católica en México. Se encuentra ubicada como su nombre propiamente lo dice en la ciudad de Morelia, capital del estado de Michoacán, México. La catedral se localiza en el primer cuadro de la ciudad, conformando la traza del Centro Histórico de Morelia. El edificio fue construido en el siglo XVIII en la época de la Colonia Española, es de estilo barroco y esta realizado en cantera rosada que le da un color peculiar y característico.
# Arquitectónicamente la Catedral de Morelia comparándose con otras Catedrales de México, es similar a la Catedral Metropolitana de la Ciudad de México, Catedral de Puebla, e inclusive en su interior a la Catedral de Guadalajara.
# La catedral es la edificación más emblemática y representativa de Morelia dada su altura, ya que cuenta con dos altas torres, que se divisan por todo el valle de la ciudad. Por su altura, las torres de la Catedral de Morelia (66.8 m) son las cuartas más altas de México, después de las torres del Santuario Guadalupano (Catedral Inconclusa) en Zamora de Hidalgo (105 m), de la catedral de Villahermosa (80 m) y del Santuario de Guadalupe, en San Luis Potosí (68 m).
# Cuenta con una Iluminación escénica de singular belleza colocada por la empresa que iluminó la Torre Eiffel de París. Los fines de semana la catedral ofrece un espectáculo de luz y sonido con esta iluminación.
# La catedral está dedicada a la Transfiguración y en su interior alberga dos imágenes muy veneradas, Sagrado Corazón de Jesús que es el santo patrono de la ciudad, y el Señor de la Sacristía un Cristo muy antiguo realizado en pasta de caña de maíz. El cual es muy visitado y querido por la feligresía.
# Su belleza arquitectónica y su historia son otras razones por las cuales se ha convertido en un icono de la ciudad.
# En su interior este recinto dada su belleza, sonorización acústica y espaciosidad, figura como escenario de diversos eventos artísticos y culturales como el Festival Internacional de Órgano de Morelia, y el Festival Internacional de Música de Morelia.
La actual catedral de Morelia no ha sido la única catedral que ha tenido la ciudad, ya que en 1580, cuando los poderes civiles y eclesiásticos de Michoacán fueron trasladados de Pátzcuaro a Valladolid (anterior nombre de Morelia), se inauguró una catedral, muy inferior a la actual en tamaño y valor artístico. Esa construcción se ubicaba en la esquina de las actuales calles de Corregidora y Abasolo. Sin embargo, debido al crecimiento que experimentó la ciudad a finales del s. XVI e inicios del XVII, así como por causa de un incendio que en 1584 afectó severamente el anterior edificio catedralicio, se hizo necesario pensar en otro templo, más grande, sólido e importante. Por ello es que a inicios del s. XVII el cabildo catedralicio comenzó las gestiones para la construcción de la nueva catedral.
Muchos proyectos fueron propuestos, pero hasta mediados de ese siglo fue aceptado el proyecto del arquitecto italiano Vicenzo Barrochio, también conocido como Vicente Barroso de la Escayola por parte del Virrey Francisco Fernández de la Cueva, Duque de Alburquerque el 22 de marzo de 1660 concluyendo continuos trámites y proyectos de construcción durante un largo período de casi 80 años.
El día 6 de mayo de 1660 la primera piedra de la construcción fue colocada por el obispo Fray Marcos Ramírez del Prado. La construcción estuvo a cargo del propio Vicenzo Barrochio hasta el año de su muerte, acaecida en 1692, razón por la cual el gran arquitecto no pudo ver concluida su obra monumental. Sin embargo, solo 52 años después del deceso del maestro, sus discípulos lograron terminar la titánica tarea arquitectónica, por lo que la magnífica obra fue concluida en 1744.
La catedral sufrió diversos saqueos por parte del ejército independentista, en el año de 1810. Hacia fines del siglo XIX se construyó la reja perimetral que delimita el atrio. A finales de los años 90 del siglo XX se efectuaron diversas obras de restauración exteriores e interiores, con lo cual se preservó mejor la belleza del edificio. También, en los primeros años del siglo XXI, se inauguró la nueva iluminación escénica de esta catedral de Morelia.
The Cathedral of Morelia is a religious compound headquarters of the Archdiocese of Morelia of the Catholic Church in Mexico. It is located as the name itself says it in the city of Morelia, capital of Michoacan, Mexico. The cathedral is located on the first frame of the city, forming the trace of the Historic Center of Morelia. The building was built in the eighteenth century the Spanish colonial times, is in Baroque style and is made of pink quarry which gives it a distinctive and characteristic color.
# Architecturally, the Cathedral of Morelia compared against other Cathedrals in Mexico is similar to the Metropolitan Cathedral in Mexico City, Puebla Cathedral, and even inside the Cathedral of Guadalajara.
# The cathedral is the most emblematic and representative buildings of Morelia given their height, since it has two tall towers that can be seen throughout the valley of the city. For his height, the towers of the Catedral de Morelia (66.8 m) are the fourth highest in Mexico after the towers of the Sanctuary of Guadalupe (Cathedral Unfinished) in Zamora de Hidalgo (105 m) of the cathedral in Villahermosa (80 m) and the Sanctuary of Guadalupe, San Luis Potosi (68 m).
# Has a unique scenic beauty lighting placed by the company that lit the Eiffel Tower in Paris. On weekends, the cathedral offers a sound and light show with this lighting.
# The cathedral is dedicated to the Transfiguration and its interior houses two highly venerated image, Sacred Heart of Jesus who is the patron saint of the city, and the Lord of the Sacristy a Christ very old paste made of cornstalks. Which is much visited and loved by the congregation.
# Its beautiful architecture and history are other reasons why it has become an icon of the city.
# Inside this enclosure because of its beauty, sound and spacious sound, set for a variety of artistic and cultural events as the International Organ Festival in Morelia, and the International Music Festival of Morelia.
The current cathedral of Morelia was not the only cathedral in the city has had since 1580, when civil and ecclesiastical powers were transferred from Patzcuaro Michoacan to Valladolid (Morelia previous name), opened a cathedral, much lower the current size and artistic value. That building was located on the corner of the present streets of Corregidor and Abasolo. However, due to growth experienced by the city at the end of s. Sixteenth and early seventeenth centuries, and because of a fire in 1584 severely affected the former cathedral building, it became necessary to think of another temple, larger, robust and important. That is why at the beginning of s. XVII the cathedral chapter began efforts to build the new cathedral.
Many projects were proposed, but until mid-century the project was accepted by the Italian architect Vincenzo Barrochio, also known as the Plaster Vicente Barroso by the Viceroy Francisco Fernandez de la Cueva, Duke of Albuquerque on March 22, 1660 concluding continuous procedures and construction projects over a long period of almost 80 years.
On May 6, 1660 the first stone of the building was laid by Bishop Fray Marcos Ramírez del Prado. The building itself was given by Vicenzo Barrochio until his death in 1692, why the great architect could not see completed his monumental work. However, only 52 years after the death of the teacher, his pupils got through the daunting task of architecture, so that the magnificent work was completed in 1744.
The cathedral suffered several raids by the army for independence, in the year 1810. By the end of the nineteenth century built the perimeter fence that marks the atrium. In the late 90s of the twentieth century restoration work carried out various internal and external, thereby better preserved the beauty of the building. Also, in the early twenty-first century, opened the new stage lighting of the cathedral of Morelia.
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- www.kevin-palmer.com - I finally got around to processing the images of the Andromeda Galaxy from August. I inserted a picture of the moon taken with the same lens for a size comparison. In dark skies (like where this was taken) you can easily see the bright core of the galaxy with the naked eye. The crazy part is the galaxy is at least twice the size shown in this picture. I just don't have the equipment to capture the faint outer portion. There are two more galaxies in this shot if you know where to look. This is a stack of about 100 pictures taken with a Takumar 135mm f2.5 lens. All shot at 4 seconds, f2.5, iso 12800.
(they also call it a robot), is from the Robotics Institute. I used to work with a Professor Mark Fox from that department in the early 1980's on an Artificial Intelligence/Expert System developed at Westinghouse. The department is now run by William Red L. Whittaker. The team of folks demonstrating the robot, and also who were part of the Red Team competition, where this vehicle, called Sandstorm, took second place in the 2005 DARPA Grand Challenge, included:
Alex Gutierrez and Andrew Mellinger
The unofficial upshot I gleaned from other alumni (not from members of the Red Team) is as follows: the first place winners from Stanford included two individuals who were originally from CMU, and perhaps reused some of the 'know-how' from there.
As for the vehicle itself, it ran into a large rock. :o)
St Mary, Huntingfield, Suffolk
Follow these journeys as they happen at Last of England twitter.
It was the first day of the 2019 Easter holidays, and what better way to spend a Monday morning than heading off for a church-exploring bike ride rather than going to work? I caught the train up to Halesworth, and then cycled off out into the hills. The villages and their pretty parish churches come thick and fast around here, and almost all of them are open to pilgrims and strangers daily. There is a good mixture too, round towers, square towers, hardly-any-left towers, reed-thatched roofs, beflinted-porches, and all manner of treasures inside. A fair number of East Anglia's best small churches are in this area. But even given this variety, there is nowhere else in East Anglia quite like Huntingfield church.
This is one of Suffolk's more obscure villages, but the Huntingfield name was that of one of the county's most significant families. Huntingfield is the nearest village to the great pile of Heveningham Hall, with one of the largest Georgian frontages in England. It was rebuilt by the Huntingfields in the 18th Century. Standing on the road and looking across the sheep-scattered lawns to the great building, it is easy to imagine the gulf between the landed gentry and their poor workers in those days. Sandwiched between the traumas of the 17th Century and the energy of the 19th Century, it was the landowners of the 18th Century who had every reason to think that their world was permanent and unchanging, that it would always be as they knew it. Farming sheep, collecting art, patronising musicians, tinkering with primitive science and technology, dispensing benevolent largesse to the poor on their estate - it is a world that is at once attractive and appalling. For them, the Church of England was both an arm of the state dispensing laws, justice and charity, and the setting for the weekly liturgical reinforcement of the puritan-refracted Elizabethan settlement.
But the Industrial Revolution would bring it all to an end, and in more ways than one. In the second half of the latter century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. Their impulse came from Oxford, where the Tractarians had a vision of the Church of England as a national Church, no longer a protestant sect but restored to the catholicity of its roots, and from Cambridge, where the ecclesiologists decided what a building of the national Church should properly look like. As the young men graduated and were presented to parishes across the country, their ideas spread like wildfire. They had come from their univserities to churches fitted out for protestant worship, with whitewashed walls and box pews focused on the high pulpit, the rarely-used altar gathering dust in the chancel or even discarded. Preaching houses rather than sacramental spaces, and any surviving traces of the building's medieval life survived, perhaps, simply because they were not understood.
Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a new wave of ideas and the reaction to them. The litugical changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial. But gradually they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe. Galvanised by the ferment of ideas and the possibilities of the industrial age, these young men convinced their rich patrons, revolutionised their buildings, and in so doing altered their parishes forever. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration.
Internal decorations were, perhaps, the bespoke work of the architect, Witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich. Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others. By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where William Holland, the vicar, drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
The Hollands were the patrons of the living, which gave them the authority and the money to reimagine Huntingfield church on a grand scale. Oxford and Cambridge universites were exclusively for men, of course, but it so happened that William Holland had an energetic and visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'. J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. But you come here to see the painted roofs, which are perfectly splendid. You can activate the floodlighting with a pound coin in a box at the west end of the north aisle, and the illuminated work is breath-taking.
What else is there to see? Some 15th Century window borders in the east window of the south aisle depict hares and a little dog with a bell around his neck. And what is that at the bottom, a dragon, or a winged lion? Evidence of the church's continued High Church tradition into the 20th Century is in statues of the Blessed Virgin and child flanked by St Francis and St Dominic in a triple image niche set in a pillar of the north arcade. Was it originally for a rood group, perhaps above an altar? Any church is a palimpsest, history written and rewritten over its skin as a touchstone to changing liturgical imperatives and the long generations of its people. Across this canvas the enthusiasms and Huntingfield in Mildred Holland's time are writ large, and will last long.
And there is something else, and a great curiosity. Ann Owen, the Vicar's wife in the neighbouring parish of Heveningham, is also said to have been responsible for 19th Century work in the church there, this time in the form of stained glass. Visiting Heveningham, I am afraid it is difficult for me to find this convincing, although of course one likes to think it was so, and that the two women artists were friends, or possibly even rivals. But Mildred's story has been brilliantly captured in a recent novel, The Huntingfield Paintress by Pamela Holmes. Pamela tells me that 'it was a comment of yours about Mildred and Ann Owen which sparked my determination to write my first novel' which is very kind of her, although I am sure it was easy to be inspired when one stands here surrounded by Mildred Holland's work.
You might thnk that the towering font cover is also by her, but in fact it is her memorial, placed here by her husband, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.
J6 TA2013 Chivas vs Puebla FC Liga Bancomer MX
Redacción: Héctor Padilla Lozano de @hpadillalozano | LAE Manuel Vela Flickr – Facebook // Fotografía Cortesía www.mediotiempo.com y mx.deportes.yahoo.com/ Mv Fotografía Profesional / Edición y retoque www.pueblaexpres.com / en Twitter @Mv_ManuelVela
Puebla., Puebla a 18 de Agosto de 2013
TOPADAS CON UNA PARED BLANQUIAZUL
El Puebla propinó una contundente derrota al Guadalajara y a la vez hizo cumplir aquél viejo adagio dentro del futbol que reza: “Equipo que estrena técnico, gana”.
Y es que Rubén Omar Romano, se presentaba como estratega del Puebla, después de que en la temporada 84-85, vistiera los colores blanquiazules como jugador, demostrando en aquel tiempo entrega y profesionalismo hacia la franja.
De entrada presentó una
formación agresiva, con un 4-3-3, teniendo a Alustiza, Borja y Moreno al frente, situación que se había dado en escasos momentos en el torneo, pero sin gran impacto en el accionar y marcador.
Por otro lado, estaba Benjamín Galindo Marentes, timonel de chivas con la obligación de ganar para seguir conservando su cargo dentro del equipo tapatío, lo cual de paso hay que decirlo, se ha convertido en un equipo más dentro de la liga Bancomer MX.
Las acciones de gol dentro de un partido entretenido, iniciaron al minuto 2 con un remate de cabeza de Michael Orozco, solo en el área que pasó por el lado izquierdo de Michel, cuando se notaba podía haber más peligro.
Los de casa respondieron al 10 cuando Márquez Lugo, trató de tirar, rebotando el balón en Lacerda y luego Noriega que no pudo controlar de cabeza, cayéndole a Antonio Gallardo quien acomodó su cuerpo y tiro al ángulo, para abrir el marcador en un buen gol.
Sólo un minuto le duro el marcador a favor a chivas, pues en tiro de esquina que cobró Alustiza, se pasó Michel y Chávez solo con remate seco mandó el balón al fondo para el empate.
Guadalajara perdió al 30 a su meta Miche, quien salió por lesión, viéndose aquí una jugada de fair play, ya que el cancerbero le quitó prácticamente de la cabeza el balón a Orozco y al caer pisó mal, extendiéndose la bola, no haciendo el jugador poblano por ella debido al problema que tenía el aludido portero tapatío, su lugar fue ocupado por Hugo Hernández.
En el 35 Rafael Márquez abrió el balón al costado izquierdo en relación a su ataque para Carlos Fierro, éste centro de zurda a Aldo De Nigris que retrasó de cabeza a Márquez Lugo quien de cabeza metió el 2-1.
Al 38, Moreno dentro del área con una finta se quitó a Esparza, sólo que su tiro final lo mandó muy desviado. Sin embargo, al 47 el mismo “chango” centro al área y daba la impresión que ligeramente desviaba Félix Borja, pero no fue así y la anotación fue del Moreno para el 2-2, con el cual se fueron al descanso en un partido entretenido.
Al reinicio en el 50 centro de “Kevin” Rojas por derecha y Orozco de cabeza ante el arquero no conectó bien de cabeza tapando bien Hernández el remate para preservar el empate.
Moreno que fue el mejor jugador del partido, tiró desde fuera del área, amenazando el balón con incrustarse en el ángulo derecho de Guadalajara, pero salió por un costado.
Corriendo el minuto 67, “chavo” Alustiza habilitó por izquierda a Damarcus después de una serie de toques del Puebla donde no le prestó el balón a Guadalajara, hizo que el nacido en Indiana centrara al área chica de forma rasa para que Kristian Álvarez, con la inercia que traía empujara el balón a su cabaña y pusiera justamente ya el 3-2 a favor del conjunto del tubérculo.
Se notaba que la franja podía aumentar el marcador pues al 71 hubo un tiro cruzado de Alustiza, después de un pase largo de Moreno, el cual, contuvo bien Hernández por abajo.
Puebla insistía y en el 75 en los linderos del área grande por el lado izquierdo del ataque poblano, Kristian Álvarez cometió falta a Moreno, cobró De Buen, sacando un obús que mandó a saque de esquina Hernández. En el saque Chávez remató con la cabeza y Hugo Hernández atajó bien.
Hacia el 82 vino un regalito de la media cancha tapatía que retrasó a su defensa, la cual, no controlo el vinil que se extendió hasta Alustiza, quien tomó el balón, arrancó, se perfiló ante Hugo Hernández y por abajo a su derecha cruzó para un contundente 4-2, que ya reflejaba lo que se había visto en la cancha, un Puebla que se fue al ataque y un Guadalajara maniatado por el buen planteamiento de Romano.
Los últimos minutos, la franja se dedicó a controlar el balón y mantener en orden a la delantera tapatía, para conseguir un gran triunfo, categórico y contundente, que le permite sumar 3 puntos en la tabla de cocientes, aprovechando las derrotas de Atlante y Jaguares.
Esperamos como afición sea el comienzo de un cambio en la actitud de jugadores, hecho que se verá reflejado en la tabla general y de cocientes respectivamente.
Puebla en sus próximos cotejos, recibe a Correcaminos de la U.A.T. en la copa MX y a Cruz Azul, dentro de la fecha 6 de la liga Bancomer.
El árbitro del encuentro Ricardo Arellano Nieves, bien a secas, un poco quisquilloso en mostrar tarjetas amarillas al conjunto camotero, pero su trabajo no influyó en el marcador y es lo relevante.
Por último, los cuadros fueron así:
Puebla: Jorge Villalpando, Óscar Rojas, Roberto Chávez (René Ruvalcaba), Jonathan Lacerda, Damarcus Beasley, Michael Orozco, Diego de Buen, Luis Noriega, Félix Borja (Alberto Medina, Alfredo Moreno (Brayan Martínez) y Matías Alustiza. D.T. Rubén Omar Romano.
Guadalajara: Luis Michel (Hugo
Hernández), Omar Esparza, Néstor Vidrio, Kristian Álvarez, Miguel Ponce, Antonio Gallardo, Patricio Araujo, Jesús Sánchez (Michael Pérez), Carlos Fierro, Rafael Márquez Lugo y Aldo de Nigris.
La opinión expresada en esta columna es responsabilidad de quien la escribe y no busca generar conflictos entre los involucrados, si no generar conciencia en cada lector.
Model: www.instagram.com/alicia___stewart/ Tools: Contax 167mt, Zeiss 50mm f1.4, Portra 160. Process and scan by Exposure Film Lab.
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Journal of the Royal Horticultural Society of London.
London.Printed for the Royal Horticultural Society by Spottiswoode & Co.
(Forts. fra side 1)
"[...] helt aar, mente jeg at ha gyldig
grund til at utsætte mit arbeide
med det store søilekapitæl, saameget
mer som det var kun med de største
vanskeligheter at jeg kunde fortsætte
arbeidet med monumentet, uten yder-
ligere pengeforstrækkelse fra Dem,
og med stigende og uoverkommelige
utgifter paa alle kanter. Jeg var
derfor tvungen til at la arbeidet med
kapitælet hvile og ta fatt paa andet
arbeide som indbragte mig hvad jeg
nødvendigvis trængte for at kunne
gjøre monumentet helt færdig.
Imidlertid har jeg nu faat selve
kapitælet i fuld maalestok færdig
og avsendt til stenhuggeriet og
reiser i neste uke selv derned for
at instruere angaaende opdelingen
m. m. Der gjenstaar nu kun fuld- [...]"
(Forts. side 3)
Dokumentet er hentet fra Trondhjems Magistrat: Olav Tryggvason-monumentet (Lnr. 979)
1. Gekko with Bokeh, 2. Sunny Hawaiian Mountains Seen Between Palms, 3. Depth of Pattern, 4. Fern Leaf, 5. Gash, 6. Surf Trunks, 7. Palm Patterns, 8. Banyan - One of Many in Hawaii, 9. Surfer at Top of Double Curl, 10. How Long Has This Surfer Been Riding This Wave?, 11. Surfer Dudes, 12. Wikiki Sands and Bathers, 13. Palms, 14. If Only I Could See Past the Blossoms, 15. Just Down the Street, 16. Droops, 17. Chinaman's Hat, 18. Cliffs at Hanauma Bay, 19. Brown Girl on White Sands, 20. Hanauma Bay with Palms, 21. Hula From A Performance Where They Said No Flash Cameras And I Did Not Use A Flash And They Nearly Took My Camera Away!, 22. Pink, 23. Above the Tree, 24. Zoomed Lights of Honolulu Hawaii
Senate Confirms Three to D.C. Superior Court t.co/wj4A8dSfTZ Legal aid lawyer, solo practitioner and…………… t.co/V4GpBGhPHo (via Twitter twitter.com/LawsuitInfoCent/status/746455283090677760)
www.camerapedia.org/wiki/Yashica_T2
TYPE: 35mm Lens Shutter camera with auto exposure and automatic Exposure control
LENS: Carl Zeiss Tessar T* 35mm F3.5 (4 elements in 3 Groups)
Auto Lens barrier: Opens only when shutter is released - then closes
SHUTTER: Programmed electronic Shutter (1/8 - 1/500 sec)
SHUTTER RELEASE: Electromagnetic release
SELF-TIMER: 10 secs. Can be cancelled midway
EXPOSURE CONTROL: Programmed AE system with SPD sensor.
Metering range: EV 6.6 - 17 (Iso 100) FILM
SPEED SETTING: Auto with DX film of ISO 50 - 1600
FOCUSING: Auto focusing 1m to infinity with Focus Lock
FILM ADVANCE & REWIND: Automatic
BUILT IN FLASH: Flashmatic type, automatic firing ion low light. Flash range 1-2.5 m (ISO100). Daylight synchro flash.
BATTERY: 6V Lithium battery. (2CR5) capable of 1000 frames (50% with flash) - equivalent to about 40 rolls of 24 exposure film.
Free download of the entire Abode of Chaos' Opus IX (504 pages)
Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
----------
Découvrez gratuitement l’intégralité de l’Opus IX de la Demeure du Chaos (504 pages)
voir les secrets de la Demeure du Chaos avec 144 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2013 www.AbodeofChaos.org
disneypinforum.com/showthread.php?10903-New-Disney-Store-...
Images just found (June 18, 2012) by TheOtherSteve on the Disney Store site, of the upcoming, redesigned 2012 Disney Store Singing Princess Dolls. They have the new look of the 12'' Princess Dolls whose images were discovered a couple of weeks ago.
www.carrefourtheatre.qc.ca[Facebook]
Souvenir du Tableau "Insomnie" d'Olivier Normand-Laplante
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| Plus d'images du show | More images of the show | Souvenirs des artistes ... |
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Ref: _DSC8094_1280
@instagram_JKT48 : From jkt48.zee: 🚊🚂 @keretaapikita @kai121_ #jkt48ontrain t.co/mWZGPlUHWs t.co/ZbbZ4vtmkS (via Twitter twitter.com/instagram_JKT48/status/1063270700801122304)
Mingle Media TV and our Red Carpet Report host Jessie Pridemore were invited to cover the the 67th Emmy Awards Costume Design Nominee Reception hosted by Television Academy Peer Group Governors Sue Bub and Terry Ann Gordon and the FIDM Museum.
The event honored this year’s nominees with a certification and launched the FIDM Museum’s Ninth Annual Outstanding Art of Television Costume Design Exhibition.
Save the Date: The 67th Primetime Emmy Awards, hosted by Andy Samberg, airs live Sunday, September 20 (8:00 PM ET / 5:00 PM PT) on FOX from the Nokia Theatre L.A. LIVE in Los Angeles. For more info, please visit www.emmys.com
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
About FIDM Museum’s Ninth Annual Outstanding Art of Television Costume Design Exhibition
The free-to-the-public exhibition will be held in downtown Los Angeles at the FIDM Museum & Galleries at FIDM/Fashion Institute Design & Merchandising and runs from Tuesday, July 21, 2015 through Saturday, September 26, 2015. Museum hours are 10 a.m. – 5 p.m., Tuesday through Saturday.
FIDM Museum & Galleries on the Park FIDM/Fashion Institute of Design & Merchandising 919 S. Grand Avenue, Los Angeles, CA 90015
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host, Jessie on Twitter at twitter.com/JessiePridemore
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
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and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
Bain News Service,, publisher.
British Going on Picket -- Mesopotamia
[between ca. 1910 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.20814
Call Number: LC-B2- 3724-5
Bain News Service,, publisher.
Tsa Tien - Chin, Chang Chi
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.23529
Call Number: LC-B2- 4097-8
2600 x 2600 pixel image designed to work as wallpaper on most iOS devices.
Typefaces: Bayshore, Saltash
Merchandise available: www.redbubble.com/people/x1brett/works/76118889-it-is-bet...
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections • sets
event | 2013 ENNSTAL-CLASSIC • Styria 💚 Austria
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
---
#rumoto_images, #Bernard_Egger, #oldtimerfotograf, #Ennstal_Classic, Mercedes-Benz 38/250 SSK, Mercedes-Benz SSK, NJ6004, Sir Athur Conan Doyle, german cars, Моторспорт фотография, Motorsport, старинных автомобилей, машина, авто, Automobile, 車, Oldtimer, Klassiker, classiche, classica, classic cars, vintage cars, historic cars, motoring, legends, historique, race cars, Rennwagen, classic sports cars, stunning, awesome, Passione, Emozioni, Mythos, Leggenda, Nikon FX, Christian Nell Restauration, s/w, bw, mono, monochrome,
📷 | 1928 Mercedes-Benz 38/250 SSK 7.0 Litre - Sir Athur Conan Doyle - 2013 restauration by Christian Nell, Austria :: rumoto images # 5741 bw
MIJAS NATURAL (Beauty & Hair), Centro de BELLEZA en Mijas Pueblo (Málaga - España) / Estética - Estilismo (Peluquería) - Asesoría de Imagen - Solarium - LPG - Micropigmentación - Fotodepilación - Plataforma Vibratoria - Dietética y Nutrición - Psicología - Técnicas Corporales (Pilates) ift.tt/NtOUix info@mijasnatural.com Tfno. 952 590 823
Vicksburg, Mississippi (est. 1825, pop.23,542) • Facebook • Photographic Tour of Civil War Vicksburg • MS Delta
• designed by Cincinnati architect Edward J. Schulte (1890-1975), designer of over 88 churches • the original 1849 church on this site was destroyed by a tornado, 1953 • Civil War era photo
• Uptown Vicksburg Historic District, National Register 93000850, 1993
Tenerife.
Pyramids of Güimar.
In 1969 and 1970, Heyerdahl built two boats from papyrus and attempted to cross the Atlantic Ocean from Morocco in Africa. Based on drawings and models from ancient Egypt, the first boat, named Ra (after the Egyptian Sun god), was constructed by boat builders from Lake Chad using papyrus reed obtained from Lake Tana in Ethiopia and launched into the Atlantic Ocean from the coast of Morocco. The Ra crew included Thor Heyerdahl (Norway), Norman Baker (USA), Carlo Mauri (Italy), Yuri Senkevich (USSR), Santiago Genoves (Mexico), Georges Sourial (Egypt), Abdullah Djibrine (Chad). After a number of weeks, Ra took on water after its crew made modifications to the vessel that caused it to sag and break apart. The ship was abandoned and the following year, another similar vessel, Ra II, was built of totora by Demetrio, Juan and Jose Limachi from Lake Titicaca in Bolivia and likewise set sail across the Atlantic from Morocco, this time with great success. The crew was mostly the same, only Djibrine had been replaced by Japanese Kei Ohara and Madani Ait Ouhanni (from Morocco). The boat reached Barbados, thus demonstrating that mariners could have dealt with trans-Atlantic voyages by sailing with the Canary Current.
By Catedrales e Iglesias
© Álbum 2252
By Catedrales e Iglesias
Arquidiócesis de México
Sitio Oficial de la Arquidiócesis de México
www.arquidiocesismexico.org.mx/
San Andrés Apóstol
Parroquia y convento de San Andrés Apóstol que fue construido en el siglo XVI. Su fachada principal cuenta con muros de 90 cm. de ancho construidos con piedra de Tezontle.
Templo de San Andrés
El templo y convento de San Andrés, edificado en 1537 bajo la supervisión de los frailes agustinos, se levantó sobre lo que fuera un teocalli mixquica, pero la iglesia se derrumbó quedando sólo la torre del campanario. Hacia 1600 fue reconstruida tal y como se encuentra ahora, aunque separada de la torre del primer templo. La fiesta patronal de San Andrés se celebra el 30 de noviembre.
En 1530 se instituyó el verdadero gobierno de la Colonia en trato directo con los pueblos indígenas: el corregimiento, que apareció como una alternativa a la encomienda y fue un sistema de gobierno y recaudación de tributos de los indígenas para la corona. Pronto Cuitláhuac y Mixquic se convirtieron en encomiendas privadas; sobreviviendo así hasta bien entrado el siglo XVII, ligados al corregimiento o alcaldía mayor de Chalco.
En Mixquic, cuyo nombre significa "en el mezquite", hemos logrado conservar nuestra ancestral tradición de culto a la muerte mediante diversas formas. Una de ellas son los vestigios labrados, encontrados en distintas excavaciones realizadas en el Pueblo, en los que predominan las figuras de calaveras que, hasta hace algunos años, adornaban las fachadas de algunas de nuestras casas.
La Muerte
Cada año las familias nos encontramos con nuestros seres queridos a través de una celebración cuyos preparativos inician dos o tres meses antes en todos los hogares.
La Muerte
Cada año las familias nos encontramos con nuestros seres queridos a través de una celebración cuyos preparativos inician dos o tres meses antes en todos los hogares.
Arqueología
Éste es el patio de la Parroquia de San Andrés, un sitio arqueológico donde destacan Mixquixtli, diosa de la vida y de la muerte, y la escultura de un chac-mool franqueada por dos aros del Juego de pelota. También se encuentran calaveras labradas en piedra volcánica.
Muchos de los objetos encontrados en este lugar, puedes verlos en el Museo de sitio de nuestra localidad.
El Vapor Esperanza
Durante todo el siglo XIX, Tláhuac, Mixquic y los demás pueblos enclavados a la orilla del lago fueron testigos mudos de diversos proyectos. Unos consideraban indispensable desecar los lagos, otros sugerían aprovecharse de ellos con fines de transporte, canalización e irrigación y, para unos más, una y otra acción debían combinarse en el desarrollo planificado de la Ciudad de México.
Superficie Total y Colindancias
La Delegación Tláhuac tiene una superficie de 8,534.62 hectáreas, está ubicada en la zona sur-oriente del Distrito Federal y ocupa un 5.75% de la Ciudad. Colinda al norte y noreste con la Delegación Iztapalapa; al oriente, con el municipio Valle de Chalco Solidaridad, Estado de México; al sur, con Milpa Alta, hasta el vértice del volcán Teuhtli, y al suroeste y oeste, con Xochimilco.
Templo de San Andrés
El templo y convento de San Andrés, edificado en 1537 bajo la supervisión de los frailes agustinos, se levantó sobre lo que fuera un teocalli mixquica, pero la iglesia se derrumbó quedando sólo la torre del campanario. Hacia 1600 fue reconstruida tal y como se encuentra ahora, aunque separada de la torre del primer templo. La fiesta patronal de San Andrés se celebra el 30 de noviembre.
Mixquixtli
En San Andrés Mixquic hay un sitio arqueológico en el patio de la Casa Cultural de la Parroquia de San Andrés, localizada en el centro del poblado. Destacan ahí piezas tales como la figura de Mixquixtli, diosa de la vida y de la muerte, y la escultura de un chac-mool, el mensajero de los dioses, misma que está franqueada por dos aros del Juego de pelota.
Cómo Llegar
Dirección: Carretera a San Andrés Mixquic.
Aire Libre
Además de poder realizar algún paseo por los canales en el área de chinampería, también se pueden efectuar reuniones familiares al aire libre, pues existe una isleta a la que se ha dotado de las instalaciones necesarias para eso.
Arqueología
Entre los hallazgos arqueológicos de San Andrés, se encuentra la escultura en piedra de Mixquixtli, diosa de la vida y de la muerte, ubicada en el antiguo panteón prehispánico, y la escultura de un chac-mool, mensajero de los dioses, flanqueado por dos arcos del Juego de
pelota y unas columnas con figuras de Quetzalcóatl.
Es un pueblo originario de Tláhuac que te ofrece una variedad de atractivos históricos y culturales. Aquí puedes disfrutar de nuestros tradicionales antojitos, principalmente derivados del maíz, como los tlapiques, las gorditas de nata, los tlaxcales, los tamales de elote y de frijol, el chileatole y los esquites con chorizo.
Bain News Service,, publisher.
Fitziu
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.26419
Call Number: LC-B2- 4527-12
PsP.gallery
500px
YouPic
PsP (Wordpress)
Kavyar
Rothenburg ob der Tauber, Germany is a well-preserved medieval town, which has become a destination for many tourists from around the world. This tourist trade has woken up this sleeping beauty of a town and brought it back to life.
Käthe Wohlfahrt's year-round Christmas store is located next to one of Rothenburg’s newest attractions the German Christmas Museum. Both are easy to find, they are opposite the mighty medieval City Hall and this colorful truck loaded with gifts is parked in front.
Merry Christmas!
Phyllanthaceae » Phyllanthus urinaria
fil-LAN-thus -- meaning, flower leaf; it appears to flower from a leaf like stem
¿ you-REE-nay-ree-uh ? -- plant considered to treat disorders of the urinary tract
commonly known as: chamber bitter, common leaf-flower, shatterstone • Bengali: hazarmani • Hindi: हजारमणी hajarmani, लाल भुईंआंवला lal bhuinanwalah • Kannada: ಕೆಮ್ಪು ಕಿರುನೆಲ್ಲಿ kempu kirunelli, ಕೆಮ್ಪು ನೆಲನೆಲ್ಲಿ kempu nelanelli • Malayalam: ചിറുകീയുകനെല്ലി chirukizhukanelli, ചുക്കാന്കീഴ്നെല്ലി chukannakizhanelli • Manipuri: চকপা হৈক্রূ chakpa-heikru • Marathi: लाल भुईआवळी laal bhooyiavali • Nepalese: खनतड kanthad • Sanskrit: भूम्यामलकी bhumyamalaki, उज्झटा ujjhata • Tamil: சிவப்பு கீழாநெல்லி civappu kilanelli, சிறு கீழாநெல்லி cirukilanelli • Telugu: ఎర్ర ఉసిరిక erra usirika
Native to: tropical east Asia
References: Flowers of India • oswaldasia • NPGS / GRIN • ENVIS - FRLHT • DDSA
The "Lock Up The Year" Royal Canal Trail Marathon was held on the banks of the Royal Canal from Moyvalley, Co. Kildare to Leixlip, Co. Kildare on Tuesday 31st December 2012 at 09:00. The race started at Furey's Pub at Moyvalley (goo.gl/maps/3pqhF) and proceeded westwards to Blackshade bridge (goo.gl/maps/4yVNI) where the race turned around and then the route was direct back to Leixlip. The running route followed the Royal Canal Way from start to finish. There was also the option of a 1/2 marathon (from Cloncurry Bridge near Enfield) and a 10KM distance from The Maws at Kilcock. This event is made possible through the cooperation of East Of Ireland Marathons and Jarlath B. Hynes and Brendan Murphy from Leixlip, Co. Kildare (see a Facebook group page here www.facebook.com/groups/524790427539290/?fref=ts). The key aspect of this run is that they are three races are informal and self supported runs along on the Royal Canal Way trail. There is no chip timing, water stops, marshals, massages, t-shirts or prizes. But it ise an enjoyable run along the Royal Canal and a chance to meet up with fellow runners during the race and then after it at the Le Cheile clubhouse in Leixlip. There are some nice numbers for the race today. 26.2 miles, 2 counties, 5 traversals in and out of Meath and Kildare, crossing 6 roads, and passing under 5 bridges before the finish outside the Leixlip amenities center.
Due to recent heavy rains the canal towpath (particularly between Cloncurry and Kilcock) was very wet and muddy and proved difficult and testing terrain for all of the runners. However despite a strong breeze at a few sections the weather was bright and dry and made for good running conditions.
This photograph is part of a larger set of photographs taken of the event(s) today. They are all available for viewing in this Flickr set. www.flickr.com/photos/peterm7/sets/72157639233559965
The Royal Canal is a very special piece of Irish Heritage. It's waterway channel and it's banks have seen much history with both the rise and subsequent decline in railway and canal travel and transportation. Our run on the Royal Canal is made possible by the incredible hard and dilligent work by the Inland Waterways of Ireland and countless volunteer individuals who turned their vision of a restored Royal Canal into reality.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some Useful Links
The Lock Up The Year website: sites.google.com/site/lockuptheyear/
Lock up the Year Facebook Group: www.facebook.com/groups/524790427539290/?fref=ts
Leixlip Le Cheile Athletic Club: www.lecheileac.com
Royal Canal Trail Marathon - Our Flickr Photographs from December 2012: www.flickr.com/photos/peterm7/sets/72157632391728899/
A pictorial description of the Royal Canal Way Marathon Route: www.peterm7.com/marathons/royalcanal2013/
East of Ireland Marathons: www.eastofirelandmarathons.com/
Garmin GPS trace of the 2012 Lock Up The Year Marathon: connect.garmin.com/activity/256320990
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set are available for view and download under a Creative Commons License (www.flickr.com/creativecommons/). This means you can view them, post them to other websites, use them, etc provided you provide a link back to the original photograph or photoset here on Flickr. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution also. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
