Let's Rock Bristol took place at The Ashton Court Estate, Bristol, 6-8 June 2014. It was attended by over 10,000 people.

The festival included the following (mainly British) artists:

Then Jerico, Brother Beyond, Bananarama, Tony Hadley, Belinda Carlisle, Alexander O'Neil, Go West, Boney M, Midge Ure, Heaven 17, The Christians, China Crisis, Doctor and The Medics, Sonia, Jaki Graham, Carol Decker of T'Pau, Level 42, Rick Astley, Kim Wilde, ABC, Nik Kershaw, Matt Bianco, Imagination, The Blow Monkeys, Toyah and Johnny Hates Jazz.

Arranging these troops efficiently is fun, too!

Desert View Watchtower Level 2 murals before the start of conservation work, July 23, 2015. NPS Photo by Michael Quinn

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and the rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff.

Let's Rock Bristol took place at The Ashton Court Estate, Bristol, 6-8 June 2014. It was attended by over 10,000 people.

The festival included the following (mainly British) artists:

Then Jerico, Brother Beyond, Bananarama, Tony Hadley, Belinda Carlisle, Alexander O'Neil, Go West, Boney M, Midge Ure, Heaven 17, The Christians, China Crisis, Doctor and The Medics, Sonia, Jaki Graham, Carol Decker of T'Pau, Level 42, Rick Astley, Kim Wilde, ABC, Nik Kershaw, Matt Bianco, Imagination, The Blow Monkeys, Toyah and Johnny Hates Jazz.

I have a lot of shots to post. I have been very busy, and then there are the photos I helped escape the house-clearance people from Mum's.

So, back to the matter in hand: Ospringe.

Ospringe is one of the most easily identifiable churches in Kent, with its unusual saddleback tower, but it is well seen, as you can see the tower before the turn off to Faversham. It looks fabulous.

Ospringe was a small village, but now is part of the urban sprawl of Faversham as it spreads to the south of the old A2.

You turn down a tight junction, then along a narrow road with cars parked on either side, until you break into open country, and the church is on a bend in the road.

I was last here on winter about a decade ago, it was a bitterly cold day and the planned Christmas Tree festival had been delayed a week due to bad weather the weekend before.

I cam here on the off-chance, and I was met by a volunteer come to clean the church, but no one with a key.

The vicar arrived, and after explaining again about the project, he reluctantly let me in, but warned he would not be here long.

Last time here, i took 7 shots, and none of details, so I made busy with the nifty fifty.....

John Vigar says this is a church hard to gain access too, maybe I have been lucky, but worth seeking out if you're passing.

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A pretty church whose thirteenth century origins seem lost beneath a Victorian veneer – yet inside all become clear. The north wall is thickened to take the rood loft staircase (see also Challock) but there is a medieval stair in the south side too, just to confuse. The font is a lovely twelfth century piece supported by the familiar five columns. Much of the glass is by Thomas Willement and displays his signature TW, which can also be seen in the Alpha emblem in the top of the striking east window. The chancel is a riot of Victoriana of grand design – constructed in several campaigns, the reredos and flooring definitely by different hands. Old photos show that the whole church was once stencilled, but now that the nave is relatively plain, the chancel is once more the focus of attention. The south chapel has a rather nice 19th century roof structure and must once have been a grand family chapel. All in all a lovely church full of interest and one which should be more accessible and better known.

www.kentchurches.info/church.asp?p=Ospringe

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OSPRINGE

LIES the next parish north westward from Sheldwich. It is usually written in antient records Ospringes, and takes its name from the spring or fresh stream which rises in it.

The town of Ospringe, as it is called, is a franchise separate from the hundred of Faversham, having a constable of its own, but the rest of the parish is within the jurisdiction of that hundred.

The borough of Chetham, in this parish, was given to the abbey of Faversham by Richard de Lucy, and confirmed to it by king Henry II. king John, and king Henry III. (fn. 1) It still continues an appendage to the manor of Faversham, at which a borsholder is chosen yearly for this borough, and extends over Beacon farm on the south side of the London road, at the 45th mile stone in Ospringe and Stone, and very little besides. There is another small borough in this parish, called the borough of Brimstone, for which a borsholder is elected annually at the same manor. It extends over the Red Lion inn, in Ospringe-street, and some land, an house and oast behind the bowling-green, northward of it.

The parish of Ospringe is of large extent, being near five miles from north to south, though it is not much more than two miles in breadth. The village, or town of Ospringe, as it was formerly called, and now usually Ospringe-street, stands on the high London road, between the 46th and 47th mile-stone, but the north side of the street, as well as of that road, from the summit of Judde hill, as far eastward as the 47th mile stone, is within Faversham parish, the liberties of which town begin from the rivulet in Ospringe, and extend eastward, including the late Mr. Lypeatt's new-built house. Thus that parish intervenes, and entirely separates from the rest of it that part of Ospringe parish, at the northern boundaries of it, in which are the storekeeper's house, part of the offices, &c. and some of the royal powder mills, and in the town of Faversham, that parish again intervening, there is a small part of Weststreet within this parish. The grand valley, called Newnham bottom, through which the high road leads to Maidstone, lies at the western boundary of the parish, on the summit of the hill eastward of it is Juddehouse, built after a design of Inigo Jones, a fine situation, having a most beautiful prospect eastward, over a most fertile extent of country, to the Boughton hills, and the channel north eastward of it, but the large tract of woodland, of many hundred acres, which reach up close to the gardens at the back of it, render it rather an unhealthy situation. About a quarter of a mile eastward of Ospringe-street is a good house, called from the antient oratory or chapel formerly adjoining to it, but pulled down within these few years, chapelhouse. This oratory was dedicated to St. Nicholas, and erected for a priest to say mass in it, for the safety and good success of passengers, who left their acknowledgments for his pains in it. It belonged lately to Mr. John Simmons, whose son sold it to Isaac Rutton, esq. and he alienated the house to Mr. Neame, the present owner; but on a part of the land adjoining he built an elegant villa, naming it Ospringe Place, in which he now resides.

In Ospringe-street there is a tolerable inn, and the remains of the Maison Dieu on each side of the high road close to the small rivulet which crosses the street. This stream rises at Westbrook, at a small distance southward of the hamlet of Whitehill, at the back of which it runs, and at about a mile and an half distance, passing by Ospringe church, and the mansion of Queen-court, now a respectable farm-house, it turns a mill, erected some years ago for the manufacturing of madder, though now used for the grinding corn, and having crossed Ospringe-street, it turns a gunpowder mill not far from it, occupied by government, but belonging to St. John's college, in Cambridge, and having supplied the storekeeper's gardens, it afterwards turns a corn-mill, close to the west side of Faversham town, after which it supplies the rest of the government mills and works, and runs from thence into Faversham creek, to which it is a very necessary and beneficial back water. There is a nailbourne, or temporary land spring, such as are not unusual in the parts of this county eastward of Sittingborne, which run but once perhaps in several years, their failing and continuance having no certain periods, the breaking forth of them being held by the common people to be a forerunner of scarcity and dearness of corn and victuals. This at Ospringe, when it breaks out, rises about half a mile southward of Whitehill, near Kennaways, in the road to Stalisfield, and joining the above-mentioned rivulet, which it considerably increases, flows with it into Faversham creek. In February, 1674, it began to run, but stopped before Michaelmas. It broke forth in February, 1712, and run with such violence along the high road, that trenches were cut through the lands adjoining to carry the water off, but it stopped again before Michaelmas. It had continued dry till it broke out afresh in 1753, and continued to run till summer 1778, when it stopped, and has continued dry ever since.

About a mile southward of Ospringe-street is the hamlet of Whitehill, mentioned before, situated in the vale through which the rivulet takes its course. There are two houses of some account in it, formerly owned by the family of Drayton, who had resided in this parish for many years. Robert Drayton resided here anno 7 Edward IV. in which year he died, and was buried in the church-yard of Ospringe, being then possessed, as appears by his will, of a house called Smythes, with its lands and appurtenances, at Whitehill. After this family had become extinct here, one of these houses came into the possession of Ruck, and escheated, for want of lawful heirs, to the lord of the manor, and now as such belongs to the earl of Guildford, but Mr. James Foord resides in it. The other, after the Draytons were become extinct here, came into the name of Wreight, one of whom, Henry Wreight, gent. died possessed of it in 1695, and was buried in Faversham church. His son of the same name resided here, and died in 1773, and his grandson Henry Wreight, gent. of Faversham, sold it to John Montresor of Belmont, esq. who now owns it, but John Smith esq. resides in it. About a mile westward on the hill, near Hanslets Fostall and the parsonage, is a new-erected house, called the Oaks, built not many years since, on the scite of an antient one, called Nicholas, formerly belonging to the Draytons, by Mr. John Toker, who resides in it; the woodgrounds in the upland parts of this parish are very extensive, and contain many hundred acres. The soil of this parish, from its large extent, is various, to the north and north-east of the church the lands are level and very fertile, being a fine rich loam, but as they extend southward to the uplands, the soil becomes more and more barren, much of it chalky, and the rest a cludgy red earth, stiff tillage land, and very stony. A fair is held in Ospringe-street on the 29th of May.

¶Much has already been said in the former parts of these volumes, of the different opinions of learned men where the Roman station, called in the second iter of Antonine Durolevum, ought to be placed. Most of the copies of Antonine make the distance from the last station Durobrovis, which is allowed by all to be Rochester, to the station of Durolevum, to be xiii or xvi miles, though the Peutongerian tables make it only vii. If the number xvi is right, no place bids so fair for it as Judde-hill, in this parish, which then would have every probable circumstance in favor of it. The Romans undoubtedly had some strong military post on this hill, on the summit of which there are the remains of a very deep and broad ditch, the south and east sides are still entire, as is a small part of the north side at the eastern corners of it, the remaining part of the north side was filled up not many years since. The west side has nothing left of it; close within the southern part of it is a high mount of earth thrown up to a considerable height above the ground round it, the scite of Judde house, and the gardens are contained within it. The form of it seems to have been a square, with the corners rounded, and to have contained between three and four acres of ground within its area, the common people call it king Stephen's castle, but it is certainly of a much older date. At a small distance from it, on the opposite, or north side of the high road, there are several breast works cast up across the field facing the west. At the bottom of the hill, in the next field to this, are the ruins of Stone chapel, in which numbers of Roman bricks are interspersed among the flints, and in the midst of the south wall of it, there is a separate piece of a Roman building, about a rod in length, and near three feet high, composed of two rows of Roman tiles, of about fourteen inches square each, and on them are laid small stones hewed, but of no regular size or shape, for about a foot high, and then tiles again, and so on alternately.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe

The church stands within the jurisdiction of the town of Ospringe, about half a mile southward from Ospringe-street. It is dedicated to St. Peter and St. Paul. It is an antient building, consisting of three isles and a chancel. The steeple was formerly at the west end, and was built circular of flints, supposed to be Danish, with a shingled spire on it, of upwards of fifty feet high, in which were four bells; but in ringing them on Oct. 11, 1695, on king William's return from Flanders, it suddenly fell to the ground, providentially no one was hurt by it. There are no remains left of any painted glass in the windows of this church, though there was formerly much in most of them; particularly, in the window of the north isle was once the figure of a mitred bishop, on the rack, with a knife on the table by him, and of another person tied to a tree, and wounded with arrows. In another was a label to the memory of Robert Seton, and of a woman kneeling; and there was not many years ago remaining in the east window, at the end of the south isle, forming a kind of chancel, the effigies of a knight in his tabard of arms, with spurs on his heels, in a kneeling posture, looking up to a crucisix, painted just above him, of which there remained only the lower part. The knight's arms, Azure, three harts heads, caboshed, or, were thrown under him, and at a little distance some part of his crest, An hart's head, attired full, or, with a crown about his neck, azure, and underneath, Pray for the soul of Thomas Hart. This Sir Thomas Hart was possessed of an estate in this parish, which he purchased of Norwood. The Greenstreets, of Selling, lately claimed this chancel, and several of them lie buried in it. There was a chapel, dedicated to St. Thomas, in this church.

In the east part of the church-yard there was once a chapel, said to have been built by Sir John Denton, of Denton, in this parish and Easling, the foundations of which are still visible.

It appears by the Testa de Nevil, taken in the reign of king Henry III. that the church of Ospringe was in the king's gift, and was afterwards given by king John to John de Burgo, who then held it, and that it was worth forty marcs. After which, in the 8th year of Richard II. anno 1384, it was become appropriated to the abbot of Pontiniac, and was valued at 13l. 6s. 8d. at which time there was a vicarage here of his patronage likewise. It afterwards became part of the possessions of the hospital or Maison Dieu, in Ospringestreet, but by what means, or when, I have not found, and it continued so till the escheat of the hospital anno 20 Edward IV. after which, the parsonage appropriate of this church of Ospringe, together with the advowson of the vicarage, was by means of Fisher, bishop of Rochester, obtained of Henry VIII. in manner as has been already mentioned, for St. John's college, in Cambridge, the master and fellows of which are at this time entitled to them, the parsonage being let by them on a beneficial lease; but the advowson of the vicarage they retain in their own hands.

The lessee of this parsonage, in the reign of queen Elizabeth, was Robert Streynsham, esq. who rebuilt the house and offices belonging to it, and afterwards resided in it. He had been fellow of All Souls college, LL. B. and secretary to the earl of Pembroke. He lies buried in this church, and bore for his arms, Or, a pale dancette, gules. He left two daughters and coheirs, of whom, Audrey, the eldest, carried her interest in it in marriage to Edward Master, esq. eldest son of James Master, esq. of East Langdon, who was first of Sandwich, and afterwards built a seat for himself and his posterity at East Langdon. He was twice married, and had fourteen children; at length worn out with age, he betook himself hither to his eldest son Edward, and dying in 1631, æt. 84, was buried in this church. Edward Master, the son, resided here, and was afterwards knighted, and on his father's death in 1631 removed to that seat, in whose descendants it continued till it was at length alienated to Buller, of Cornwall, whose son sold his interest in to Markham, as he did to Mr. Robert Lyddel, merchant, of London, brother of Sir Henry Lyddel, who in 1751 assigned his interest in it to Ralph Terrey, yeoman, of Knolton, whose son Mr. Michael Terrey, of Ospringe, devised it to his only daughter and heir Olive, who married Nathaniel Marsh, esq. of Boughton Blean, and the heirs of his son Terrey Marsh, esq. late of that parish, are the present lessees of it.

The vicarage of Ospringe is valued in the king's books at ten pounds, and the yearly tenths at one pound.

In 1640 it was valued at sixty pounds, when there were communicants here 226.

The vicarage is endowed with all vicarial tithes, woad only excepted, and also with those of hay, saintfoin, clover, and coppice woods. There are about twenty-seven acres of glebe-land belonging to it. The vicarage-house is situated in the valley, at a small distance eastward from the church, and the parsonagehouse near a mile southward of that.

Ospringe was formerly the head of a rural deanry, of which institution it will be necessary to give some account here.

The office of rural dean was not unknown to our Saxon ancestors, as appears by the laws of king Edward the Confessor; they were called both Archipresbiteri and Decani Temporarii, to distinguish them from the deans of cathedrals, who were Decani Perpetui. Besides these, there were in the greater monasteries, especially those of the Benedictine order, such officers called deans, and there are deans still remaining in several of the colleges of the universities, who take care of the studies and exercises of the youth, and are a check on the morals and behaviour of such as are members under them.

¶The antient exercise of jurisdiction in the church seems to have been instituted in conformity to like subordinations in the state. Thus the dioceses within this realm seem to have been divided into archdeaconries and rural deanries, to make them correspond to the like division of the kingdom into counties and hundreds; hence the former, whose courts were to answer those of the county, had the county usually for their district, and took their title from thence, and the names of the latter from the hundred, or chief place of it, wherein they acted; and as in the state every hundred was at first divided into ten tithings or fribourghs, and every tithing was made up of ten families, both which kept their original names, notwithstanding the increase of villages and people; so in the church the name of deanry continued, notwithstanding the increase of persons and churches, and the districts of them were contracted and enlarged from time to time, at the discretion of the bishop, the rural dean of Ospringe having jurisdiction over the whole deanry of it, consisting of twenty-six parishes. He had a seal of office, which being temporary, it had only the name of the office, and not, as other seals of jurisdiction, the name of the person also, engraved on it. The seal belonging to this deanry had on it, the Virgin Mary crowned, with the sceptre in her left hand, and her child, with a glory round his head, in her right, and round the margin, Sigillu Decani Decanatus de Ospreng. He was in antient times called the dean of the bishop, because appointed by him, and had alone the inspection of the lives and manners of the clergy and people within the district under him, and was to report the same to the bishop; to which end, that he might have a thorough knowledge of the state and condition of his respective deanry, he had a power to convene rural chapters, which were made up of the instituted clergy, or their curates as proxies of them, and the dean as president of them, where the clergy brought information of all irregularities committed within their respective parishes. Those upon ordinary occasions were held at first every three weeks, in imitation of the courts of manors, held from three weeks to three weeks, and afterwards each month, and from thence were called Kalendæ, but their more solemn and principal chapters were assembled once a quarter, where maters of greater import were transacted, and a fuller attendance given. They were at first held in any one church within the district, where the minister of the place was to procure and provide entertainment and procurations for the dean and his immediate officers, and they were afterwards held only in the larger or more eminent parishes. The part of their office of inspecting and reporting the manners of the clergy and people, rendered them necessary attendants on the episcopal synod or general visitation, in which they were the standing representatives of the rest of the clergy within their division, and they were there to deliver information of abuses committed within their knowledge, and consult for the reformation of them; for which they were to have their expences, called from hence synodals, allowed them by those whom they represented, according to the time of their attendance. That part of their office, of being convened to provincial and episcopal synods, was transferred to two proctors, or representatives of the parochial clergy in each diocese; and that of information of scandals and offences, has devolved on the churchwardens of the respective parishes. Besides this another principal part of the duty of a rural dean was to execute all processes of the bishop, or of the officers and ministers under his authority; but by the constitution of the pope's legate, Otho, the archdeacon, in the reign of Henry III. was required to be frequently present at them, who being superior to the rural dean, did in effect take the presidency out of his hands; and these chapters were afterwards often held by the archdeacon's officials, from which may be dated the decay of rural deanries, for the rural dean was not only discouraged by this, but the archdeacon and his official, as might naturally be supposed he would, drew the business usually transacted there to his own visitation, or chapter, as it might be termed. By which intersering of the archdeacon and his officials, it happened that in the age next before the reformation, the jurisdiction of rural deans declined almost to nothing, and at the reformation nothing was done for their restoration by the legislative power, so that they became extinct in most deanries, nor did this of Ospringe survive the earliest decline of them. (fn. 16) Where they still continue, they have only the name and shadow left, and what little remains of this dignity and jurisdiction, de pends greatly on the custom of places, and the pleasure of diocesans.

In the 31st year of Edward I. Richard Christian, dean of Ospringe, being sent to execute some citations of the archbishop at Selling, was set upon by the people there, who placed him with his face to his horse's tail, which they made him hold in his hand for a bridle, in which posture they led him through the village, with songs, shouts, and dances, and afterwards having cut off the tail, ears, and lips of the beast, they threw the dean into the dirt, to his great disgrace; for which, the king directed his writ to the sheriff, to make enquiry by inquisition of a jury concerning it.

www.british-history.ac.uk/survey-kent/vol6/pp499-531

Railroad Crossing

Avicii - Levels Tour @ Consol Energy Arena - Pittsburgh Pa

Farranfore to Valentia Railway Line - MP Farranfore Junction 20 3/4.

Level crossing at Curra, Glenbeigh, Kerry 4th August 2012.

The former 5 mile Freight Only branch from Blaenau Ffestiniog to Trawsfynydd Nuclear Power Station is seen here at Manod Level Crossing, virtually all of the line is covered in so much vegetation that the tracks aren't visible and even the formation can be tricky to see from the road.

Since i visited i've seen some really interesting photos here on Flickr of this section of line during the 90's a far cry from what it's like today.

Hertfordshire Railtours "Trawsfynydd Lament" did the final honours on the 17/10/98 with 56108 and 47785.

12th June 2024

an ima jus randomly title ppl there sharingans. xD

edit: there! mwahahaha! I chose from powerfulest/shortest/whatever the hell fit. xD

Getting quieter at this stage.

My first visit to the top of The Shard in London on the fourth day it was open to the public - Monday February 4th 2013. At 1,016ft / 310m, it is the tallest building in western Europe. Having lived and worked in London for over 30 years, I know the city very well. But it was a thrill to see it in person from this brand new perspective, especially after watching The Shard’s construction and gradual rise into the city skyline.

Hopefully the following information will be useful to others planning to experience the views, including photographers:

Opening hours are 9am to 10pm daily, aside from Christmas Day. The last time slot for entry is 2030 with final entry at 2100. As recommended, I bought my ticket online in advance several weeks ago. The official advice is to buy online at least 24 hours in advance and print at home, though you can also collect from the ticket office. All tickets are for a specific time and date and cost £24.95 for an adult (over 16) and £18.95 for a child (aged 4 to 15). Infants 0 - 3 are free. Children must be accompanied by adults. You can turn up on the day and buy from the ticket office at “00” ground level but obviously that depends on them having any left for the time you want. The cost on the day is £29.95 for an adult and £23.95 for a child - if available. Although it’s not widely advertised online, there is a third category of ticket - “Immediate Entry” - at a cost of £100. That applies to both adults and children and buys you entry even if the time and date you want is full. There is an option for a replacement ticket on another day if the cloud cover obscures the view from the top and visibility is poor. But this is at the discretion of the duty manager and you would obviously have to be at The Shard to arrange, if available.

The View from The Shard (for that’s what it’s called) is right outside London Bridge tube station at the southern end of Joiner Street, which runs through the station. If you initially head for the London Underground Tooley Street exit, then you turn right at the main tube exit, basically walking in the opposite direction to Tooley Street. The View from The Shard entrance will appear on your left in under a minute.

All the staff are very friendly and pro-active, having taken a leaf from volunteers at the London Olympics. Whether they can keep it up in the months and years to come remains to be seen. There doesn’t appear to be much point in arriving more than 10 or 15 minutes before the time of entry on your ticket. I had selected 1600, as sunset on this day was just before 1700. All tickets are in half hour slots. So 1600 gains you entry at any time between then and 1630. There is an initial ticket check outside on the pavement before you are allowed up a first flight of stairs and asked to join a queue to the right. This was beside the machines where you were supposed (according to your ticket) to scan the barcode on the ticket. But none of them were working and the staff simply checked our tickets themselves. I’m sure this whole process will be refined as this new attraction gets into its stride.

Two minutes before 1600 we were allowed to move through the side of the adjacent shop area and into an airport-style security check. All jackets / coats had to be removed, change / phones / keys in a tray and bags through a scanner. It is worth checking the official website as to what you can and cannot take in. A small rucksack / bag is fine but not larger ones. Photographers should also note that tripods are banned. In truth, they would probably cause problems / potential conflicts at busy times, however considerate their users were. Though it would be nice if, in time, special dedicated photographers’ events (with tripods) could be offered out of hours with lights switched off.

Having cleared security you then move to the first set of two staffed lifts. These take you very smoothly to the 33rd floor, where you change to another lift taking you up to Level 68. There is a tiny amount of sensation as the high speed lift slows and stops but hardly anything compared to other very tall buildings I have visited.

Level 68 is simply an exit area before walking up to (enclosed) Level 69, which is one of the two viewing galleries. A short walk up a further few flights of stairs will take you to Level 72, which is still pretty much enclosed but open to the elements above. While I don’t have a problem with heights (at least inside a building) both of these floors felt substantial and were larger than I had imagined. I could sometimes hear the wind howling on Level 72 (it was a windy day in any event) but neither of the viewing galleries feel like platforms at the top of a building - just two floors with tall windows, one of which just happens to have no ceiling / roof.

Both of these floors - if you walk all the way around - offer a 360 degree panoramic view of London for up to 40 miles on a clear day. They were both pretty busy, especially at sunset, but became much quieter as the evening went on. There is NO time limit as to how long you can stay up. Having arrived on the viewing platforms just after 1600, I finally left at 1830 - two and a half hours for £25, which seemed pretty decent value.

Mostly everyone, of course, wants to take photographs, whether via their mobile phone or cameras and lenses costing thousands of pounds. At busy times you just have to be patient and wait your turn for a particular window / view. Most people were aware of others, stepped in for a minute or so and then backed away to let someone else take some photos. A few, of course, had no idea of the small queue of people behind them either wanting to simply take in the view or take pics. As mentioned, it was much quieter an hour or so after sunset and by 1830 (at least on this day) you could pretty much have your pick of a window. I guess the best idea is to allow plenty of time for your visit so you can take in all the views you want if it happens to be busy.

Level 72 is the most problematic for photographers in terms of window reflections, particularly from the steel structure, as well as from other visitors. There are similar problems on Level 69, including hand rails, but not quite so bad. And obviously this will depend on the time of day, direction of sun etc. I also heeded the advice of others and took a cloth to wipe the inside of the windows which have many finger / smudge marks on them.

Being unable to use a tripod is a particular problem at night, unless you have a rock steady hand. One partial solution is to put your camera bag on the floor next to the base of a window and place the camera on top. Not ideal and a bit hit and miss but needs must. A small Gorillapod might work where there are hand rails but I’m not sure if that would be allowed through security. And, again, you would be close to possible reflections from the rail.

As you will see, my night photos are OK but not the sharpest. That, of course, also comes down to my limited skills! I was also careful to make time to simply take in the wonder of the various views without worrying about taking pics.

Not my thing but...there is a small shop below the viewing galleries back on Level 68, en route (naturally) to the same lifts that took you up. They also return you to the ground where there is a larger shop appearing to stock a wider range of merchandise. That’s right next to the ticket counters so I presume you could visit the ground floor shop without buying a ticket but best check.

Even having been at the top of The Shard for two-and-a-half hours I found it hard to drag myself away. The views (if you are lucky enough with the weather) are truly stunning and wherever you look something is happening. Whether it be the “toy” trains snaking into London Bridge or Cannon Street, the Thames river boats, the queues of traffic winding into and out of the city centre...all of that and so much more is fascinating. Plus new views of old favourites in the distance like Wembley Stadium or the Albert Bridge. And just the calm of standing so tall above what I think is the world’s greatest city.

The View from The Shard has to be a “must” for visitors to London and pretty high up on the list of things to do for those of us who live here. I’ll certainly be going back.

Recommended links:

www.theviewfromtheshard.com

www.guardian.co.uk/artanddesign/interactive/2013/feb/01/v...

hasselblad 500 c/m, 80mm f2.8, kodak portra 400

I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.

I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.

I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.

In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?

The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.

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Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.

But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.

You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.

In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.

The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.

The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.

Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.

I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.

On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.

Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.

As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.

Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.

So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.

In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.

The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.

The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.

Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.

Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.

It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.

Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.

But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.

Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.

While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.

High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.

Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.

The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.

Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.

Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.

The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.

However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.

High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.

There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.

Simon Knott, June 2006, updated July 2010 and January 2017

www.suffolkchurches.co.uk/Ufford.htm

View On Black

HDR using a Canon 7D and Tokina 11-16mm F2.8 lens. AEB +/-3 total of 7 exposures at F8. Processed with Photomatix.

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

en.wikipedia.org/wiki/High-dynamic-range_imaging

Old line level

My first plot of Endor ground - mere 6 baseplates. Building a realistic forest plates requires crazy numbers of green elements, but also lots and lots of 'filling' - bricks of insignificant color or shape. I never expected I would find a good use for kilograms of dirt-cheap, dirty and scratched second-hand bricks I had bought couple of years ago :) . But guess what - now I need more.

Level of consciousness (Esotericism)

From Wikipedia, the free encyclopedia

[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.

This article or section may contain previously unpublished synthesis of published material that conveys ideas not attributable to the original sources. (June 2011)

This article is written like a personal reflection or opinion essay rather than an encyclopedic description of the subject. (June 2011)

Consciousness is a loosely defined concept that addresses the human awareness of both internal and external stimuli. This can refer to spiritual recognition, psychological understanding, medically altered states, or more modern-day concepts of life purpose, satisfaction, and self-actualization.

Most theories map consciousness in a series of levels, some stages of which are more continuous or complex than others. Movement between stages is often bidirectional depending on internal and external conditions, with each mental ascension precipitating a change in reactivity. In the most basic sense, this alteration might lead to a reduced responsiveness as seen in anesthesiology; more abstract facets of tiered consciousness describe characteristics of profoundness, insight, perception, or understanding.

First appearing in the historical records of the ancient Mayan and Incan civilizations, various theories of multiple levels of consciousness have pervaded spiritual, psychological, medical, and moral speculations in both Eastern and Western cultures. Because of occasional and sometimes substantial overlap between hypotheses, there have recently been attempts to combine perspectives to form new models that integrate components of separate viewpoints.

History[edit]

Pyramid of Kulkucan (found at the center of the Chichen Itza)

Although many cultures have incorporated theories of the layered consciousness into their belief structure, particularly for spiritual means before the separation of church and state within any given civilization, the Ancient Mayans were among the first to propose an organized sense of each level, its purpose, and its temporal connection to humankind.

Eastern perspectives[edit]

Many specific similarities have been drawn between Ancient Incan and historical Eastern views of tiered consciousness.[5] Within most Eastern belief structures is the principle of the Cosmos as a joint entity with human awareness. Many branches stress the importance of AUM, also written Om, as the first sound produced after the world was created. Within Christianity this concept can be likened to the first words of Genesis regarding the holiness of the Word.[6]

Historical beliefs[edit]

The majority of Eastern perspectives assert that while consciousness originates from the sound of AUM, it has incorporated itself into flesh, which therefore gives humankind the goal of attaining oneness with the universe once more.[7] Unlike Incan tradition, this oneness eliminates the separation of external and internal changes into one general indication of movement from stage to stage, commonly known as the Seven Shamanic Levels of Consciousness.

ConsciousnessDescriptionNotes

PersonalKnowledge of the self and of personality

MankindKnowledge of human evolution and its experiences

AmphibiousSense of separate identity between water and land"Water" and "land" are symbolic of man and earth

SphericalPerceive using the five bodily senses

CrystalPerceive using emotions, thoughts, and purityFirst inorganic level undistorted by bodily senses

LightAttained only by near-death experiences; "tunnel effect"First level above the human world

SoundOnly heard when the mind attunes itself to the worldFrom the primeval vibration AUM

Modern-day beliefs[edit]

Like the Seven Shamanic Levels of Consciousness, yoga meditation practices as well as the teachings of Vedanta and Tantra emphasize the importance of self-realization, a concept that has become increasingly popular in Western philosophy after Abraham Maslow's and Carl Rogers's research in Humanistic Psychology.

Advaita Vedanta[edit]

Aum (Om) Mantra

In particular, the Advaita Vedanta school of Hindu philosophy has been a topic of extensive study in both Eastern and Western cultures for its tiered depiction of the steps toward attaining self-realization.[8] Unlike the unidirectional nature of Mayan, Inca, and ancient shamanic perspectives, however, this particular belief structure arranges the attainment of oneness with OM through rows and domains, each of which constitutes a fragment of this vibratory sound.[9]

RowLevelRealmDescription

1: "A"WakingConsciousExternal, active conscious

2: "U"DreamingUnconsciousSubtle images and impressions

3: "M"Deep SleepSubconsciousFocus on latent or inactive thought patterns

4: "AUM"AbsoluteConsciousnessEqual permeation of all three levels

OM Mantra[edit]

Similarly, the seven levels of consciousness defined by modern-day OM mantras strive to reach Absolute Reality through the same four realms described in the Advaita Vedanta, with three transitional tiers in between each.[10]

Between the first ("A") and second ("U") levels is the Unmani, similar to the Western concept of hypnagogia, or the movement from full alertness into stage 1 sleep

Between the second ("U") and third ("M") levels is the Aladani, mirroring ideas of REM sleep

Between the third ("M") and fourth ("AUM") levels is the Samadhi, or the attainment of deep absorption

The Veda[edit]

The ancient Indian Vedas texts have lent a comparable view of unified consciousness, with a key difference in the purpose of human ascension from stage to stage. Instead of oneness with the universe, the Vedic vision of consciousness emphasizes the importance of attaining knowledge and pure intelligence.[11]

Ananda Sangha[edit]

Statue of Shiva

The Ananda Sangha movement has evolved following the teachings of the late yogi and guru Paramhansa Yogananda. Compared to the multi-dimensional theories of consciousness in shamanic and OM mantra perspectives, this particular ideological faction stresses simplicity rather than detail.[12]

Subconscious: relatively dim awareness; repository of remembered experiences and consequent mental impressions

Conscious: rational awareness; guides daily decisions and can be influenced by others; input from the bodily senses

Superconscious Awareness: intuition and heightened mental clarity; problem and solution are seen as one entity

Polarities[edit]

Classical Chinese Chán is characterised by a set of polarities:[2] absolute-relative,[3] Buddha-nature - sunyata,[4] sudden and gradual enlightenment,[5] esoteric and exoteric transmission.[6]

Absolute-relative[edit]

The Prajnaparamita-sutras and Madhyamaka emphasized the non-duality of form and emptiness: "form is emptiness, emptiness is form", as the heart sutra says.[3] This was understood to mean that ultimate reality is not a transcendental realm, but equal to the daily world of relative reality. This idea fitted into the Chinese culture, which emphasized the mundane world and society. But this does not tell how the absolute is present in the relative world:

To deny the duality of samsara and nirvana, as the Perfection of Wisdom does, or to demonstrate logically the error of dichotomizing conceptualization, as Nagarjuna does, is not to address the question of the relationship between samsara and nirvana -or, in more philosophical terms, between phenomenal and ultimate reality [...] What, then, is the relationship between these two realms?[3]

This question is answered in such schemata as the Five Ranks of Tozan,[7] the Oxherding Pictures, and Hakuin's Four ways of knowing.[8]

The Madhyamaka-scheme of the Two Truths doctrine, and the Yogacara-schemes of the Three Natures and the Trikaya-doctrine, also give depictions of the interplay between the absolute and the relative.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some Background:

The Lockheed F-94 Starfire was a first-generation jet aircraft of the United States Air Force. It was developed from the twin-seat Lockheed T-33 Shooting Star in the late 1940s as an all-weather, day/night interceptor, replacing the propeller-driven North American F-82 Twin Mustang in this role. The system was designed to overtake the F-80 in terms of performance, but more so to intercept the new high-level Soviet bombers capable of nuclear attacks on America and her Allies - in particular, the new Tupelov Tu-4. The F-94 was furthermore the first operational USAF fighter equipped with an afterburner and was the first jet-powered all-weather fighter to enter combat during the Korean War in January 1953.

After their replacement through the F-102 the Hellenic F-94Bs were still used as advanced trainers, primarily for aspiring WSOs but also for weapon training against ground targets. But by the mid Seventies, all Hellenic F-94Bs had been phased out.

General characteristics:

Crew: 2

Length: 40 ft 1 in (12.24 m)

Wingspan: 38 ft 9 in (12.16 m)

Height: 12 ft. 2 (3.73 m)

Wing area: 234' 8" sq ft (29.11 m²)

Empty weight: 10,064 lb (4,570 kg)

Loaded weight: 15,330 lb (6,960 kg)

Max. takeoff weight: 24,184 lb (10,970 kg)

Powerplant:

1× Allison J33-A-33 turbojet, rated at 4,600 lbf (20.4 kN) continuous thrust

and 6,000 lbf (26.6 kN) thrust with afterburner

Performance:

Maximum speed: 630 mph (1,014 km/h) at height and in level flight

Range: 930 mi (813 nmi, 1,500 km) in combat configuration with two drop tanks

Ferry range: 1,457 mi (1,275 nmi, 2,345 km)

Service ceiling: 42,750 ft (14,000 m)

Rate of climb: 6,858 ft/min (34.9 m/s)

Wing loading: 57.4 lb/ft² (384 kg/m²)

Thrust/weight: 0.48

Armament:

4x 0.5"0 (12.7 mm) machine guns in the lower nose section

2x 165 US Gallon (1,204 litre) drop tanks on the wing tips

2x underwing hardpoints for

- two pods with a pair of 0.5" (12.7 mm) machine guns each, or

- two pods with a total of 24× 2.75” (70 mm) Mk 4/Mk 40 Folding-Fin Aerial Rockets, or

- two 1.000 lb (454 kg) bombs (instead of the wing tip drop tanks)

The kit and its assembly:

This is a rather simple entry for the 2018 "Cold War" GB at whatifmodelers.com, in the form of a more or less OOB-built Heller F-94B in a fictional guise. The original inspiration was the idea of a camouflaged F-94, since all USAF machines had been left in bare metal finish with more or less colorful additions and markings.

That said, the kit was built almost completely OOB and did – except for some sinkholes and standard PSR work – not pose any problem. In fact, the old Heller Starfire model is IMHO a pretty good representation of the aircraft. O.K., its age might show, but almost anything you could ask for at 1:72 scale is there, including a decent, detailed cockpit. I just added a wire pitot under the nose and opened the gun ports, plus some machine gun barrels inside made from hollow steel needles. The main wheels had to be replaced due to sinkholes, and they appeared to be rather narrow for this massive aircraft, too. I found decent replacements from a Tamiya 1:100 F-105D.

Painting and markings:

Even though the F-94 never wore camouflage in real life, I chose to add some (more) color to this Hellenic Starfire. In fact, the RHAF adopted several schemes for its early jet types, including grey undersides to otherwise NMF machines grey/green NATO colors, all-around ADC Grey, the so-called Aegean Grey or the USAF's South East Asia scheme. I chose the latter, since I expected an unusual look, and the colors would be a good match for the Hellenic landscape, too.

The basic colors (FS 30219, 34227, 34279 and 36622) all come from Humbrol (118, 117, 116 and 28, respectively), and for the pattern I adapted the USAF’s recommendation for the C-123 Provider transport aircraft. Beyond a black ink wash and some post-shading for weathering effects the whole surface of the kit received a wet-sanding treatment for additional wear-and-tear effects, exploiting the fact that the kit is molded in silver plastic which, in the end, shines through here and there. The result is a shaggy look, but it’s not rotten and neglected.

The machine gun pods received black front ends (against glare), which was also added to the tip tanks’ front end inside surfaces. The radome and the fin tip were painted with a mix of Humbrol 168 (RAF Hemp) and 28, and the gun ports as well as the afterburner section were painted with Steel Metallizer.

Using a 340th Mira’s early F-84G for further inspiration, I decided to add some bright squadron markings to the aircraft in the form of yellow-black-checkered tip tanks. These were created with black decal squares (cut from TL Modellbau generic material) over a painted, yellow base (Humbrol 69). I considered even more markings, e.g. a checkered fin rudder or an ornamental decoration, but eventually rejected this idea in favor of the aircraft’s camouflage theme.

Other decals come primarily from a HiScale F-84G sheet. Some elements were taken from the Heller OOB sheet and some additional stencils were gathered from various sources, including an Xtradecal T-33 and a PrintScale F-102 sheet.

After some soot stains around the exhaust were added with graphite, the kit was sealed under a coat of matt acrylic varnish (Italeri).

An interesting result, since a camouflaged F-94 is literally unusual. I am positively surprised how good the aircraft looks in the USAF SEA livery.

Secretary of State for Levelling Up @MichaelGove in the North East to see the impact our funding is having.

Stops included the National Horizons Centre @TU_NHC, @TeesworksUK Freeport site and Thornaby-on-Tees. Three locations showing #LevellingUp in action.

Michael Gove tweeted:

"Fantastic to be at the Teesworks site today with @BenHouchen and @JacobYoungMP. Strong local leadership working in partnership with @luhc is providing jobs and investment for the future – a great example of levelling up in action."

Read more on GOV.UK: www.gov.uk/government/news/gove-sees-levelling-up-in-acti...

24 September 2021

Halkirk level crossing in 2014 after it had been upgraded to an automatic half-barrier crossing (ABCL), it was previously an automatic open crossing.

Desert View Watchtower Level 2 murals before the start of conservation work, July 23, 2015. NPS Photo by Michael Quinn

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and the rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff.

Not exactly level anymore…...

Avicii - Levels Tour @ Consol Energy Arena - Pittsburgh Pa

Desert View Watchtower Level 2 murals before the start of conservation work, July 23, 2015. NPS Photo by Michael Quinn

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and the rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff.

121034 heads past Marsh Lane level crossing near Stoke Mandeville heading towards Aylesbury on 2A46 Chiltern Rail service from Princes Risborough.

Serie de ilustraciones para la marca venezolana de camisetas Level Bodyboard.

Aquí el proyecto: www.behance.net/gallery/19877687/LEVEL-BODYBOARD

Princetown in the snow.

Princetown is a village located within Dartmoor national park in the English county of Devon. It is the principal settlement of the civil parish of Dartmoor Forest.

The village has its origins in 1785, when Sir Thomas Tyrwhitt, then secretary to the Prince of Wales, leased a large area of moorland from the Duchy of Cornwall estate, hoping to convert it into good farmland. He encouraged people to live in the area and suggested that a prison be built there. He called the settlement Princetown after the Prince of Wales.

Princetown is the site of Dartmoor Prison. At around 1,430 feet (435 m) above sea level, it is the highest settlement on the moor, and one of the highest in the United Kingdom. It is also the largest settlement located on the high moor.

At the parking deck of an East Bay hospital.

Corpach Level Crossing on the West Highland Line, in 2010 when it was an automatic open crossing (AOCL), it was converted to automatic half-barriers (AOCL+B) in 2013.

Junior high science students assist with writing the KUDOS information on the whiteboard in their classroom.

Copyright photo.

The Victoria and Albert Museum, Cromwell Rd, Kensington, is said to be the world's greatest museum of art and design.

I made another visit, but rather hurried, and the light is of course too low for deserving-quality hand-held photos -- they have a good web-site however.

Interests this time included the Europe Medieval and Renaissance (Ten contiguous galleries Level 1 and Level 2); Modern, 20th C Level 3; Islamic Middle East (Jameel) Room 42 Level 1 (ground); and the V&A/RIBA Architecture Gallery.

The Combined pair above is just as a reminder from the Medieval and Renaissance.

On the right, above: Chancel from Santa Chiara, Florence (1494 - 1500) Sangallo.

wikimapia

V & A:

discover-the-v-and-a

Short video of flickr V&A Medieval and Renaissance group:

vam/medieval-and-r...

Click diagonal arrows upper right and then press F11 Fullscreen.

Extract from "More Rough Travel Notes with an Architectural Eye - 2012":

Ah ha! The V & A Museum’s open late on a Friday. You’ll know it’s the world’s largest museum of applied arts and design; 145 galleries. It would take more than a day. But, no. Better in accumulated installments I think; so let’s add a snatch more.

It began its days collecting objects from the Great Exhibition of 1851. (I’ve mentioned the early plastercasts before for instance.) Thus established the gathering of museums around Exhibition and Cromwell Roads, heart of South Kensington.

But we’ll start where we left off last time, the RIBA gallery, Level 4. (I mentioned from previous visit this architectural display, established 2004, with its hundreds of thousands of drawings and photographs.) Here’s the model of Lutyens — caricature of a character — complete with pith helmet and puffing his pipe. I guess the heat-hat implies his Indian work — shouldn’t we re-visit Delhi? When it was made capital in 1911, it was Lutyens who planned New Delhi, inaugurated 1931; think of Connaught Place circle as well as generously-designed individual buildings. Well, his picturesque English country houses, garden layouts, and influences of the time in New Zealand too, sometimes displayed nostalgic extravagance.

And here’s a model of Rietveld’s Schroeder house, Utrecht. I saw it in 1968. Architecture as graphics — like a natty bit of modern sculpture (1924), it is however, attached unrelated to the end of a dull traditional block of apartments usually unshown though vaguely suggested by shadow-line backing of this model. Very Mondrian as everyone points out. The forward-looking Dutch De Stijl movement of Van Doesberg and co had belief in a visual abstraction — rectangular, straight lines, primary colours, strictly. However, the contrast between solid, middle-class 19th C taste and the lighter, more open 20th C crisp clarity is starkly expressed. Perhaps a bit art-theory conscious, but so seminal at the time. And it’s that sharp composition that communicates well in the V & A model.

See my photo:

peteshep/7967309806/in/set-72157631...

The light is of course too low for deserving-quality hand-held photos — they have a good web-site however.

A quick look at some fine-design ceramics in the Jameel (Middle-East/Persian) section,

Level 1. You may recall my photo of the Ardabil carpet from the previous visit.

Then to the new European Medieval and Renaissance section. Its ten contiguous galleries are on Levels 1 and 2. A skilled recent job by MUMA Architects — now a highlight of the

V & A, a museum within a museum but far from in the dead sense. Early Byzantine ivories, telling Romanesque sculptures, exquisite carving, a monumental arched stone screen from 1160, the essential power of the Romanesque. Works from Spain, France, Germany, Italy, especially old England. 12th C gilded foliage. And a large glass cabinet of superbly designed, crafted, and presented vestments including the Syon Cope — 1300s but with modern clarity — silk and silver thread by craft team; perfectly lit, fresh.

Then the great 13th C stained glass such as from Ste Chapelle and Winchester college. Hard to fully capture photographically, but stunning colour. 14th C tapestries and illuminated manuscripts. And there’s a whole marble chancel (1494 -1500) by Pisano transposed somehow from Santa Chiara Florence. (Combined photo.)

Upstairs we find a gallery devoted to Donatello sculptures — evolving sophistication in alive and expressive aesthetic art. Late Gothic, early Renaissance, naturalism of Rosselino. And a gallery “The Renaissance City”. Some of the most famous treasures in such well-presented collection to experience. The whole project was designed by MUMA in collaboration with the V & A.

And there’s the Arts and Crafts Morris Room restaurant with Pre-Raphaelite panels. And the Complete Frank Lloyd Wright room. More time — visit layer by layer.

Syon Cope Link:

www.vam.ac.uk/vastatic/microsites/bbchistory/object_text0...

There’s a V & A group on flickr:

groups/va_medren/pool/with/7967309312/ligh...

Click “older” for more.

P :-)

This image is excerpted from a U.S. GAO report:

www.gao.gov/products/GAO-16-99

BIOSURVEILLANCE: DHS Should Not Pursue BioWatch Upgrades or Enhancements Until System Capabilities Are Established

Desert View Watchtower Level 3 murals before the start of conservation work, July 23, 2015. NPS Photo by Michael Quinn

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and The rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff.

Sept. 3, 2015 at St. Mary's Conference Center in Huntington. Fashion show presented by First Impressions School of Modeling, Pageantry, and Etiquette. (Photos provided by First Impressions.)

Panel from my large painting the 10 levels. This is level 6.

Desert View Watchtower Level 3 murals before the start of conservation work, July 23, 2015. NPS Photo by Michael Quinn

Grand Canyon National Park is working with area tribes and art experts to restore the Fred Kabotie murals and The rock art images, painted by Fred Geary, which have been damaged by water. The first phase of the project is being funded through a grant from American Express obtained by Grand Canyon Association.This grant will help with the evaluation, documentation and testing process that is a critical component of all historic preservation projects. The park intends to preserve the murals while remaining true to Mary Colter’s design. Over the next year, a conservation specialist will analyze and restore the murals with the help of students participating in an intern training program.

On January 1, 2015, the Watchtower was purchased from the concessionaire managing it and designated a National Park Service building. NPS plans to return the Watchtower to its intended purpose, as a tribute to the Native American tribes who have cultural ties to Grand Canyon. The park is moving forward with plans to restore the tower to reflect Mary Colter’s original vision for the building.Visitors first enter through the large, open Kiva Room. Until recently, this room was filled to capacity with a large gift shop. The gift shop has since been removed from the rotunda and reduced to a much smaller footprint. The new Grand Canyon Association Park Store fits into the original space Colter envisioned for a gift shop: a corner off to the side of the rotunda. All the proceeds support the park.

Originally the Watchtower was designed as a space where visitors could see Native American craft demonstrations by weavers and basket makers. The park will bring Native American artists back into the space to share tribal traditions, dances, songs, skills, art and oral histories with the public. The park is also considering turning the old Desert View visitor center into a Native American cultural center.The transformation of the Watchtower back to its original intent is already proving to be a dramatic experience for visitors and park staff.