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Photos of the Law School's 2017 Graduation, which includes shots of the University Convocation and Law School's Diploma and Hooding Ceremony
This KAP rig includes:
- Tactic 2.4GHz Radio receiver (4 channels)
- Brooxes Basic KAP Kit with Picavet
- Brooxes Bolt-on Leg Brackets with Carbon Legs
- Brooxes Better Gear Guide with - Standard Gears
- Brooxes Hangups
- Brooxes Pan Gear Upgrade
- Parallax Continuous Rotation Servo
- Ball-Bearing Blocks for the Picavet
- Hitec HS-645MG
- LiPo Balancing Charger
- LiPo 2S 7.4V 800mAh 25C
- GenWIRE-FOCUS
- KAPshop LipoSaver
We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.We will walk you through this spiritual journey of wellness. The syllabuses taught to trainee teachers vary with the school but include the components of hatha yoga, namely asana, pranayama, and bandhas, and sometimes details of the subtle body with chakras, nadis and koshas; meditation; anatomy and physiology; psychology and philosophy of yoga; teaching methods; and the practicalities of running a yoga business. Some attention may be given to specific techniques such as Restorative Yoga and yoga nidra.
Photos of the Law School's 2017 Graduation, which includes shots of the University Convocation and Law School's Diploma and Hooding Ceremony
****INDIVIDUAL ITEMS SOLD SEPARATELY IN WORLD****
Includes:
⚫Box Couch (Adult)
⚫Box Arm Chair (Adult)
⚫Coffee Table
⚫Texture Hud
⚫Ceiling Lamp (Click for On/Off) (Adjustable for lower ceilings)
⚫Wood Burner (Click for flame+sound On/Off)
⚫Lemonade Jug (Giver) ([AV]menu Click for wearable drinks)
⚫Lemonade Jug+Glass (Decor)
⚫Lemons+Mint (Decor)
⚫Mother-in-Law's Tongue Plant (Decor)
---------------------------------------------------------
Box Couch;
Animations:
⚫6 Single Sits M&F
⚫6 Hugs + Sequence
⚫24 Sex(16 sitting + 8 laying) W/ Speed Control + 2 Sequences
---------------------------------------------------------
Box Arm Chair;
Animations:
⚫6 Single Sits M&F
⚫6 Hugs + Sequence
⚫16 Sex W/ Speed Control + Sequence
Both Compatible with:
⚫Physics Cock & V Bento
⚫MyStory (+5% Energy/+5%Happiness/+5%Social)
Lemonade:
There is a decor version and a scripted version of the Lemonade.
the scripted version uses [AV]menu, (For auto-attach add the Avsitter experience to your land) Anyone can touch and get a drink from the menu (Bento hold or drink animations) and it will auto-detach after 5 mins.
Texture hud with 3 sections, 1 part for the couch, 1 part for the arm chair and the middle has the coffee table textures.
Land Impact:
⚫Box Couch 12 Prim
⚫Box Arm Chair 6 Prim
⚫Coffee Table 2 Prim
⚫Texture Hud
⚫Ceiling Lamp 1 Prim
⚫Wood Burner 5 Prim
⚫Lemonade Jug 2 Prim
⚫Lemons+Mint 2 Prim
⚫Mother-in-Law's Tongue Plant 1 Prim
Copy/Mod
Original Mesh
Demo:
maps.secondlife.com/secondlife/Tealeaf/247/37/33
Marketplace:
marketplace.secondlife.com/p/Cazaz-Box-Couch-Set-Adult/25...
I just received recently an AF-Nikkor 1:2 f=35mm lens to complete a small kit around my Nikon F4 year 1989 (see below for details). The kit is now includes 3 very classical AF-Nikkor lenses of the same period of the Nikon F4 camera body, including the standard 1.4/50mm, the 1.8/85mm and now the 2/35mm. The choice of fixed-focal lenses instead of zooms was already in 1989 a bit old-fashioned. However many photographers preferred still the homogenous rendering of a photo series done with a single focal lens. Generally speaking, a 35mm focal is a charming moderate wide-angle, very easy to use and particularly adapted for architectural and street-photography.
The AF-Nikkor 1:2 f=35mm is not a rare lens. However, when looking on eBay there was not tens of them available. I bought a good one form a Belgian seller at a normal price (180€). The lens is in very good mechanical and optical condition and came with the rear and front caps. I sourced the dedicated Nikon HN-3 shade hood separately for 10€ but here I preferred (only for the look!) to use a rectangular Minolta D54KC designed for the MC-Rokkor 1:2.8 f=35mm.
For testing the lens, I loaded my Nikon F4 with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modify the nominal DX-coded 400 ISO sensitivity.
The AF Nikkor lens 1:2 f=35mm was equipped for the whole session with a generic 52mm screw-on yellow filter. The light metering was done through tteh lens (TTL) either in the matrix or the spot metering of the Nikon F4 used in the "A" aperture-priority auto mode or the manual mode. The weather was very clear and a bit cold (-1°C outside).
La Part-Dieu***, January 12, 2024
69003 Lyon
France
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***(Wiki) La Part-Dieu (French: [la paʁdjø]) is a quarter in the 3rd arrondissement of Lyon, France. It is the second-largest tertiary district in France, after La Défense in Paris. The area also contains Lyon's primary railway station, Lyon-Part-Dieu.
This urban centre also provides major entertainment and cultural facilities, including one of the largest urban shopping malls in Europe, 800 shops, Paul Bocuse indoor food market, café terraces, the Auditorium concert hall, Bourse du Travail theatre, Municipal Library, Departmental Archives and Fort Montluc. It contains several High-rise buildings, including the Tour Incity (202 m (663 ft)), the Tour To-Lyon (171 m (561 ft)) and the Tour Part-Dieu (164 m (538 ft)).
The central business district is currently undergoing major renovation and construction works, according to a revitalization project totalling €2.5 billion between public and private investments.
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I did not use my Nikon SB-26 flashlight for any views in this session. After completion the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
____________
About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. 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
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. 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
July 16; 2013. Cambridge; MA. Rally for Divestment from Israeli Occupation; Harvard Sq. About 90 people marched to TIAA-CREF to demand a divestment resolution to take teachers’ retirement money out of companies that violate Palestinian human rights. TIAA-CREF officials for the second time refused to allow investors to vote on a resolution submitted by over 200 CREF shareholders calling on the pension giant to divest from occupation. The march was one of 16 held nationwide on the day of TIAA-CREF’s annual shareholder meeting, sponsored by the We Divest Coalition, which includes Jewish Voice for Peace, the American Friends Service Committee, and Grassroots International.
© 2013 Marilyn Humphries
Pieces include saddle blanket, aqua bucket, aqua bottle, pink brush, and fencing ( cracked on the corner )
Willing to sell any pieces.
The Motherland Calls (Russian: Родина-мать зовёт!, romanized: Rodina-mat' zovyot!) is a colossal neoclassicist and socialist realist war memorial sculpture on Mamayev Kurgan in Volgograd, Russia. Designed primarily by sculptor Yevgeny Vuchetich with assistance from architect Yakov Belopolsky, the concrete sculpture commemorates the casualties of the Battle of Stalingrad, and is the predominant component of a larger monument complex, which includes several plazas and other sculptural works. Standing 85 metres (279 ft) tall from the base of its pedestal to its peak, the statue was the tallest in the world upon its completion in 1967, and is the tallest statue in Europe if excluding the pedestal. The statue, along with the rest of the complex, was dedicated on 15 October 1967, and has been listed as a tentative candidate for UNESCO's list of World Heritage Sites since 2014.
The sculpture depicts a female personification of Russia, commonly referred to as Mother Russia. She wears a windswept shawl resembling wings, and holds a sword aloft in her right hand. Her left hand is extended outward, as she calls upon the Soviet people to battle. The statue was originally planned to be made of granite and to stand only 30 metres (98 ft) tall, with a design consisting of a Red Army soldier genuflecting and placing a sword before Mother Russia holding a folded banner, but was changed in 1961 to be a large concrete structure at nearly double the height, a decision that was subject to criticism from Soviet military officials and writers. It was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike.
The construction of The Motherland Calls began in 1963, and was led by structural engineer Nikolai Nikitin. The project faced numerous challenges, including the assembly of the statue's framework and its intricate features, which were compounded by the statue's size. Delays were caused by cold weather and unforeseen geological issues, necessitating extensive foundation reinforcement and relocation of water systems. Additional complications arose with the statue's sword, which was required to be redesigned due to problems with wind resistance. Despite these obstacles, the memorial was completed in 1967 for the 50th anniversary of the October Revolution.
After its dedication, the sculpture underwent numerous alterations and restoration attempts. In 1972, the statue's sword was replaced with a higher-grade steel alloy version to reduce wind resistance, and by 1986, it had tilted significantly from its original axis. Concerns about the statue's structural integrity arose by the early 21st century, with the statue in disrepair and at risk of collapsing. Comprehensive restoration efforts began later in the century, and by 2020, the monument had undergone extensive restoration, although post-renovation critiques and new structural issues have since arisen.
The Battle of Stalingrad was a major conflict between the Soviet Union and Nazi Germany on the Eastern Front of World War II, fought over six months from July 1942 to February 1943. The battle resulted in a decisive Soviet victory but came at a tremendous cost, with over a million estimated Soviet deaths. The battle was quickly mythologised in Soviet culture, and was widely referred to as the turning point in the war in Soviet history textbooks.
The idea of commemorating the Soviet victory in the Battle of Stalingrad originated in the final years of the war. Soviet politicians and artists had considered designs for monuments to the battle prior to the war's end, and the first museum honoring the Great Patriotic War was established as early as March 1943. In 1944, the publication Arkhitektura SSSR issued a number of articles detailing possible designs for memorials. Following the end of the war in 1945, several small-scale obelisks and commemorative plaques were erected across the Soviet Union; however, larger plans for monuments were curtailed by leader Joseph Stalin, who sought to refocus attention on emerging Cold War conflicts, virtually prohibiting all public observation of the war by 1948.
In 1948, sculptor Yevgeny Vuchetich, a member of the Academy of Arts of the Soviet Union, began discussing plans for a monument for the Battle of Stalingrad with architect Yakov Belopolsky, whom he had previously collaborated with on the development of the Soviet War Memorial in Berlin's Treptower Park.[6] The project was intended to be built atop Mamayev Kurgan, a burial mound that was the site of intense conflict during the battle. Vuchetich started petitioning high-ranking Soviet officials for permission to design the monument in the early 1950s, including Politburo member Georgy Malenkov.[8] In a letter to Malenkov dated December 1951, Vuchetich claimed that he had received multiple inquiries from veterans and family members of those who died in the war about the absence of a memorial on Mamayev Kurgan.
After Stalin's death in March 1953, plans for a memorial on Mamayev Kurgan were revitalised. In March 1954, the Council of Ministers announced a competition for the design of a "State Museum of the Defense of Tsaritsyn-Stalingrad", which would include a large panoramic painting depicting the battle; by this time, Vuchetich and Belopolsky had already finalised drafts for the project's structural designs. On 23 January 1958, the Council of Ministers declared that the construction of "a memorial-monument in the city of Stalingrad commemorating victory over the German fascist force" would be overseen by a committee led by Vuchetich and comprising Belopolsky and Anatoly Garpenko, an artist and Red Army veteran.
Vuchetich and Belopolsky's initial designs for the project were ambitious and took much of their inspiration from the memorial at Treptower Park. The entrance to the monument was planned to feature a triumphal arch that led into a granite staircase, followed by a brick staircase in an avenue of Lombardy poplar trees. A second granite staircase would lead to a circular plaza, with a large granite statue of a Russian man titled Stand To the Death!. Behind the statue, a final granite staircase would lead to a plaza with an entrance to an underground complex called the "Panorama". A cupola-shaped hall would include an eternal flame to memorialise the heroes of Stalingrad, a sculpture of a man shaping a sword into a ploughshare, and walls engraved with the names of those who died in the battle. An exit at the end of the hall led to a second observation platform with a panoramic painting depicting a prosperous post-war Stalingrad.
The principal component of the project was to be a colossal statue at the top of Mamayev Kurgan; at the statue's base, a foyer would be built in order to allow visitors to honor the dead with commemorative gifts. The statue was designed according to the principles of neoclassicism and socialist realism, both artistic styles that Vuchetich specialised in. The original plan for the sculpture was to have it constructed entirely of granite, with a design featuring a Red Army soldier genuflecting and placing a sword before a female personification of Russia, commonly referred to as Mother Russia, holding a folded banner; this was later changed to be a concrete statue of a lone Mother Russia wearing a windblown shawl resembling wings and holding a sword aloft in her right hand, with her left hand extended outward as she calls upon the Soviet people to fight against the enemy. The design was inspired by the Winged Victory of Samothrace, an ancient Greek sculpture of the goddess of victory, Nike. Committee members initially suggested that the sculpture should be dressed in traditional Russian clothing. Vuchetich objected to the proposition, arguing that a traditional costume would diminish the idea of the battle as an "international event" and defy the neoclassical style he had envisioned for the statue. The sculpture was initially planned to be 30 metres (98 ft) tall from its pedestal to its peak; however, Soviet leader Nikita Khrushchev ordered it to be taller than the 46 metres (151 ft) tall Statue of Liberty in a display of dominance over the United States, their geopolitical rival during the Cold War. The height of the statue alone was increased to 52 metres (171 ft), nearly double the originally planned height, a decision that further increased the project's cost, which had already substantially overrun its budget. Valentina Izotova, a 26-year-old waitress at a local restaurant, was chosen by Vuchetich to be the model for the sculpture, while the face of the statue is believed to have been based on that of Vuchetich's wife.
The choice to make The Motherland Calls the primary feature of the monument complex was met with derision from Soviet military officials, including generals Andrey Yeryomenko and Mikhail Shumilov, who believed the statue's design would detract from the importance of the Panorama, which they thought to be the only structure that could faithfully represent the extent of the soldiers' experiences. Vuchetich rationalised the decision by asserting that the monument should reflect the widespread recognition of the Battle of Stalingrad as the turning point of the war, and marketed the project as one part of a sculptural triptych that would encompass the memorial at Treptower Park and a planned monument in Moscow. The planned sculpture also attracted criticism from Soviet writers, including author Viktor Nekrasov, who claimed that the monument would defile the historic site.
While construction on the rest of the monument complex began in 1961, work on The Motherland Calls did not start until late 1962. Vuchetich's final design for the sculpture was approved by the artist committee in December of 1962, and on 23 January 1963 the Council of Ministers ordered the development of blueprints for the statue. The process of building of the monument would prove to be more complicated than anticipated by its developers, primarily due to its size and the complexity of its details. After the Sculptural Group of the Artistic Fund requested to be relieved of their construction duties and the construction firm Volgogradgidrostroi expressed reservations about taking over the project, structural engineer Nikolai Nikitin was appointed to lead the construction efforts.
In 1963, Nikitin's design team began planning the construction process for the monument, finalizing their designs by August. Nikitin began his role as head of the team by emphasizing unresolved issues, specifically the lack of geological and hydrological studies that had been recommended earlier in the year. In a report to the Ministry of Culture made in September, he insisted that these studies were crucial due to the extensive construction already completed and the need to ensure the foundation's durability and stability, particularly given the presence of mellite clays on Mamayev Kurgan; the hill could only support the structure if the moisture of its soil remained low. Nikitin noted that the foundation, initially designed for a statue half the height, required thorough investigation to confirm its suitability. Almost immediately following his report, the Ministry sent a team to Volgograd to thoroughly investigate the issues.
Construction on The Motherland Calls commenced in November 1963. The statue, made entirely of reinforced concrete, used a special hydrostatic cement mixture that had been developed for the construction of the Ostankino Tower in Moscow. The statue's structure featured an internal framework of vertical and horizontal diaphragms forming cells that were 3 metres (9.8 ft) wide, 3 metres deep, and 4 metres (13 ft) tall, extending from its 2-metre (6.6 ft) pedestal to its neck. The external surface was a reinforced concrete membrane varying in thickness from 25 to 60 centimetres (9.8 to 23.6 in). Construction involved pouring concrete in 50-centimetre (20 in) increments into the forms shaping the vertical diaphragms, allowing each layer to harden before proceeding. Workers used small vibrators to settle the concrete, eliminate air pockets, and ensure even pours, working manually due to the tight spaces. Each 4-metre-high section was capped with a horizontal diaphragm, serving as the foundation for the next section. The statue's head, arms, and scarf were cast separately and attached using cantilevered junctions and large steel bolts, with the metal sword anchored in the right hand. Its stability was ensured by a complex system of steel tension cables to counteract wind forces, monitored by seismographic and meteorological instruments inside the structure. A radio transmitter was installed in the statue's head in order to transmit data on ground vibrations, surface temperatures, and humidity. Passageways within the statue were built to allow for interior inspections, while the exterior would be visually examined.
Initially, crews focused on assembling the metal framework designed to support the internal diaphragms, followed by welding the rebar for the external membrane and creating the plaster molds for the statue's surface. The concrete pedestal was poured, and by the end of 1963, the shawl pieces and the empty hand had been made and attached to the framework. However, the arrival of subfreezing temperatures halted further concrete pouring, which could not resume until the spring; plans were set to complete this phase of the construction by 1 July 1965. The statue's head and sword hand were then mounted, with the metal sword set to be installed later. During this period, the construction of other components of the memorial, such as the "Wall Ruins" and parts of the "Square of Heroes", progressed significantly.
Despite initial forecasts for a November 1965 opening, the construction timeline was extended into the late summer of 1966. This delay was partly due to emerging issues with the sculpture's foundation and the stability of the surrounding soil, prompting geological investigations that uncovered several critical deficiencies in the initial surveys. For instance, examinations of Mamayev Kurgan's substrata were only carried out to a depth of 9 metres (30 ft), rather than the necessary depth of at least 46 metres (151 ft). Additionally, there had been no measurement of the soil's compression under the statue's weight, nor was there any consideration of how the expansion of waterlogged clay could impact the foundation. No comprehensive assessment was made of potential groundwater sources, and no tests to evaluate the stability of the mound's slope were conducted. Addressing these issues required significant effort and expense; in early 1966, officials concluded that the only solution involved relocating all water supply pipes and reservoirs buried within the mound to a distance of at least 273 metres (896 ft) from the statue's base in order to improve drainage around the structure. The statue's foundation was reinforced, and several thousand cubic metres of extra earth were backfilled to create a levee around the pedestal. However, these adjustments necessitated the removal of several graves previously located at the hill's summit and a reduction in the size of the plaza where the Grief of the Motherland statue and the Pantheon, which had replaced the Panorama due to issues with the latter's foundation, were situated. These remedial efforts continued into 1967.
In May 1966, crews hoisted and secured the 14-ton, 28-metre-long (92 ft) sword into the statue's right hand. The sword was constructed from stainless steel and bolstered by plates made from titanium. However, by late August, strong winds revealed that the sword and its anchoring structure were subjected to lateral forces that had not been accurately accounted for. The sword's tip was observed wavering by nearly 1 foot (0.30 m) in either direction, posing a risk to the integrity of the joint connecting the arm to the metal framework. This movement resulted in visible cracks in the concrete surface around the area. A committee was formed to investigate further, who concluded that the existing sword needed replacement; temporary measures were applied, included cutting holes in the current sword and reinforcing the joint until a permanent fix could be implemented.
In February 1967, the Council of Ministers mandated that all remaining work on the memorial complex be completed by 15 October for the 50th anniversary of the October Revolution. Laborers worked throughout the spring and summer to meet this deadline, completing the earthen levee surrounding the main monument's pedestal, relocating the remaining leaking irrigation pipes and reservoirs, reinforcing the sword, installing sound and lighting systems across the complex, and setting in place the final sculptural and landscaping elements. The last major obstacle arose from complications with the Pantheon; as crews applied the mosaics to the Pantheon's interior walls in early 1967, they discovered inconsistencies in the glass tiles. With only four months until the scheduled opening, Vuchetich urgently sought intervention from officials to expedite a solution. Supplementary glass was quickly produced and delivered, and several hundred soldiers from a local garrison were enlisted to aid in construction. The crews worked diligently, completing the Pantheon's mosaic walls in under a month for the complex's opening. Once finished, the full sculpture stood 85 metres (279 ft) tall from the base of the pedestal to the top of the sword, and was the tallest statue in the world upon its completion; it remains the tallest statue in Europe.
The dedication of the memorial occurred on 15 October 1967. The event drew tens of thousands of people to Mamayev Kurgan, along with reporters from official press outlets, including Izvestia and Pravda, who wrote extensively on the memorial's scale and significance, describing the statue as a tribute to the heroism of Stalingrad's defenders. Vuchetich, along with the engineers and construction workers, were lauded for their contributions to the project, with reporters drawing parallels between their efforts and those of the soldiers who defended the city.
The opening ceremony featured speeches from party leaders and military representatives, who highlighted various themes such as the valor of those who fought in the battle, the importance of remembering past sacrifices, and the role of the Red Army in defeating fascism. Premier Leonid Brezhnev's keynote address framed the monument as a testament to Soviet unity and postwar recovery, while also emphasizing the USSR's commitment to peace and culture in contrast to American actions during the Vietnam War. The speeches collectively stressed the significance of the memorial in preserving the memory of the war and its heroes, and praised the Soviet people's enduring loyalty to the Communist Party and its Central Committee.
The years after the statue's dedication were primarily marked by alterations and several attempts at restoration. A year after the monument's opening, cracks had already started to form on the statue's surface. In order to preserve the monument, the head and hands of the sculpture were treated with a waterproofing agent once a year. In 1972, the statue's sword was replaced with a higher-grade steel alloy version featuring jalousie-like slits to reduce wind resistance. The sculpture's surface received a maintenance inspection in 1986; by this time, it had tilted 60 millimetres (2.4 in) from its original vertical axis since its initial assessment in 1966.
Between 2008 and 2009, a comprehensive safety and reliability program for the statue was developed and approved by the Russian Ministry of Culture. However, by 2009, concerns had been raised about the structural integrity of the structure; the statue's foundation was not anchored but held in place by its own weight, and was subsiding as a result of rising water levels. By this time, pieces of concrete had already begun to fall off the statue, nearly injuring passersby, and it had tilted approximately 20 centimetres (7.9 in), with further tilting risking collapse. Estimated costs to repair the structural issues were over 7 million USD (equivalent to $9,664,521 in 2023); however, efforts to secure funding for restoration were complicated by the Great Recession, and previous attempts to allocate government funds for restoration had been undermined by misappropriation. Large-scale restoration work on the sculpture funded by the federal budget began in 2010. Initial steps included replacing the piezometric network (a system for measuring pressure) to allow for hydrogeological monitoring, studying the reinforced concrete's condition, and analyzing cracks and other defects.
In 2014, the sculpture, along with the surrounding complex, was listed as a tentative candidate for UNESCO's list of World Heritage Sites. Following the 70th anniversary of the Soviet victory in the Great Patriotic War in 2015, the statue was set to undergo further renovation, with 99 of its 117 steel cables requiring replacement. By 2017, the cables had not yet been replaced, though plans were made to address the replacement along with other maintenance needs, with additional restoration efforts set to be conducted after the end of the 2018 FIFA World Cup, which was held in Russia. In late 2018, the construction company Glavzarubezhstroy completed preparations for the external restoration of the sculpture, which included creating access for special equipment, fencing off the area for material storage and worker camps, installing a two-metre fence around the sculpture, removing the lawn, setting up external lighting for the duration of the work, and digging trenches around the statue's base. In early 2019, the observation deck at the foot of the statue was closed off to visitors until March of the following year in order to allow for additional restoration work to its pedestal, surface, and framework. In May, the sculpture had begun to be covered in scaffolding, and the granite slabs at the pedestal were removed. Restoration on the external features of the monument continued from July to November, including cracks being filled in and the surface being painted with white lead. In November, the scaffolding and the pedestal's slabs were removed, with internal renovations to be finished before Victory Day on 9 May 2020, the 75th anniversary of the end of the battle. The restoration of the monument was completed in March 2020; however, due to the COVID-19 pandemic, the reopening ceremony that had originally been planned for Victory Day was postponed. A virtual tour of the structure and the surrounding complex was made available online in lieu of public visitations.
The monument complex was reopened on 24 June 2020, with a ceremony hosted by Volgograd governor Andrey Bocharov and Russian Minister of Culture Olga Lyubimova. In total, the cost of renovating the sculpture alone cost approximately 750 million rubles (equivalent to $11,296,607 USD in 2023). In August, Russian designer Artemy Lebedev criticised the statue's post-renovation appearance, arguing that the statue was in a worse condition than it had been before its restoration; his comments received criticism from residents of Volgograd, who insisted that he be punished for insulting the memory of those who died in the Battle of Stalingrad. By early 2021, dark spots and more cracks were noticed on the surface of the statue, prompting the filing of an application with a Moscow arbitration court requesting for Glavzarubezhstroy, which had not fulfilled its warranty obligations, to declare bankruptcy. Glavzarubezhstroy later filed for bankruptcy, was sued by the Battle of Stalingrad Museum-Reserve, and listed on a national registry of "unscrupulous suppliers". In a poll conducted by Bloknot Volgograd in March, a majority of Volgograd residents surveyed responded negatively to the question of whether the sculpture looked better after its restoration, with some calling on those who worked on the project to "restore it themselves, with their own money". An assessment of the reliability and safety of the structure was planned to be conducted in 2023. As of 2024, the dark spots on the statue were still noticeable.
The Motherland Calls is featured on the coat of arms and flag of Volgograd Oblast. Postage stamps and postcards depicting the sculpture were issued in the Soviet Union for the 20th anniversary of the founding of the International Federation of Resistance Fighters in 1971 and the 30th anniversary of the Battle of Stalingrad in 1973; a postcard with the statue was issued in Russia to commemorate the 60th anniversary of the battle in 2002. The sculpture also appears on a commemorative 100-ruble coin issued by the Central Bank of Russia in 2013, and a 3-ruble coin issued in 2015. There is a replica of the statue in the city of Manzhouli in Inner Mongolia, China, near the border between Russia and China.
Bikes at the Goodwood Festival of Speed - early on Friday afternoon, before the heavy rain swept through.
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From the 2015 Goodwood Revival. Held only 1 month after the Shoreham air crash, subsequent restrictions on air displays had yet to have a big effect on the aerial content.
A rather soggy start for the West Sussex Distinguished Gentlemen's (and gentle ladies') Charity Ride at Shoreham Airport.
“The Origin of Painting” by Disinformation - Wrexham Arts Centre, October to December 2006
Brochure text - An exhibition by electronic music and audiovisual art project Disinformation, which takes its title from a live and highly interactive sound and light installation that references the Greek myth of “The Corinthian Maid, or The Origin of Painting”. The installation enables visitors to photograph their own shadows, and to paint with light, directly onto the surface of the exhibit, to a soundtrack of live electromagnetic noise. Also includes the pieces “Blackout” by Barry Hale, “The Analysis of Beauty”, “Spellbound” and the first public exhibition of test images for the new Disinformation project “Fire in the Eye”.
With some minor variations in the content, versions of the same Disinformation solo exhibition toured to 9 UK regional art galleries - Fabrica Gallery (Brighton, Nov 2001), Huddersfield Art Gallery (Jan 2003), Ashcroft Arts Centre (Fareham, Sept 2003), Quay Arts (Isle of Wight, Feb 2004), South Hill Park (Bracknell, April 2004), Derby Quad (June 2004), Midlands Arts Centre (Birmingham, July 2005), Wrexham Arts Centre (Oct 2006) and Saltburn Artists Projects (January 2007). Four of these exhibitions were funded with a special grant from the Arts Council’s then National Touring Programme.
Special thanks - for helping organise and fund the Disinformation touring exhibitions - to Jonathan Swain, Liz Whitehead, Matthew Miller [RIP], Robert Hall, Nicola Stephenson, Bronac Ferran, Tony White, Richard Humphreys, Genevieve Wilk, Carol Palmer, Rob Thrush, James Lucas, Fiona Burn, Jo Johnson, Eluned Myher, Louise Fedotov-Clements, Alex Boyd, Tracy Simpson and Lauren Healey.
In more detail -
“The Origin of Painting” [pictured] is an electromagnetic sound and optokinetic light installation, which originally premiered under the title “Artificial Lightning” in the “Sonic Boom” exhibition at London’s Hayward Gallery, April 2000, curated by David Toop and Fiona Bradley. The “Blackout” (Sound Mirrors) video [pictured] was filmed in 1997 by Barry Hale, and featured as a projected back-drop in numerous Disinformation concerts, talks and DJ sets, etc, before forming the centrepiece of the Disinformation “Blackout” exhibition, which toured to the Broadway Media Centre (Nottingham, Oct 1999), Waygood Gallery (Newcastle, Nov 1999) and ICA New Media Centre (London, March 2000). “The Analysis of Beauty” is an optokinetic oscilloscope artwork, which premiered in the “Noise” exhibition at Kettle’s Yard gallery (Cambridge, Jan 2000) curated by Adam Lowe and Simon Schaffer. The “Spellbound” video installation is “An Allegorical Portrait of J. Robert Oppenheimer”, which was exhibited in proposal form only (as a paper document) in the Raphael Cartoon Room at The V&A (London, 3 Nov 2000), and at the Royal Society of Sculptors (London, March 2001), before the “Spellbound” video was commissioned by Fabrica gallery (Brighton) for the first “proper” Disinformation solo exhibition in November 2001 (see below). The “Fire in the Eye” photographs [pictured] (aka “Painting with Electricity”) were created in 2004, premiering at the Wrexham Arts Centre in 2006. The 35mm cinema version of “Fire in the Eye” was commissioned in 2007, premiering at the Edinburgh International Film Festival in 2008, in a screening programme curated by the film scholar Kim Knowles.
Fabrica (2001) - www.flickr.com/disinfo/7099389881/
Saltburn (2007) - www.flickr.com/disinfo/2402253500/
Saltburn (2007) - www.flickr.com/disinfo/2402317598/
The “Blackout” video is based on Sound Mirror imagery that features in the “Antiphony” 2xCD packaging, published by the record company Ash International in 1997, featuring photographs by Julian Hills, and in the “Antiphony Architectural Supplement”, featured in Sound Projector magazine, issue 6, published in 1999.
Antiphony (1997) - www.flickr.com/disinfo/6896902030/
A faint 22 degree ice halo complete with sundogs and upper tangent arc formed in the wispy cloud above Arjeplog this morning.
I used the roof of a building to cover the sun and cranked up the contrast to show the detail.
Guinness stout is available in a number of variants and strengths, which include:
Guinness Draught, sold in kegs — 4.1 to 4.3% alcohol by volume (abv);
Extra Cold Draught, sold in kegs and put through a super cooler — 4.1 to 4.3% abv;
Bottled Guinness Draught, which includes a patented "rocket widget" to simulate the nitrogenation in the draught variety — 4.1 to 4.3% abv;
Canned Guinness Draught, which includes a similar but differently shaped widget — 4.1 to 4.3% abv;
Guinness Original/Extra Stout — 4.2 or 4.3% abv (Ireland, UK), 4.8% abv (Namibia/Southern Africa), 5% abv (Canada, mainland Europe) and 6% abv (United States, Australia, Japan);
Guinness Foreign Extra Stout, sold in Ireland, Africa, the Caribbean and Asia — 5% abv (China), 6.5% abv (Jamaica, East Africa), 7.5% abv (Ireland, West Africa, Indonesia, St. Kitts and Nevis) and 8% abv (Malaysia), blended with a small amount of intentionally soured beer to balance the flavour;[5]
Guinness Foreign Extra Stout Nigeria, uses sorghum in the brewing process instead of barley because of restrictions on barley cultivation. Sold in Nigeria (the third largest and fastest-growing Guinness market in the world) and Great Britain — 7.5% abv;
Guinness Special Export Stout, sold in Belgium and The Netherlands — 8% abv;
Guinness Bitter, an English-style bitter beer — 4.4% abv;
Guinness Extra Smooth, a smoother stout sold in Ghana, Cameroon and Nigeria — 5.5% abv;
Malta Guinness, a non-alcoholic sweet drink, produced in Nigeria and exported to the UK and Malaysia;
Guinness Mid-Strength, a low-alcohol stout being test-marketed in Limerick, Ireland from March 2006[6] and Dublin from May 2007[7]— 2.8% abv;
Guinness Red, a red ale that bears the Guinness name that began test-marketing in Great Britain in February 2007 — 4.2% abv.[8
I just received recently an AF-Nikkor 1:2 f=35mm lens to complete a small kit around my Nikon F4 year 1989 (see below for details). The kit is now includes 3 very classical AF-Nikkor lenses of the same period of the Nikon F4 camera body, including the standard 1.4/50mm, the 1.8/85mm and now the 2/35mm. The choice of fixed-focal lenses instead of zooms was already in 1989 a bit old-fashioned. However many photographers preferred still the homogenous rendering of a photo series done with a single focal lens. Generally speaking, a 35mm focal is a charming moderate wide-angle, very easy to use and particularly adapted for architectural and street-photography.
The AF-Nikkor 1:2 f=35mm is not a rare lens. However, when looking on eBay there was not tens of them available. I bought a good one form a Belgian seller at a normal price (180€). The lens is in very good mechanical and optical condition and came with the rear and front caps. I sourced the dedicated Nikon HN-3 shade hood separately for 10€ but here I preferred (only for the look!) to use a rectangular Minolta D54KC designed for the MC-Rokkor 1:2.8 f=35mm.
For testing the lens, I loaded my Nikon F4 with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modify the nominal DX-coded 400 ISO sensitivity.
The AF Nikkor lens 1:2 f=35mm was equipped for the whole session with a generic 52mm screw-on yellow filter. The light metering was done through tteh lens (TTL) either in the matrix or the spot metering of the Nikon F4 used in the "A" aperture-priority auto mode or the manual mode. The weather was very clear and a bit cold (-1°C outside).
La Part-Dieu, January 12, 2024
69003 Lyon
France
I did not use my Nikon SB-26 flashlight for any views in this session. After completion the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
Photos of the Law School's 2017 Graduation, which includes shots of the University Convocation and Law School's Diploma and Hooding Ceremony
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On highly decorated motorcycles and with Tibetan music blaring from bike mounted speakers, these mountain dwelling shepherds were returning from their weekly trip down to Golmud (Geermu) loaded with supplies.
Includes photos from the David Thompson Highway 11 Rocky Mountains Alberta near Nordegg and the David Thompson Resort
These were taken by my grandfather in the 1950s and 1960s. I've tried to include dates where possible, going from the stamp on the back of the slides.
The 4-H Western Horse Show 3 includes Bareback Equitation, Western Pleasure Ponies, Western Pleasure Horses, Western Horsemanship and Extreme Versatility. Stock horses are typically used, with western attire and tack. Bareback Equitation, Western Pleasure and Western Horsemanship are classes that showcase the horse’s movement and ability, as well as the exhibitor’s horsemanship. Extreme versatility is a class for advanced riders to complete three sections of the event with the same horse.
In Lancaster County, the 4-H youth development program is a partnership between Nebraska Extension and the Lancaster County government. Learn more about Lancaster County 4-H at lancaster.unl.edu/4h
The Super Fair is produced by Lancaster County Agricultural Society, a nonprofit 501(c)3 organization that promotes agriculture, youth and community. Learn more about Super Fair at SuperFair.org
This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
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".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. 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
Young people involved with the NHSCT's employability scheme celebrated their achievements in the Braid Centre, Ballymena last week.
Young people and staff from across Include Youth's Give & Take Scheme, Action for Children and trust worked together to put on an evening everyone could enjoy.
A massive thank you to Ballymena Borough Council for their support.
This walk includes most of the beautiful highlights of the city of Amsterdam like Rijksmuseum, Heineken Brouwerij, Magere Brug, Amstel River, Rembrandtplein, Red Light District, Dam square with the Royal Palace, the famous Unesco Canal Belt and the Vondelpark. This is a great opportunity to discover Amsterdam
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A blog post that includes these photos lives here: likeafishinwater.com/2018/04/08/pilgrimage-to-oboke-stati...
My company: www.thirdplacemedia.com - Research, content development and communications strategy focused on transit, walkability, placemaking and environment issues
My blog: likeafishinwater.com
This is the bottom plate of my Zenit 1. I took these pictures to include in an entry on Camera-wiki.
The back of the camera doesn't open; you take the bottom plate off. The catch on the right does that; the C-shaped loop hinges up and rotates through a half-turn. Here, the arrow is pointing at '3AKP' which is 'Shut'.
The camera has a 3/8-inch tripod socket, and the case, if you have one, has a captive retaining screw in that size. I don't usually keep the camera in the case - I find it really detracts from the convenience of using the camera - without the case it fits in your hands so well - so I've put a ¼-inch adapter in the socket; not that I have put it on a tripod more than a couple of times.
You can also see here the little folding foot in the bottom of the lens mount. With the little I-22 mounted, the camera will sit level on a table without the foot.
DICE has pleased all fans of the Battlefield series a new trailer for the upcoming blockbuster, timed to the imminent Gamescom 2018. This two-minute video is designed to give players a view of everything including tanks and a variety of equipment, moving through the ruins of bombed-out city,
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