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Ref. 21001 / 20-03021. (?)
Audi A8 (2002).
Escala 1/44.
Power Series Racer.
Maisto.
Made in China.
Produced by Maisto from:
2005 to 2006 (?)
2010 to 2015 (?)
More info:
modelcars.mbeck.ch/model.php?lang=e----&mode=show&...
www.hobbydb.com/catalog_items/audi-a8-cb9e56a2-29f3-4358-...
www.hobbydb.com/catalog_items/audi-a8-b3b27821-2d34-452d-...
www.hobbydb.com/variant_definitions/51639
www.hobbydb.com/subjects/power-racer-series
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Maisto
Brand
"Founded in 1967, Maisto first rose to prominence as a diecast manufacturer in the 1980s with models in 1/18, 1/24 and 1/64 scales. Their models depict a variety of vehicles including cars, trucks and motorcycles. Maisto's 1/18 models raised levels of detail and features to new heights for their resaonable price point.
Models are available in a number of different ranges, both ready-built and as kits. They also manufacture radio controlled models.
All Miasto products since 2007 will have a tool identification number that can be found on the chassis., it’s a 5-digit number, such as 11809. This is to fulfill Consumer Product Safety Improvement Act (CPSIA)'s (US) requirement tracing the date and place of production. The 1st digit is to identify whether it is produced in Manda / May Tat, 2nd and 3rd digit are production year, 4th and 5th digit indicate production week."
Source: www.hobbydb.com/subjects/maisto-brand
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Audi A8
From Wikipedia, the free encyclopedia
"The Audi A8 is a four-door, full-size, luxury sedan manufactured and marketed by the German automaker Audi since 1994.
Succeeding the Audi V8, and now in its fourth generation, the A8 has been offered with both front- or permanent all-wheel drive—and in short- and long-wheelbase variants.
The first two generations employed the Volkswagen Group D platform, with the current generation deriving from the MLB platform.
After the original model's 1994 release, Audi released the second generation in late 2002, the third in late 2009, and the fourth and current iteration in 2017.
Notable for being the first mass-market car with an aluminium chassis, all A8 models have used this construction method co-developed with Alcoa and marketed as the Audi Space Frame.
A mechanically-upgraded, high-performance version of the A8 debuted in 1996 as the Audi S8. Produced exclusively at Audi's Neckarsulm plant, unlike the donor A8 model, the S8 has been available only in short-wheelbase form and is fitted standard with Audi's quattro all-wheel drive system."
(...)
Second generation (D3, Typ 4E; 2002–2009)
"The second-generation Audi A8 (Typ 4E) built on the Volkswagen Group D3 platform was unveiled via press release in July 2002 and introduced in November 2002 in Europe and in June 2003 (as a 2004 model) in the United States.
The model was longer than the previous generation, with room for four or five large adult occupants in the cabin, depending on rear seat configuration.
The D3 development program began in 1996, with the design process commencing in Ingolstadt in 1997."
(...)
"The A8 was previewed 2001 Frankfurt Motor Show by the Audi Avantissimo concept car. This concept introduced much of the technology later available on the series production A8 D3, including: Multi Media Interface, 6-speed automatic transmission with shift paddles, V8 biturbo engine (RS6), self-levelling adaptive air suspension with continuously controlled damping, electric park brake, bi-xenon headlights with static Adaptive Front Lighting System (AFS) curve headlights, dashboard, driver identification systems with fingerprint scanner.
As with the previous version, two body variants of the second generation A8 are offered, the A8 (standard, or short wheelbase), and the long-wheelbase (LWB) A8 L. The A8 L adds 120 mm (4.7 inches) to the rear legroom and 11 mm (0.43 in) to the overall height of the car."
(...)
"In 2005, new internal combustion engines became available."
(...)
2007 facelift
"Changes include:
- Updated Front Fascia incorporating Audi's signature single frame full-nose grill. Complimenting the pronounced styling of the nose, designers tossed the understated round fog lights, opting for larger rectangular fog Light housings- inside a set of 'Side-View illuminators' have been integrated into the housing; aiding drivers in low-light or poor visibility conditions by automatically illuminating depending on speed and steering angle. Side-View Illuminators operate independent of fog lights.
- Updated Tail-light Assembly featuring much brighter and more efficient LED bulbs. Dual rear fog lights are still standard."
(...)
-------------------------------------
Second generation (D3/4E)
Production
August 2002 – November 2009
Assembly
Germany: Neckarsulm
Designer
Miklós Kovács, Imre Hasanic, Dany Garand (1999)
Platform
Volkswagen Group D3
Engine
V6 petrol engine
V8 petrol engine
V10 petrol engine
W12 engine
V6 diesel engine
V8 diesel engine
Transmission
Automatic transmission
Continuously variable transmission
Dimensions
Wheelbase
SWB: 2,944 mm (115.9 in)
LWB: 3,074 mm (121.0 in)
Length
SWB:
pre 2007: 5,051 mm (198.9 in),
post 2007: 5,062 mm (199.3 in)
LWB:
pre 2007: 5,181 mm (204.0 in),
post 2007: 5,192 mm (204.4 in)
Width
1,894 mm (74.6 in)
Height
SWB: 1,444 mm (56.9 in)
LWB: 1,455 mm (57.3 in)
Kerb weight
1,670–1,990 kg (3,682–4,387 lb)
Source: en.wikipedia.org/wiki/Audi_A8
www.umutfm.com/izle.php?id=867
Al-Wahhab : The Giver of All who constantly bestows blessings of every kind.
YA RABBİ
Seni tarif etmektedir bütün güzel isimler
Sen güzel isimlerini aşikar etmezsen ruhum karanlıkta kalır
Esmaül Hüsna’na şahit yaz beni...
Ya Vehhab
Yokluğa sırf yok oldugu için varlık bahşedersin
Nankörlerin bile rızkını kesmez inkar edenlere bile nefes verirsin
Varlığın senin lütfundur senin ihsanındır
Aciz varlığıma lütfunu ihsanını daim eyle...
Vehhab : Karşılıksız veren, sonu gelmeyen bağışların sahibi. Kullarına hiçbir karşılık gözetmeksizin tekrar tekrar ve çok çok bağışlarda bulunan.
Cenab-ı Hak buyuruyor:
"Yoksa, güçlü ve üstün olan, karşılıksız bağışlayan Rabbinin hazineleri onların yanında mıdır" (Sad,9)
Büyük zatlar, bir kimse dua ettiği zaman 7 kere "Yâ Vehhâb" dese o kimsenin duasını Allah teala kabul eder, demişlerdir. Bir şey isteyen, düşman elinde bağlı kalan, rızkında darlık olan, ticaretinde ve kazancında çokluk ve kârlıllık olmayan veya seyrü sülûkünde her hangi bir fethi olmayan kimse üç gece veya yedi gece boyunca gece yarısı abdest alıp ve iki rekat namaz kılıp başını açarak ellerini havaya kaldırarak Yâ Vehhâb" dedikten sonra ihtiyacını Cenab-ı Hakk'a arzetse Allahü teala onun ihtiyacını karşılar, sıkıntısını giderir. (Miftahü'l Kulûb)
Cumanız mübarek olsun;
View On Black---------------------------------------- Clika aquí para ver Mejor
El Puig de Rialb es un núcleo de población del municipio noguerenc de la Baronia de Rialb , en el Segre Medio .
Esta región comprende las montañas y torrentes de la izquierda del río Rialb , casi al mismo paralelo de Sant Martí , algo al norte. Forma un triángulo que tiene a poniente el río Rialb , al norte las montañas de Gavarra , a levante el torrente de Vilarrúbia o de Gavarra y el término de Pallerols Se accede por una pista asfaltada derivada de la carretera comarcal C-1412b , que une Ponts con los Pallars , en el P.K. 15,250 a la altura de la Collada de la Santa. Este camino asfaltado sigue el trazado del Rialb y pasados doscientos metros sobre el Molí Nou atraviesa un puente sobre el mismo río e inicia un camino carretero de pendiente pronunciada hasta el Puig. Otras rutas para llegar son desde el camino de Gavarra o desde el camino que sale de Pallerols y pasa cerca de la Masia Confòs. .El topónimo estrictamente del Puig 'aparece tardíamente en la documentación, al menos que sea aplicado a la parroquia de San Andrés; se encuentra desde el siglo XV . Un documento citado de 1033 parece que se refiere a Sant Andreu del Puig, de esta zona del Rialb, en el que el conde de Pallars devuelve al obispo Ermengol bienes que se había apropiado indebidamente, y cita la tercera parte de diezmos de la parroquia de San Esteban, que podría ser la de Pallerols y de Sancto Andrea de ipso Puio.
Al final del periodo estudiado todo el Rialb Sobirà formaba una parroquia, que era la de San Martín de Taravall , que tenía por sufragáneas San Cristóbal y San Andrés del Puig. Aunque esta zona del Rialb Sobirà contaba con fuerza población, la economía eclesiástica era pobre, en la décima del año 1279 no consta que pagara nada, fuera de San Cristóbal y Pallerols, en la décima de 1391 , la tasa del Rialb Soberano era de 10 sueldos en un plazo, la de San Cristóbal era de 11 sueldos, y la del Rialb Jussà era de 23 sueldos.
El paso de la iglesia de Sant Andreu del Puig parroquia fue durante el pontificado del obispo Andreu Capella , por cuanto el 1574 , la de San Andrés aún era sufragánea de Sant Martí. En cuanto al dominio feudal de la zona, como en el resto del Rialb Soberano era de los señores del castillo de Taravall, que fueron los Caboet, el capítulo de Urgell y otros, como los Peramola . El pueblo fue residencia del rector hasta el 1936 .
Lugares de interés
. Iglesia románica de Sant Andreu del Puig; se conserva una imagen de tipo clásico del siglo XVI de la Virgen de la Lluvia con el niño.
. Ermitas románicas de Santa María de Ramoneda (conocida como la Inmaculada), San Vicente de las Casas de Rialb y San Juan Bautista de la Encina.
. Alojamientos rurales de la Casa de los Peces, antigua Escuela del Puig y Cal Metge.
Piscifactoría Molí Nou.
. Sendero de Gran Recorrido o GR 1 .
Encina de Cal Penjat, se trata de una carrasca catalogada como árbol monumental de Cataluña.
Fiesta local
Romería de la Virgen de la Lluvia: es la Fiesta Mayor y se celebra el primer domingo de octubre. .
Manufactured by Héard & Mallinjod, Lyon, France for Plavic firm in Lyon.
Model: c.1930, serie 00, Without identification
This camera is a rare Hémax folder plate camera and Hémax folders produced 1923 to 1930s, according to
Sylvain Halgand and
Folder bed plate film camera, film size: plate 9x12cm
Lens: Plavic - Anastigmat 135mm f/6.3, filter slip-on, serial no.11135
Aperture: f/6.3-f/32 setting: lever and scale on front of the lens-shutter barrel
Focusing: bellows focusing, by a thumb wheel on the right of the front cover,
index and scale on the left-inside of the front cover,
Focus range: 1-10m +inf
Shutter: Gitzo leaf shutter type B1, speeds: 1/25, 1/50, 1/100 +T & B,
setting : lever and scale on the shutter
Cocking and Shutter release: by the same lever, on front of the lens-shutter barrel,
Manuel shutter cocking and releasing on the same time, for the speed settings, by pressing once the lever, the diaphragm opens and closes, (like old box cameras !)
Cable release socket: on the lens-shutter barrel
View finder: 1) Waist level Brilliant Finder on top of the lens and bellows mount plate, turnable 90 degrees left upon its own axis for landscape pictures
2) Sports finder: A big wire sports finder, hinged on the lens standard and used with a folding rear peep sight part, on the left side of the camera
Bellows single-extension, can bend over with a sliding part on the lens standard
Flash PC socket: none
Self-timer: none
Front plate and bellows opening: front plate opens by a knob on the top side of the camera,
it is unvisible cause it is under the leatherette cover, then pull the bellows forward by engaging its rails to the front cover mounted rails, then press the two jagged, knob like chrome handles on front of the lens rails to inwards simultaneously, then pull out the bellows as far as reaching to the focus scale,
Closing: simply pull in the bellows as far as it goes, than push to inward the struts
Back cover: as a plate film holder, removable by sliding upwards
Engraving inside of the front cover: PLAVIC
Tripod sockets: Old 3/8'' type, two, on the bottom and left sides of the camera
Lugs for leather Hand grip
Body: metalic, Weight: 850g
serial no.1788
Plavic It was believed that Plavic was a French brand of camera bodies as well for the lens and shutters, but this is not exactly true:
As to Sylvain Halgand
"The traces of Plavic are in the catalog of Photo-Plait 1919. The actual name of the manufacturer is Planchon Cellulose Corporation in Lyon. Their production is limited to the cellulose films and maybe printing papers and photographic chemicals.
The problem with Plavic is that this brand has never made cameras.
The cameras named Plavic made by another manufacturer and Plavic completed its offers by including devices to their catalog.
They seem few and have been circulated before or around the 1930.
The shutters in Plavic cameras were named Plavicos but it was made by Gitzo".
I found no information about the manufacturers of the Plavic lenses.
Plavic marked cameras were Pliant 127 and 6x9 folders, Le Plavico 6x9, and Box etc. All of them were the same cameras of other brands.
So, here, this Plavic camera is exactly the same camera as much as in very fine details and lens with Hémax folder plate serie 00. It is clear that this camera was made by Héard & Mallinjod for Plavic.
I couldn't find any information about 9x12 plate camera labelled as Plavic in the internet sources but in McKeown's.
As to McKeown's Cameras 2006: in the Planchon section, p.786
The company was founded by Victor Planchon, Boulogne & Lyon, France.
Hirlemann & Moreau (later Héard & Mallinjod) made a 6x9cm and 9x12cm folding plate cameras in c.1920-28 under the Hemax label. After those dates some Hemax cameras are found under the PLAVIC label (PLAnchon VICtor). Victor Planchon collaborated with the Lumiere brothers in fabricating the first films for the Cinematographe in Boulogne-sur-mer and later in Lyon. He became director of the Lumiere factory in the Lyon suburb of Feysin where he made and distributed films with Lumiere emulsions under the name Plavic. For some time, he also sold Plavic cameras in 9x12cm, 6x9cm sizes, before these became Lumiere cameras".
Gitzo is a French company, founded in 1917. Its name was derived from the founder's name Arsène Gitzhoven. Gitzo was a name given to an early shutter and later adopted for all products manufactured by the company. Initially Gitzo made camera equipment and precision accessories, especially shutters. After World War II it concentrated on the manufacture of tripods and tripod heads, for which it is renowned today.
Camera importers and manufacturers offered their camera models with a range of shutter and lens combinations. A good example for this are the Héard & Mallinjod Hemax models, which were offered with a range of lenses manufactured by Berthiot, Boyer, Darlot, Hermagis, Itier and Roussel, and for which Gitzo, Vario and Compur shutters were available. as to Camerapedia
and Gitzo Shutters
Le doyenné de Rambouillet comporte six paroisses:
1-Ablis
2-Chevreuse (La Vallée de Chevreuse)
3-Gazeran - Saint-Hilarion
4-Les Essarts - Le Perray
5-Rambouillet
6-Saint-Arnoult-en-Yvelines
rattaché au Diocèse de Versailles
www.flickr.com/photos/67209528@N06/6124740009/
1-Ablis
Ablis, Allainville-aux-Bois, Boinville-le-Gaillard, Craches, Greffiers, Orsonville, Paray-Douaville, Prunay-en-Yvelines, Saint-Martin-de-Bréthencourt, Sonchamp
Ablis (Saint Pierre Saint Paul)
1, avenue des Platanes. B.P. 18
dim 11h
messesinfo.catholique.fr/public/fiche.php?valcode=78003_01
Allainville-aux-Bois (Saint Pierre)
messesinfo.catholique.fr/public/fiche.php?valcode=78009_01
Boinville-le-Gaillard (Assomption)
messesinfo.catholique.fr/public/fiche.php?valcode=78071_01
Craches (Notre-Dame-de-la-Crèche-et-Saint-Gorgon)
1 2 3 ou 4e dim 9h30
messesinfo.catholique.fr/public/fiche.php?valcode=78 187_01
Greffiers (hameau de la commune de Sonchamp)
Orsonville (Saint André)
messesinfo.catholique.fr/public/fiche.php?valcode=78472_01
Paray-Douaville (Saint Pierre)
messesinfo.catholique.fr/public/fiche.php?valcode=78478_01
Prunay-en-Yvelines (anc Prunay-sous-Ablis)
Saint Pierre et Saint Paul
messesinfo.catholique.fr/public/fiche.php?valcode=78506_01
Saint-Martin de Bréthencourt (Saint Pierre Saint Paul)
dim 10h30
messesinfo.catholique.fr/public/fiche.php?valcode=78564_01
Sonchamp (Saint Georges)
sam 18h30
messesinfo.catholique.fr/public/fiche.php?valcode=78601_01
2-Chevreuse (La Vallée de Chevreuse)
Cernay-la-Ville, Chevreuse, Choisel, Dampierre-en-Yvelines, Milon-la-Chapelle, Saint-Forget, Saint-Rémy-lès-Chevreuse, Senlisse
Cernay-la-Ville (Saint Brice)
Place de l'Eglise
sam 18h30 (1, 2, 3 et 5e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78128_01
Chevreuse (Saint Martin)
Place du Gl de Gaulle
dim 11h (hebd), 18h30 (portugais, 1er dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78160_01
Choisel (Saint Jean Baptiste)
Place de l'église
dim 9h30 (1, 3 et 5e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78162_01
Dampierre-en-Yvelines (Saint Pierre Saint Germain)
Place de l'église
sam 18h30 (2e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78193_01
Milon-la-Chapelle (Assomption)
dim 9h30 (2 et 4e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78406_01
Saint-Forget (Saint Féréol)
11 route de Dampierre
dim 11h (5e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78548_01
Saint-Rémy-lès-Chevreuses (Saint Remy)
16 rue de la République
dim 11h
messesinfo.catholique.fr/public/fiche.php?valcode=78575_01
Senlisse (Saint Denis)
sam 18h30 (4e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78590_01
3-Gazeran - Saint-Hilarion
Emancé, Gazeran, GrandChamp, Hermeray, La Boissière-École, Mittainville, Orcemont, Orphin, Poigny-la-Forêt, Raizeux, Saint-Hilarion
www.paroissedegazeran-catholique-yvelines.cef.fr/
Emancé (Saint Remy)
rue de l'Eglise
1 2 3 ou 4e sam 18h30
1 2 3 ou 4e dim 9h30
messesinfo.catholique.fr/public/fiche.php?valcode=78209_01
Gazeran (Saint Germain d'Auxerre)
4, rue de l'Eglise
dim 11h
11 novembre 11h
messesinfo.catholique.fr/public/fiche.php?valcode=78269_01
Gazeran (Salle Saint Benoît)
8 sept 9h30
Hermeray (Saint Germain d'Auxerre)
rue de l'Eglise
1 2 3 ou 4e sam 18h30
messesinfo.catholique.fr/public/fiche.php?valcode=78307_01
La Boissière-Ecole
2 bis, Grande rue
1 2 3 ou 4e sam
1 2 3 ou 4e dim 9h30
messesinfo.catholique.fr/public/fiche.php?valcode=78077_01
Mittainville (Saint Remy)
1 2 3 ou 4e dim 9h30
messesinfo.catholique.fr/public/fiche.php?valcode=78407_01
Orcemont (Saint Eutrope)
rue de l'Eglise
1 2 3 ou 4e sam 18h30
1 2 3 ou 4e dim 9h30
messesinfo.catholique.fr/public/fiche.php?valcode=78464_01
Orphin (Sainte Monégonde)
messesinfo.catholique.fr/public/fiche.php?valcode=78470_01
Poigny-la-Forêt (Saint Pierre)
route de Saint Léger
1 2 3 ou 4e sam 18h
messesinfo.catholique.fr/public/fiche.php?valcode=78497_01
Raizeux (Notre Dame de Bonne Nouvelle)
7, chemin de l'Eglise
1 2 3 ou 4e sam 18h
messesinfo.catholique.fr/public/fiche.php?valcode=78516_01
Saint-Hilarion (Saint Hilarion)
5, rue de l'Eglise
1 2 3 ou 4e sam 18h
messesinfo.catholique.fr/public/fiche.php?valcode=78557_01
4-Les Essarts - Le Perray
Auffargis, Le Perray-en-Yvelines, Les Bréviaires, Les Essarts-le-Roi, Vieille-Eglise
Auffargis (Saint André)
sam 18h30
messesinfo.catholique.fr/public/fiche.php?valcode=78030_01
Le Perray-en-Yvelines (Saint Eloi)
1, rue de l'Eglise
dim 9h45
messesinfo.catholique.fr/public/fiche.php?valcode=78486_01
Les Bréviaires (Saint Antoine)
messesinfo.catholique.fr/public/fiche.php?valcode=78108_01
Les Essarts-le-Roi (Saint Martin)
25 rue Henri-Prou
sam 18h (1, 3 et 5e dim)
dim 11h15
messesinfo.catholique.fr/public/fiche.php?valcode=78165_01
Vieille-Eglise (Saint Gilles)
messesinfo.catholique.fr/public/fiche.php?valcode=78655_01
5-Rambouillet
Rambouillet (Saint Lubin Saint Jean Baptiste)
place Jeanne d'Arc
sam 18h30
dim 11h
messesinfo.catholique.fr/public/fiche.php?valcode=78517_01
Rambouillet (Sainte Bernadette de la Louvière)
2, rue de la paix
dim 9h30
dim 18h30 (sauf en juillet et août)
messesinfo.catholique.fr/public/fiche.php?valcode=78517_02
Rambouillet (Chapelle de l'Hôpital)
messesinfo.catholique.fr/public/fiche.php?valcode=78517_03
6-Saint-Arnoult-en-Yvelines
Bullion, Clairefontaine-en-Yvelines, La Celle-les-Bordes, Longvilliers, Ponthevrard, Rochefort-en-Yvelines, Saint-Arnoult-en-Yvelines
advparoissedesaint-arnoult.web.officelive.com/default.aspx
Bullion (Saint Vincent)
sam 18h (1 et 3e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78120_01
hameau de Moutiers à la commune de Bullion
chapelle Sainte Anne
sam 18h (5e dim)
Clairefontaine-en-Yvelines (Saint Nicolas)
1, Esplanade de l'Eglise
dim 9h45 (1 et 3e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78164_01
La Celle-les-Bordes (Saint Germain de Paris)
dim 9h45 (2 et 4e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78125_01
Longvilliers (Saint Pierre)
sam 18h (2 et 4e dim de la Toussaint à Paques)
messesinfo.catholique.fr/public/fiche.php?valcode=78349_01
Ponthevrard (Saint Germain de Paris)
sam 18h (5e dim)
messesinfo.catholique.fr/public/fiche.php?valcode=78499_01
Rochefort-en-Yvelines (Assomption)
sam 18h (2 et 4e dim de Pâque à Toussaint)
messesinfo.catholique.fr/public/fiche.php?valcode=78522_01
Saint-Arnoult-en-Yvelines (Saint Nicolas)
81 rue du Général de Gaulle
sam 19h (2e dim portugais)
dim 11h
Color 1st comment | large on black | Link to prints available on my profile page
Trying to chose between the black & white and the color on this one nearly killed me (see first comment for the color image). You really can't imagine how much time I spent flipping back and forth and agonizing and changing my mind. At last I made the decision to post the black & white because I noticed I had a pattern going with my last few shots: color, b/w, color, b/w, color ... well, it was b/w's turn I guess.
I really do love both versions, and both types of presentation in general. For my recent work, the b/w I feel can present a stronger overall composition and image - without the "distraction" of color. However, the color often seems more beautiful, and more reminiscent of the scene itself.
When I was a painter (and still, as a designer) I am very colorful and think of my strength in the use of color to be among my greatest talents as an artist. So, it's not so easy for me to leave the beauty of color behind. But, the strength and impact of b/w, well ... ahhhh! I just go back and forth a million times.
I know that whichever I choose there will be many who will prefer the other (but also many who will be quite happy with the choice). I value critique and the opinions of others, but ultimately it is my own opinion that I need to find each time. Usually I can find it. With this photo, I could not.
In English:
So here is the second installment of my monthly self portrait series. I am a little late in taking the shot and posting it, but that's because I was waiting on my new light stands and shoot-through umbrellas that were shipped to me here in France.
Now, the philosophic part:
During November, the frantic pace of school in France has become even more frantic. Each week I have had a different "contrôle continu" (read: quiz worth a sixth of my grade or thereabouts) in one of my classes. And each week, I have felt more or less like I am improving on each one. However, my scores are still not anywhere near where I would like them to be. The grading system in France is very different than in the United States. Everything that we do is scored out of 20. On my first "contrôle continu" in dynamics, I received a 1 out of 20. Ouch. On my first Stress contrôle I got 6 out of 20. Vibrations was maybe 4 and I just took my second contrôle in dynamics which will probably be around 4 or 5 as well. However, the average passing grade in these classes is MUCH lower. For a class of normal difficulty as low as a 10 or 8 is a passing grade and for very difficult classes like dynamics, a 5 is sometimes a passing grade (based on the curve). My study habits are starting to be refined and I am for the first time in my life going to a weekly tutor, which has helped loads with understanding all the things that go on that the professors assume the French students know, but that us international students don't. I'm still fearful of failing classes, but I feel like I can scrape by this semester and will be a-ok for next semester.
Now the photographical part:
The title of this picture also applies to my photography. Now that I have my light stands, flashes, and umbrellas and the various other pieces, I feel like I can start taking this portrait thing seriously. The above photo has barely been photoshopped, The only thing I did was darken the shadows on the ground and on my face a little bit. There is a flash through an umbrella camera right, and a bare flash behind the rhino, both at half power. Which, of course, brings me to the rhino. This guy is just sitting over by the humanities building on our campus and from time to time people paint him different colors. I don't know why and I don't think it can be explained, except by saying that this is France. Things are different here. The generally odd proportionality in the photo is created, for all you non-photographically technically inclined, by using an ultrawide angle lens. My left hand in this shot is about 2 inches from the lens in this shot, which means that from the cameras perspective, it is a lot larger than the rest of my body. The same thing goes for the head of the rhino. It is a proportionally correct (in terms of the sizes of all the parts) in real life but here the head, and especially the horn look a lot bigger. Pretty cool stuff, eh?
Anywho, there's the update on school and photography, I hope all of you people back home are doing well. Thanks for reading this and keeping tabs on me, as I am not the best at keeping in touch with people.
En français: (et un peu plus court parce que ce n'est pas vraiment obligatoire d'expliquer le system des notes françaises pour les francophones)
C'est le deuxième realisation de mon serie des portraits-autonômes. Elle a été prise un peu en retard parce que j'attendais pour la livraison des Etats-Unis des materiaux comme les pieds lumières, les parapluies photographiques, et des autres choses comme ça.
La partie philosophique;
Pout ce mois-là. le titre de ma photographie est "Saisir la bête et ne pas le lâcher!" En novembre, j'ai commencé d'assez reussir dans mes cours. Chaque semaine, je passait un contrôle continu dans un de mes sujets et chaque semaine je me sens que je me suis amélioré. J'ai pas encore recevoir des vrais bonnes notes, mais je suis assez sûr maintenant que j'ai la capacité de passer mes cours cette semêstre. C'est bizarre pour moi ici avec les notes encore. Aux Etats-Unis, il faut recevoir plus que 70% dans un cours pour le passer (imaginez: plus que 14 et normalement une note moyen est comme 85 vers 100% (17-20)) Alors c'est assez déprimé quand je reçoit un 4 ou 5 ou moins ici en France. Mais ça va, j'ai commencé d'être étudiant français, Je vais le faire.
La partie photographique;
La titre de ma photo signifie aussi le début de mes photographies portraits. J'ai maintenant des flashs, des pieds pour les flashs et les parapluies, alors je peux commencer joeur avec l'éclairage pour bien améliorer mes photos. Cette photo-là a été prise avec flash avec parapluie à la droite du appareil et un flash derrière le rhino, les deux à demi-puissance. La perspective (avec la grosse main et tête du rhino) a été realisé avec un objectif grand-angle. Ma main est seulement quelques centimètres du objectif ici. Et le rhinocéros? Il est juste ici au campus d'INSA. De temps en temps il est repeint. Je ne comprends pas, mais c'est cool.
Merci pour le lire! C'est ma vie en France pour le mois de novembre. A plus!
Strboist:
Flash through shoot-through umbrella camera right at 1/2 power.
Bare flash on top of waste bin behine the rhino at 1/2 power.
An odd sign we saw in some Tube station. I have absolutely no idea what it actually refers to, but considering that I am a PHP developer by trade, this was quite funny to me.
Taken at the L.A. Zoo yesterday. When I was composing this through my viewfinder I thought I'd create some textures during processing to make it look like a painting. Well what do you know, nature pretty much did the job. I didn't do much here except for converting RAW to JPEG and doing some subtle curve adjustment in LAB mode. I couldn't have done a better "painting" job than what nature has done here. I merely captured the moment.
This one's for all of you, my dear friends. May you all have an enjoyable and safe weekend.
Buy Now
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Castelló d'Empúries, Girona (Spain).
ENGLISH
The post-processing of this photo has been enough elaborated. From a single shot I do a HDR with Lock06 tone mapping to smooth shades and emphasize the texture of the stone. Then I have turned it to B&W with green filter. Next I have trimmed the sky of the original and I have stuck it in the B&W. I have intensified blue touching the curves, and I have turned the sky to B&W with red filter… and this is what it has left.
***
The gothic parochial cathedral of Santa Maria has the structure and dimensions of a cathedral, a status which it did not achieve despite various attempts made by the earls of Empuries to have it named as such.
It is one of the most interesting examples of Catalan religious gothic architecture.
The construction, which began in the thirteenth century and continued throughout the entire fourteenth century, was completed at the beginning of the fifteenth century when the façade, with its beautiful marble entrance, was finished. The interior, representative of the Mediterranean gothic style, contains: unique roman baptism fonts, an exceptional 15th century alabaster altar piece, two sarcophagus belonging to earls, and a gothic stained glass window, the alter piece “dels Dolors” from the 18th century, an organ from the 19th century and many other items of interest.
The bell tower, with gothic decorations, follows the architectural design of the 13 century roman Lombard influence.
Source: www.castello.cat/interior/en/223-61/basilica-of-santa-mar...
----------------------------------
CASTELLANO
El post-proceso de esta foto ha sido bastante elaborado. A partir de una sola toma he hecho un HDR con mapeo de tonos Lock06 para suavizar sombras y resaltar la textura de la piedra. Luego lo he convertido a B/N con filtro verde. Seguidamente he recortado el cielo de la original y lo he pegado en la B/N. He intensificado el azul tocando curvas, y he convertido el cielo a B/N con filtro rojo... y esto es lo que ha salido.
***
La iglesia parroquial gótica de Santa María tiene una estructura y unas dimensiones propias de una catedral, una dignidad que no consiguió a pesar de los varios intentos realizados por los condes de Empúries.
Es uno de los ejemplos más interesantes de la arquitectura religiosa gótica de Cataluña.
La obra, empezada en el siglo XIII, prosiguió durante todo el siglo XIV i finalizó a principios del XV, cuando se construyó la fachada con el bello portal de mármol. El espacio interior, paradigma del gótico mediterráneo, contiene las singulares fuentes bautismales románicas, el muy notable retablo mayor de alabastro del siglo XV, dos sarcófagos condales y un vitral góticos, el retablo de los Dolores del siglo XVIII, el órgano del siglo XIX y muchos otros elementos de interés.
El campanario, con decoración gótica, sigue todavía la composición arquitectónica de los campanarios románicos de influencia lombarda. Pertenece seguramente al siglo XIII.
Fuente: www.castello.cat/interior/es/223-61/basilica-de-santa-mar...
Read more about the following new books at Pesky LibraryThing
Women’s Suffrage in America … Elizabeth Frost & Kathryn Cullen-Dupont
Women in American History … edited by Eileen K. Cheng
The Timetables of Women’s History … Karen Greenspan
Why They Marched … Susan Ware
Mr. President, How Long Must We Wait? … Tina Cassidy
One Woman, One Vote … DVD
The Suffragettes … DVD
Votes For Women! … Winifred Conkling
Failure is Impossible … Lynn Sherr
Lucy Stone: An Unapologetic Life … Sally G. McMillen
Fighting Chance … Faye E. Dudden
The Fight to Vote … Michael Waldman
The Right to Vote … Alexander Keyssar
The Woman’s Hour … Elaine Weiss
Women’s Suffrage … edited by Richard Haesly
March of the Suffragettes … Zachary Michael Jack
Gilded Suffragists … Johanna Neuman
The Story of Ellizabeth Cady Stanton & Susan B. Anthony … DVD
The Fight For Women’s Right to Vote … Carol Rust Nash
A Century of Women … Sheila Rowbotham
With Courage and Cloth … Ann Bausum
Suffragette … DVD
Failure is Impossible … Martha E. Kendall
One Woman, One Vote … edited by Marlorie Spruill Wheeler
Seneca Falls and the Origins of the Women’s Rights Movement … Sally G. McMillen
Let Women Vote! … Marlene Targ Brill
Women’s Rights in the United States … edited by Winston E. Langley & Vivian C. Fox
A History of Women’s Achievement in America … DVD
Well-Behaved Women Seldom Make History … Laurel Thatcher Ulrich
A History of the American Suffragist Movement … Doris Weatherford
The Day the Women Got the Vote … George Sullivan
In Her Place … edited by S.T. Joshi
Frontier Grit … Marianne Monson
Feminism and Suffrage … Ellen Carol Dubois
No Turning Back … Estelle B. Freedman
Sojourner Truth: A Life, A Symbol … Nell Irvin Painter
Women’s Rights … edited by Jennifer A. Hurley
Old Baggage ... Lissa Evans
A charming window! See large on black 'Une fenêtre charmante!'
Notice the flowers under each window. Notice also the lace curtain which suggest a dining room or kitchen window.
This house is on a corner. Cette maison est sur un coin.
Notice the flowers under each window and the bay window on one side.
This is a typical house of this particular style here. It is a modern design based on the very old Québécois house. In Saint-Lambert, an old town with areas developed at various periods, there are a few very old colonists' homes, and very modern homes built in the last 10 years or so. There is anything in between. This sector of Saint-Lambert is called Préville because this tiny town was annexed in the 70s. The general style in this area is old Normandy and old Québécois type homes. So all the streets are filled with these. I took several photos on September 11, 2006 and I am gradually showing them. See the Saint-Lambert set for the ones already downloaded. More to come.
This home of which I took 5 photos is particularly charming because of the attention to details. The blue doors and shutters, the white porch ramp, the old wood fence and most of all, the country-style landscaping. The others have the same or similar design but it is interesting to see how people do different things to decorate the exterior of their homes and what landscaping they chose.
One of several homes I photographed on September 11 and 12, 2006. All are in the quiet Préville sector of my hometown of Saint-Lambert, Québec.
Une de plusieurs maison que j'ai photographiées le 11 et le 12 Septembre, 2006. Toutes sont situées dans le secteur tranquille de Préville à ma ville de Saint-Lambert, Québec.
See/voir Sets:
flickr.com/photos/mimosa0/sets/72157594391278893/
There are major errors in the map. Other towns next to Saint-Lambert are indicated even if I put the photos on specific streets in my town!!!! It should read Saint-Lambert or at least St-Lambert.
dress: family affairs good spirits dress
top: thrifted vintage silk blouse
sweater: j crew cashmere boyfriend cardigan
necklace: toujours toi stables necklace
bag: j.w. hulme mini legacy bag
watch: michael kors tortoise watch
shoes: vintage salvatore ferragamo vara flats in navy
Mozia Museo e Necropoli www.guidavacanzesicilia.com
www.youtube.com/watch?v=6tZzzaa-P8s
In esposizione presso il Museo Whitaker a Mozia (Marsala – TP)
Ritrovato nell’isola di Mozia, nel 1979, sotto un cumulo di detriti.
Marmo bianco a grana grossa cristallina di presumibile origine anatolica con tracce di policromia.
Il corpo è privo dei piedi e delle braccia, ma conserva parte della mano sinistra. Presenta abrasioni e scheggiature dovute al trascinamento dal luogo dell’originaria collocazione ed al contatto con il materiale detritico che lo ricopriva.
Si tratta di un personaggio maschile , di altezza complessiva stimata di m. 1,94, vestito di una lunga tunica pieghettata trattenuta al petto da una larga fascia con fori centrali per l’applicazione di elementi decorativi. La calotta cranica, parzialmente lavorata presenta dei fori per il fissaggio di un copricapo di altro materiale
La resa dei muscoli della spalla suggerisce la posizione delle braccia mancanti: il destro proteso in avanti, il sinistro piegato del quale si conserva la mano sul fianco.
La gamba destra flessa in avanti, la sinistra diritta sostiene il peso del corpo.
Datazione tra il secondo e il quarto secolo a.c.
Probabile committenza punica e bottega siciliota.
As discovered via Fatwallet, BestBuy has interesting "Back to School" coupon booklets at their stores. It's interesting because they appear to give you random sets of discounts. Someone found a way to identify the one that give you the 30% off coupon.
Basically, I've confirmed two ways to quickly spot the ones that have the bigger discounts:
1. As you'll see in the photos, the 30% off ones have slightly different copyright text than the lower (10% 5% 15%) booklets. If you get one with a 29528_1 to the left of the copyright symbol on the back cover, you have a lower one. If there's no text to the left of the the copyright symbol, you've got the 30% off!
2. I found the "Back-to-School" booklets next to the customer service counters. Since there were sales people there, I couldn't afford to stand around and sort through stacks of booklets. A quick way to find the ones with the bigger discounts is to look from the top side of the stack (i.e. spine of the booklet fold). The 30% off ones will be less yellowish in print, probably because of a difference in printing or folding batch.
Read more here or join FlickrDeals to be in the know.
.... put on a happy face! :-)
On Black: bighugelabs.com/flickr/onblack.php?id=2366352895&post...
Words & Music by Lee Adams & Charles Strouse
From the musical "Bye, Bye Birdie"
Gray skies are gonna clear up,
Put on a happy face!
Brush off the clouds and cheer up,
Put on a happy face!
Take off that gloomy mask of tragedy,
It's not your style.
You'll look so good that you'll be glad ya decided to smile!
Pick out a pleasant outlook,
Stick out that noble chin,
Wipe off that full-of-doubt look,
Slap on a happy grin!
And spread sunshine all over the place, just
Put on a happy face!
Put on a happy face!
Put on a happy face!
And if you're feeling cross and bickerish
Don't sit and whine.
Think of banana splits and licorice,
And you'll feel fine!
I knew a girl so gloomy,
She'd never laugh or sing,
SHe wouldn't listen to me,
Now she's a mean old thing!
So spread sunshine all over the place, just
Put on a happy face!
:-)
A hand-held, 3 exposure (-2, 0, +2) HDR processed with Photomatix and PhotoShop Elements 3.
better view it here, just to be safe.
week of confessions ends today!
So... I'm running out of things to confess. I tend to wear my heart on my sleeve. I guess that in itself is a confession... I'm either revealing too much or I don't tell ANYONE (save for a very special few). I think I should go back to being more secretive. I think sometimes that I reveal too much of my true genuine emotions and someday they are going to come back and bite me in the ass. Some such examples of me revealing too much can be seen here, here, and here. (just three examples) I look back at them now and think, "what a melodramatic baby..." but I guess they documented how my day was that day. Man, this 365 project is making me realise a lot about myself. It's getting TOO HEAVY, PEOPLE! :-P
I really can't imagine my life without this project, actually. I don't know what I'll do in January when it's done. Do a second year? Thoughts on that..?
Song of the Day - Handsome Furs - Sing! Captain
"There's a town, just a little town
Raining cloud, a hollow sound
When our lover gather round
And if they're cold
Then they're cold
Feed them wine, feed them chrome
We hate this place here
It's our home, It's our home
And your car-collapsing trees and I
Could turn them back to sound
With the torches in our hands we will reduce it
To the ground"
View On Black and LARGE--it's pretty impressive
This is Bruno Zacchini's Super Repeating Cannon. It resides in the Museum of the Circus in Sarasota, Florida.
"Flying isn't the hard part; landing in the net is" - Mario Zacchini
John Ringling saw the Zacchinis perform at Tivoli Gardens in Copenhagen, where he signed Hugo and Bruno (brothers) Zacchinni for the 1929 season of Ringling Brothers Circus. Over the years, the Zachinni family has dominated the human cannonball tradition. From the earliest 1900s, the Zachini brothers and their children have amazed thousands with their death-defying performance.
In 1946-47, the first Super-repeating cannon was designed and built by Bruno Zacchini with the assistance of his brother, Teobaldo in Sarasota. They used a GMC truck as the base. Bruno's daughter, Silvana, at the age of 16, became the first woman to be shot from this cannon. Later she was joined by her aunt, Simone Loyal, as a double human cannon ball act. Hugo was the last of the family members to take flight on August 29, 1991. The Zacchini's also suffered several serious accidents, including one, where two of them collided in mid air having been simultaneously shot from opposing cannons.
In 1961, this particular cannon would shoot 2 performers nearly 140' through the air in seconds of each other at speeds of 125 mph. The cannon is 37' long including the cab, 8' wide, and 20' high with the barrel raised. It is mounted on a Mack truck.
The operating mechanism has been removed--it remains a closely guarded family secret.
The cannon was made available to the museum through the courtesy of Silvana Zacchini Meluza.
Background information courtesy of the Museum of the Circus.
For more information on human cannonballs (it's dangerous, but interesting) visit this site: everything2.com/index.pl?node_id=1690298
Poroiba - Akau - Wigschool - Pruikenschool
The wigmen of the Huli people aren't like Western toupee manufacturers. They are wizards who only work with people who have fine heads of hair.
What a traditional wigman does is use ancient magic to make hair grow faster than normal so it can be cut off and turned into a wig. Evidently, magic - like hair restorer - doesn't work if the hair is long gone.
This singular way of making hairpieces is found in the Tari Valley, 2000m up in the Highlands of PNG, an area just starting to make the transition from the old ways of centuries past to the new ideas which have begun to flow from the outside world.
When I explored the villages and roadside markets around the lodge, most of the men I met were wearing caps, but a good number still went about their daily business dressed in the traditional wigs.
In fact many had not one but two wigs - a plain day wig shaped like an upturned bowl, and an ornate ceremonial wig decorated with bird feathers - possession of which, like ownership of many pigs or having more than one wife, is a sign of wealth and status.
As a result the wigmen are still much in demand. And, this being a place where magic is taken very seriously, they are deeply respected. The sign welcoming visitors to Tari Airport highlights the fact that the area is "Home to the Huli wigman."
uit:
www.nzherald.co.nz/papua-new-guinea/news/article.cfm?l_id...
and:
www.papuanewguinea.net/Wigmen.html
The Huli are an indigenous people that live in the Southern Highlands of Papua New Guinea. They number over 65,000 and have been living in the area for at least 600 years. They speak Huli, Tok Pisin, and English.
From:
en.wikipedia.org/wiki/Huli_people
We bezoeken de pruikenschool van de Huli in het heel afgelegen en geïsoleerd dorpje Poroiba.
Dit is een 'school' met leerlingen en leraren dus. Eerst moeten de jongens toegelaten worden. De jongens moeten bevestigen dat ze nog geen sex gehad hebben met het andere geslacht. Dan worden ze ingewijd in de rituelen om het haar te laten groeien. Ten vroegste na 9 maand intens 'voeden' van de haren met gezang en hoofd besproeien, kan de leeraar oordelen of het haar klaar is voor een pruik. Dan volgt een eerste knipping. Genoeg haar dan voor een gewone pruik. Een volledige cyclus is 18 maand. De jongens blijven al die maanden ter plaatse en ze moeten maagd blijven. Sommige laten de haren groeien zo dat ze 2 pruiken hebben. Genoeg voor een ceremoniële pruik. Het is een statuussymbool.
Hilo de la Fotohistoria en Pullip .es: LIVING ROOM (7 of 7): Sun /
LA SALA DE ESTAR (7 de 7): Sun
(Read in order, this is: SHOT/FOTO 101 of 106) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106.
FOTOSTORY: In English / En Español
Sun: - whispering – What if we tie him with a dog lasso? XD
Cíen: … (I figured that out hundreds of times... ¬¬)
/
Sun: - susurrando - Y si lo dejamos atado con correa? XD
Cíen: … (Me lo he planteado muchas veces... ¬¬)
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
Processed as HDR from single RAW to 3 exposures (-2/0/+2), orton effect and vignette, then desaturated.
This photo means a lot to me.
It was taken 21th of September 2008 in Trollhättan, Sweden, in the surrounding woods of NÄL (a large hospital).
From left to right, the picture holds one of my brothers, my mother, her man and our dog.
The reason I hold this photo dear is because this is the day the struggle began, both for my mom and for our family and friends. The doctors found a tumor in my mothers stomach. A week later she was diagnosed with cancer.
*** UPDATED ***
My mother has undergone a large surgical operation. She is recovering fine right now, but she still awaits chemotherapy and radation-therapy.
*** UPDATED **
Complications. She had another surgery. Trying to fight an infection at the same time.
*** UPDATE February 2009 ***
Progress! She has woken up from 7 weeks of coma. Has been in recovery after that for a couple of weeks and had her first day of permission from the hospital! Hope!
*** UPDATE March 2009***
She's home! A nurse visits her 2 times per day, but she's managing just fine. I couldn't have wished for anything better!
The Blackmagic Striker kit is like the Target Shooter'stougher, older brother! The Striker is a dual handgrip system that also uses a gunstock against your chest giving you 3 points of contact. The 12” horizontal rod acts as the central point for the whole kit with each component branching out from there. Each handgrip, the gunstock, and the rod leading up to the camera can slide up and down the 12” rod for balance and comfort. Each piece also pivots at the central rod so the handgrips can be situated in the down position so your arms are against your sides or can be flipped up so the handgrips are aligned with the camera. You can also quickly remove the entire rig from the baseplate with a flip of a lever. A Blackmagic Top Handle would be the perfect accompaniment for this kit.
Antes de hacer la foto dudé en hacerla en modo A, es decir con prioridad de abertura, ya que no me gusta usarla en modo P y que sea la máquina la que controle la exposición. También pensé en usarla en modo SCENE, pero no sabía bien cuál elegir. Así que giré el disco de control hasta seleccionar el diafragma adecuado, teniendo en cuenta que se incrementaba 1/3 EV. A veces uso el modo M para ajustar la abertura y la velocidad del obturador, pero eso me hace perder tiempo. Eso sí antes le di al botón WB para ajustar el balance de blancos exactamente en 5300 K. También podía haber usado el balance de blanco a un solo toque que mola mucho, pero no tenía ninguna hoja de papel blanco a mano (es que no puedo estar por todo). Seguidamente le di al botón ISO para ajustar la sensibilidad. Luego dudé entre elegir la medición ESP, ponderada central o puntual. Podía utilizar esta última, midiendo en las altas luces y compensando la exposición dándole + 2 puntos, usando el botón para tal fin y teniendo configurado el intervalo de paso EV en 1/3EV, para luego recuperar información en el postprocesado. Al final me decidí por la ESP y que fuera la cámara la que midiera, no lo iba a hacer todo yo. También podía haber usado la medición HI, es decir de puntos con control de iluminación, pero no lo consideré necesario. Aunque usar la medición puntual y bloquear la exposición con el botón AEL/AFL tampoco hubiera sido mala idea. Luego, decidí usar el S-AF, para enfocar automáticamente pues usar el MF es más complicado sin la pantalla partida de mi antigua OM2. Así que presioné el botón hasta la mitad bloquear el enfoque y que se iluminara la marca de confirmación AF. Tampoco quise configurar el botón AEL/AFL para activar el modo C-AF. Una vez decidido, miré por el visor fijándome que me indicara la marca de confirmación AF y que la indicación de sobre o subexpuesto no parpadease. Pero no he dicho que previamente usé la función “reducción de ruido” pues es sabido que durante el fotografiado a una velocidad de obturación lenta es posible que aparezca ruido en la pantalla ya que se genera corriente en las secciones del dispositivo de captación de imagen que normalmente no están expuestas a la luz, dando como resultado un aumento de temperatura en el mencionado dispositivo de captación o en el circuito accionador de este dispositivo de captación de imagen. Como quería ver previamente la profundidad de campo, configuré el botón Fn para esta función y lástima que mi cámara no tiene estabilizador de imagen que si no también lo configuro. Además, como tenía problemas para enfocar automáticamente, enfoqué el objeto a fotografiar y pulsé el botón a medias hasta que se encendió la marca de confirmación AF y mientras mantenía pulsado a medias el botón disparador, me moví a la composición deseada. Otra cosa, como la cámara tiene tres cuadros AF de enfoque, traté de enfocar usando el cuadro AF central. Como modo de grabación elegí el formato RAW con 3200x2400 píxeles. Me gusta más que el HQ o SQ. No sé si he dicho que contraste lo tenía configurado en NATURAL, no me gusta el VIVID y el ajuste de gradación estaba en NORMAL, pues el CLAVE ALTA o CLAVE BAJA no eran adecuados para esta toma. Y no me di cuenta, pero podía haber puesto la compensación de sombreado en ACTIVADO pues va bien con objetivos gran angulares. Se me olvidaba decir que el filtro de ruido lo puse en ESTANDAR.
En fin, que mientras hacía todo esto, Dedodisparador se empezaba a impacientar, así que simplemente miré, encuadré y disparé... total...
"You're sick of hangin' around and you'd like to travel;
Get tired of travelin' and you want to settle down.
I guess they can't revoke your soul for tryin',
Get out of the door and light out and look all around.
Sometimes the light's all shinin' on me;
Other times I can barely see.
Lately it occurs to me What a long, strange trip it's been.
Truckin', I'm a goin' home. Whoa whoa baby, back where I belong,
Back home, sit down and patch my bones, and get back truckin' on.
Hey now get back truckin' home."
Grateful Dead - Truckin
So today I was out and I saw this old Chevy pickup truck. I had my camera with me, and being inspired by Patty's (ppphotograph) amazing work, lately, like this for instance; power wagon.
I just knew I couldn't pass up this opportunity. The challenge was photographing it where it was, parked on a city street in Brooklyn, in surroundings that were anything but picturesque. I made a shoot out of it anyway, wishing that I at the very least had my tripod with me. I will post some of the others at a later date, but for now I had way too much fun with this one in Photoshop and I am offering it up.
~ Thank you for looking at my photos ~ :) -Jim
Please...View On Black.
Quote from Wikipedia "Another Place is a piece of modern sculpture by Antony Gormley.
Now permanently erected on Crosby Beach, England, it was due to be moved to New York in November 2006, but there was a controversial proposal to retain the work at Crosby. It was stated in the local paper, the Crosby Herald, that they may stay for a decade, but at a meeting on 7 March 2007, Sefton Council accepted proposals that would allow the sculptures to be kept permanently at Crosby Beach"
There are 100 of these iron figures over a 3 Km stretch of beach.
Camera -Olympus E-510
Exposure -60 seconds
Aperture -f/8.0
Focal Length -14 mm
ISO Speed -100
B&W 10 stop Neutral Density filter
farm3.static.flickr.com/2741/4203551434_0b235ae9ab_b.jpg
Monte Castello di Vibio Tra il verde delle colline Umbre.
Il nome
L'etimologia del nome "Monte Castello" deriva dalla tipica struttura di fortilizio medioevale costruito in cima ad una collina mentre l'aggiunta del "Vibio" risale ad un'epoca più recente, il 1863, anno nel quale con Regio Decreto del Re d'Italia, Vittorio Emanuele II, alcuni comuni delle province dell'Italia centro – settentrionale furono autorizzati ad assumere nuove denominazioni a causa delle frequenti omonimie che si riscontrarono dopo l'Unità della nazione. La scelta del "Vibio" potrebbe derivare dal nome di un'antica e nobile famiglia di Perugia (denominata in seguito "Colonia Vibia Augusta Perusia") un cui membro divenne imperatore romano. Toponimi con il nome di "Vibio" compaiono nel nome di un'antica abbazia romanica posta nelle vicinanze del paese (San Lorenzo in Vibiata) ed in un iscrizione apposta sopra ad un'urna cineraria di origine romana dedicata a "Tertia Vibia", rinvenuta nei pressi della frazione di Doglio. La Storia
Il paese, derivando il nome dalla "gens Vibia", ha sicuramente origini romane ma, con ogni probabilità, molto attiva dovette essere anche la vita delle popolazioni indigene ancor prima dell'espansione della civiltà romana. Il periodo dell'età di mezzo ha comunque cancellato ogni traccia di quell'antico passato e Monte Castello di Vibio conserva ancor oggi la tipica struttura di un "castrum" medioevale.
Nel 1245, Caccianemico, podestà di Todi, fece radere al suolo le sue mura e nel 1247 il suo successore, Tolomeo di Pietro, fece demolire i torrioni. Entrato a far parte del territorio di Todi, venne inserito nella struttura amministrativa della città e del territorio tuderte, talchè lo troviamo inscritto nel "liber focularium", cioè nel catasto delle famiglie del 1290 con una popolazione di 1000 abitanti.
Nel 1323 la rocca venne ricostruita e registrata facente parte del suo sistema difensivo al comando di castellano di nomina todina.
Nel 1392 vi si insedia la signoria. Bonifacio IX infatti assegna a Catalano degli Atti il territorio di Monte Castello perchè vi esercitasse i suoi diritti di signore.
La famiglia degli Atti vi si insediò stabilmente solo dopo il 1409 e vi restò fino al 1464 quanto Monte Castello passò sotto il diretto dominio della Chiesa dalla quale Todi lo ebbe in vicariato nel 1475. Diverse furono le dispute con la città dominante tanto che Todi, nel 1565, dovette addirittura ricomperare il paese dalla Camera Apostolica e dal 1596, anno in cui il dominio appare definitivamente consolidato, per due secoli Monte Castello ritorna ad essere parte integrante del comitato tudertino.
In epoca napoleonica, fra il 1798 ed il 1799, conobbe però il periodo di riscatto e del massimo splendore allochè divenne Capocantone amministrativo di un vasto terriotorio (comprendente ben 24 comuni e frazioni) all'interno del Dipartimento del Trasimeno. Dopo la seconda restaurazione pontificia del 1814 Monte Castello è divenuto comune.
Exposición "SUBLIMINAL"
Giro lingüístico y paradoja visual
Consideraciones sobre las fotografías de Álvaro Pérez Mulas
(El texto completo)
En sus estudios sobre el inconsciente óptico Rosalind Krauss recordaba que el pintor norteamericano Frank Stella decía a menudo que la persona a quien más admiraba era el jugador de baseball Ted Williams, el cual presumía de tener una visión tan rápida que era capaz de ver las costuras de la pelota cuando ésta sobrevolaba la base. La excepcional mirada del deportista atraía al pintor por su capacidad de ampliar el espectro de lo visible y superar la mirada natural descubriendo detalles de un mundo que no podríamos percibir de otra manera y accediendo con ello a una suerte de “estado abstracto” de la visión.
La mirada fotográfica de Álvaro Pérez Mulas llega a capturar detalles en los objetos y las superficies urbanas que la vista humana no es capaz de detectar, pero no tanto porque sean invisibles como porque su “humilde objetualidad” los hace pasar desapercibidos. Queremos decir con ello que lo que se descubre en estas fotografías, nunca será lo visto por quien pasó cerca de esos objetos; y aquí radica el valor de las mismas; su capacidad de revelación y transfiguración, pues al final las imágenes resultantes son autónomas respecto al referente objetivo del que han sido seleccionadas. De este modo la fotografía recoge una vieja finalidad de la pintura: hacernos ver lo que de otro modo no veríamos; hacernos conocer lo que de otro modo no conoceríamos…
Como todos saben la fotografía nació con la ilusión de ser el medio que podía fijar más exacta y objetivamente que ningún otro la realidad, inmovilizándola y bidimensionándola. Pero los diferentes espacios discursivos desarrollados por este soporte en los últimos años han logrado dar ese giro de tuerca que hace que lo falso se convierta en verdadero, el engaño se perciba como certeza y la realidad –o más bien los indicios de lo real-: como abstracción.
Como ha señalado Jean Baudrillard, la técnica de la fotografía nos lleva más allá de la réplica y el trampantojo. A través de su juego irreal con la mirada, su inmovilidad, su silencio y su reducción fenomenológica de movimientos, la fotografía se reafirma a sí misma como la más pura y al tiempo, la más artificial exposición de la imagen. La visión fotográfica transforma la mirada y provoca un doble juego entre realidad y simulacro que amplifica el concepto de ilusión hasta el infinito.
En las fotos que Álvaro Pérez Mulas presentó hace dos años en la Galería Adora Calvo bajo el significativo título: “RECONFIGURACIONES”, de las cuales su nueva serie “SUBLIMINAL” son una continuación lógica; la abstracción –si así pudiera llamársele- aparecía casi como un enigma, pero también, -siguiendo a Baudrillard- “como una realidad más real que lo real”. Algunas imágenes se percibían -y se perciben todavía en la nueva serie- como “paisajes de la objetualidad cotidiana” que se transfiguran a través de la mirada fragmentaria del objetivo fotográfico; lo cual las convierte en autónomas, es decir: en fragmentos constitutivos de un universo que se aleja de lo real para constituirse, por encima de todo, en “espacio pos-pictórico”.
Pérez Mulas se ha ido moviendo en las series fotográficas que preceden a su nuevo trabajo en el territorio de la paradoja pues sus fotos revelan el universo radicalmente no objetivo que reside dentro de la estructura de los objetos –y ahora también de las palabras- . La imagen se enmascara en tanto que huella de lo real pues la fragmentación y el aumento de escala contribuyen a aislarla de su referente llevándola virtualmente, al territorio de la abstracción, pero nunca llega a perder del todo su capacidad descriptiva. En cada imagen queda evidenciada la inspiración objetual pero también su intercambiabilidad con los modos de la pintura entendiendo por tales el mantenimiento del formato, -de la lectura frontal- y sobre todo del lenguaje y los signos plásticos -las composiciones determinadas por dibujos lineales, texturas y campos cromáticos-, así como el espacio de representación, limitado por unos imaginarios márgenes cuadrangulares que incitan a la contemplación bidimensional. Cada una de estas fotos se postula de modo independiente como una “ficción objetiva” una “re-configuración fragmentaria de la realidad” que llegamos a percibir, -sin saberlo- como: “la imagen simulada por la apariencia de la imagen”.
Ahora bien, cuando las “formas del lenguaje” entran en colisión con el “lenguaje de las formas” como sucede en la nueva serie fotográfica, las reglas del juego interpretativo pueden llegar a variar…
En el proyecto que ahora presenta en el Espacio Emergente del DA2 bajo el título “SUBLIMINAL” Álvaro Pérez Mulas da una nueva vuelta de tuerca a su trabajo anterior y establece lo que podríamos denominar: un “giro lingüístico” de orden conceptual que transforma las imágenes en “fonemas” y las formas en “signos comunicativos” que interrogan -tautológicamente- al espectador sobre el verdadero significado de aquello que está viendo: ¿lo que miras es lo que ves?
En cada imagen siguen quedando evidenciadas como ya hemos visto: la inspiración objetual y la inspiración pictórica; pero también su intercambiabilidad con los modos del lenguaje y hasta cierto punto de la poesía visual. Este desdoblamiento provoca una tensión equidistante entre los tres vértices del triángulo: abstracción, representación y comunicación; pues en cada foto nos encontramos con la huella, el rastro, la disección y el referente; pero al mismo tiempo asistimos a una suerte de “asesinato simbólico del objeto” en favor -aparente- de los signos del lenguaje; lo que a buen seguro: hará sonreír a los conceptuales más recalcitrantes y provocará una cierto estado de perplejidad en el espectador.
La lógica de un uso sintáctico de las palabras transmite dudas y decisiones sobre el significado de los signos y las formas, lo que de algún modo sería comparable al análisis de las “condiciones de la verdad” tal y como fueron formuladas por Wittgenstein. Así pues, podemos concluir destacando que para Pérez Mulas la sintaxis lógica –tanto si nos referimos al lenguaje como a las formas- existe para ser pervertida desde dentro. Las “formas-fonema” son como un virus que se auto-duplica y que sólo puede ser destruido por otro virus más fuerte y resistente y está claro que en este caso sólo las paradojas visuales (y no los diccionarios) tienen la capacidad para hacernos dudar y en consecuencia “diseccionar” el “lenguaje de las formas” con la misma intensidad que las “formas del lenguaje”.
F. Javier Panera Cuevas
Director de Programación del Centro de Arte Contemporáneo Domus Artium 2002, DA2
Las demás fotografías de esta serie se pueden ver aquí
© Álvaro Pérez Mulas
View On White <---- go big or go home
shot some really cool surf stuff down at rincon, a popular surf spot about 15 minutes south of santa barbara the other day. this one is hands down my favorite from the day! i'll post another tomorrow..
D3S + 200-400 f/4
I quit smoking on Monday night. I think about having a cigarette probably every 5 minutes. It will just pop in my head "Oh, time for a smoke!!" Then I remember.
I watch that show Intervention, and I always think for an alcoholic, how sad and hard it would be to have an addiction to alcohol. To where you could NEVER have a drink for the rest of your life. I hardly ever drink, but if I want to drink I can, and I can not drink for another 8 months.
So, with cigarettes, I suppose I am like an alcoholic or any addict for that matter. I can never have another cigarette for the rest of my life.
Do you know this makes me cry inside? It isn't even that I'm addicted to the nicotine so much. I've never had a real strong "Oh my God I NEED a cigarette RIGHT NOW before I kill someone." feeling. I just truly enjoy smoking. So much so that I smoked nearly 2 packs within a 24 hour period. Yeah, I know. Crazy! I could out smoke probably anyone.
The thought of not going on a long drive on the weekend without smoking, makes me sad. What will I do??? Going and having a coffee, and not smoking? Seriously??? I've seen people do it, but I don't' know how?!
It's hard too when the dude at 7-11 knows what cigarettes I smoke, and immediatly goes for them. I went there yesterday, and had to stop him and tell him I quit.
I've had so many split second thoughts of running to 7-11 and just buying a pack. Screw it. Then I come back down to reality, and I realize the only good reason I have to continue smoking is: I like it.
I have a list of reason to not smoke. Mainly, I don't have the best genes out there. Since my Dad died at 29 years old from heart disease, dying has never been far from my mind. It's actually always been pretty much right there ever since I realized about death and dying. I want to live as long as I can, and be here to see my Grandchildren. I can't imagine anything worse then dying before my children are grown.
So, yeah. I've got quite the battle ahead of me. I'm not even 48 hours into this. I'm feeling pretty good though about it. I'm even taking out $10 a day, just to see how much money I actually throw away.
My hair still smells clean. I love that!
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In August 2014 the Hamilton County Commissioners voted to put on the ballot for this November a one-quarter of one percent sales tax increase that by law is limited to five years to fund the restoration of Cincinnati Union Terminal.
The tax would generate nearly $172 million in revenue-- and when it is combined with historic tax credits, contributions from the State of Ohio, and philanthropic fundraising efforts it will allow for the complete repair and restoration of Union Terminal.
Hamilton County residents will not be the only ones paying for this. The Economics Center at the University of Cincinnati analyzed and determined that approximately 47% of the sales tax collected in Hamilton County comes from people who live outside the county, thus relieving the tax burden on local residents.
Additionally, The Cincinnati Enquirer reported that the sales tax increase would cost the average resident just $23 per year. The Hamilton County Commissioners also put in the proposal that by law this increase would end after just five years.
The successful passage of Issue 8 will allow us to preserve Union Terminal and guarantee that it will continue to be an essential part of our region's great heritage. Future generations will benefit from our investment now-- ensuring that our children, and grandchildren, are able to enjoy Union Terminal.
Decades of time, outdated construction techniques and years of freezing and thawing have taken its toll on Union Terminal. But, repairs can be made to the exterior envelope of Union Terminal to prevent water damage and to the steel structures underneath, making the building fit for a very long time into our future. Additional repairs and renovations to outdated mechanical, electrical and plumbing systems will make Union Terminal more efficient and create more opportunities for activities within the building.
There are many ways to become involved with the campaign. First and foremost is to make sure you are registered to vote by October 6 and vote 'Yes' on Election Day, November 4th.
Hilo de la Fotohistoria en Pullip .es: Naruto VS Sasuke
(Read in order, this is: SHOT/FOTO 01 of 23) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23.
FOTOHISTORY: In English / En Español
Naruto: Sasuke...
Sasuke: Whaaaat... (here you go again... can't you be quiet for just 5 minutes?? ¬¬)
/
Naruto: Sasuke...
Sasuke: Queee... (ya estamos otra vez...no puedes estar callado ni 5 minutos?? ¬¬)
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
- Hilo de Naruto en Grupo en el Foro: miPullip
- See more photos at: Renske‘s Flickr
Go2,hire,go2,hire,hire go,Hire,go2 hire,press Developer, Hire OSCommerce Developer, Hire php Developer, hire mysql,hire,lamp,web developer, web,designer,web designer,freelancer, PHP Web Development, offshore php programming , dedicated, web experts, ecommerce,
© Luxgnos Photography / Brian Callahan 2011 All rights reserved.
John R. St. John, who visited the Keweenaw region in 1845, cited the need for a lighthouse, or at least a beacon, at Copper Harbor in A True Description of the Lake Superior Country... published in 1846.
Reverend John H. Pitezel, a Methodist missionary to the Keweenaw during the late 1840’s recalled that “we had once before entered [Copper Harbor] in the night...when our only beacon was a globe lamp, sent out in a yawl, and placed upon a lone rock in the channel.” (Presumably Gull Rock)
Action providing improved navigational aids at Copper Harbor followed closely upon the Keweenaw copper rush. The shipwreck of the John Jacob Astor in 1844 and rapidly expanding Lake Superior shipping traffic influenced President Polk and Congress to authorize construction of the Copper Harbor Lighthouse in 1847. For $4,800, Charles Rude built the original 65-foot-tall split stone, whitewashed tower on Hays Point between 1848-1849 about of the steel tower.
A new lighthouse (the present one) was built in 1866, incorporating the light towers and keeper’s dwelling in the same building. We can only speculate why the present lighthouse was constructed. According to the building specifications, the original lighthouse was--at least in theory--imposingly structurally sound. Some lake lighthouses of the period were built too near the shoreline and suffered from the eroding action of the waves, but the local terrain does not lend itself well to this theory. It’s quite possible that poor construction methods and material by the original contractor led to a rapid structural decay. It is interesting that little, if any, trace of the original lighthouse remains at ground level, which may indicate that its building materials were used in the construction of the 1866 lighthouse and/or the repair of outbuildings. The 1866 dwelling’s attached up to fifteen miles. While briefly burning sperm oil, the light used lard oil up to 1887, when mineral oil was introduced. In 1919, as the light was converted to acetylene gas, the station became non-attendant. The range lightkeeper, Charles T. Davis, assumed maintenance responsibilities for the main light.
The present 62-foot steel tower was erected in 1933, with the light being converted to electricity in 1937. The current light is visible up to twenty-two miles. The light was described in 1907 as “a fixed white light, light, the 1st order light being the largest in use and the 6th order the smallest. The Fresnel lens was common throughout the Lighthouse Service. When the station became non-attendant, the lighthouse was leased to Dr. Roger T. Vaughan (assistant warden, Cook Co. Hospital, Illinois) in 1927 and was used by Dr. Vaughan and a number of his colleagues as a summer cottage. Their five-year lease was renewed in 1932 and again in 1937. Plans were made by the Government to sell the buildings at an appropriate time to avoid continued maintenance expenses.
Available At:
www.etsy.com/view_listing.php?listing_id=33051410
The Owl design was first tattooed around the early 40's and usually meant that u were a burglar or a safe-cracker (hence the owl sitting on a crowbar). Kat. is an abbreviation of the Russian word "Katorzhnik" which means "sentenced to hard-labor", though "hard" was probably a soft word for it. If you made it through one of those camps and lived then you were one tough, resilient s.o.b. It was first applied back in the Tzarist Camps (1800-1917).
The combination of the two may have been tattooed in memory of those who died in those camps or simply just to scare others. On the front are two cat tattoos which can symbolize luck for a person that needs luck in his/her line of work. There are many different meanings for cat tattoos.
MIR logo printed on hood
Made for week 238 of the Photoshop Contest.
Photo credits:
Stone wall: Lamerie
Dancer: George Eastman House
Stone floor: Gerald Menzel
Rabbits: Halans
Stone arch: Dynamosquito
Clock :Leo Reynolds
Planets courtesy of NASA.
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Währungsreform 1923/1948
Zwei mal in 25 Jahren ist in Deutschland im 20. Jahrhundert die Währung völlig zusammengebrochen. Die äußeren Umstände scheinen sich auf den ersten Blick zu ähneln (verlorener Krieg, Inflation usw.) – die Reformen an sich könnten technisch gesehen kaum unterschiedlicher sein.
1923/24 wurde im „laufenden Betrieb“ an der neuerlichen Etablierung der alten Strukturen gearbeitet. Natürlich auch im Interesse der privaten und auf Gewinn ausgerichteten Reichsbank. Die Regelungen finden sich in verschiedenen Gesetzen und Ausführungsbestimmungen, über Monate verteilt.
1948 lief kein „Betrieb“ mehr.
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Schon am 20. Juni 1948 wurde das erste Währungsreformgesetz in Kraft gesetzt. Damit wurde die D-Mark für die Westzonen das neue Zahlungsmittel. Die amerikanische Besatzungsmacht brachte Banknoten im Nennwert von 5,7 Mrd. DM in den Verkehr (die in den USA schon ab Herbst des vergangenen Jahres gedruckt worden waren). Es gab für jeden Bürger 60 DM „Kopfgeld“, wovon 40 DM sofort ausgezahlt wurden. Die Unternehmen erhielten 60 DM als „Geschäftsbetrag“ pro Arbeitnehmer. Das Altgeld wurde mit dem Verhältnis 100 zu 6,5 umgetauscht. Die meisten privaten Reichsmarkverbindlichkeiten wurden im Verhältnis von 10:1 in D-Mark gewandelt. Insgesamt wurden 93,5 % des alten Reichsmarkvolumens aus dem Verkehr gezogen!
Das neu eingeführte Geld wurde von der Bevölkerung sofort angenommen. Es trat der sogenannte „Schaufenster-Effekt“ ein, in dessen Folge der Schwarzmarkt praktisch im Handumdrehen verschwand und gehortete Waren wanderten über Nacht zum Verkauf in die Läden. Damit wurde (weitgehend) Erhards Wirtschaftspolitik durch einen ersten Erfolg gekrönt.
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www.gold.de/waehrungsreform-1923-1948/
* 23.09. 1922
- 27.06 2017
trauer.schwarzwaelder-bote.de/traueranzeige/olga-effinger
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Zigarettenwährung
Vor der Währungsform wurde oft in "Zigaretten" gezahlt, man spricht auch von "Zigarettenwährung". An die Stelle dieser Zigarettenwährung sollte jetzt wieder "richtiges" Geld treten. So verhandelte man seit 1947 über eine Währungsreform.
Die bedeutete aber, dass alles, was die Leute gespart hatten, wertlos werden würde.
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Natürlich gab es auch Schattenseiten.
Besitzer von Sachwerten wurden begünstigt, während die Reform Geldwertbesitzer praktisch enteignete. Nicht nur wegen der „Streichung“ von Guthaben an sich, sondern vor allem auch, weil Bodenbesitz, Eigentum von Produktionsmitteln und Waren ja von der Neuordnung unberührt geblieben waren.
Beteuert wurde denn auch von Anfang an quer durch alle Parteien, dass ein gerechter Lastenausgleich um diese Schieflage abzuschwächen zu den dringlichsten Aufgaben gehöre.
Lastenausgleich - infolge der Einführung der Mark
Es dauerte aber noch. 1952 trat in der Bundesrepublik Deutschland das Lastenausgleichsgesetz in Kraft. Damit wurden, vor allem durch Abgaben auf Grund- und Immobilienbesitz, Aufbaudarlehen für Ausgebombte, Siedlungshilfe für Flüchtlinge und Investitionshilfen zur Existenzgründung ermöglicht.
1947
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George C. Marshall war 1947 amerikanischer Außenminister. Er kündigte bei einem Vortrag, den er an der amerikanischen Universität Harvard im Juni 1947 hielt, ein Hilfsprogramm für Europa an.
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Hilfsprogramm, dessen offizielle Bezeichnung "European Recovery Program" (kurz ERP) lautete, ging dann als der so genannte Marshallplan - eben nach dem amerikanischen Außenminister Marshall benannt - in die Geschichte ein.
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1949
Konrad Adenauer als erster Bundeskanzler
1. Konrad Adenauer bekannte sich in seiner Antrittsrede - - zur Aussöhnung mit Frankreich.
Soziale Marktwirtschaft
2. Er versicherte ebenso, dass Deutschland Teil eines europäischen Staates sein wolle.
3. Und er bekannte sich zu einem Wirtschaftsprinzip, das für die Zukunft der jungen Bundesrepublik äußerst bedeutsam werden sollte: zum Prinzip der sozialen Marktwirtschaft.
1950
Beitritt der Bundesrepublik zum Europarat
1957
Der EWG-Vertrag
Am 1. Januar trat der EWG-Vertrag in Kraft, der einen gemeinsamen europäischen Markt und den Abbau von Zöllen vorsah. Die Wirtschaftspolitik der sechs teilnehmenden Nationen sollte gemeinsam gesteuert werden. Dieser Vertrag war die Voraussetzung für die spätere politische Einigung Europas.
...
www.zeitklicks.de/top-menu/zeitstrahl/navigation/topnav/j...
1966
Rücktritt von Kanzler Erhard
1971
Mit der Einführung des BAföG (anfangs ein Vollzuschuss ) wurde nun auch Kindern aus weniger wohlhabenden Familien ein Studium ermöglicht. BAföG ist die Abkürzung für Bundesausbildungsförderungsgesetz. Es trat am 1. September 1971 in Kraft.
1972 - Olympische Spiele in München
1973 RAF
- 25 Jahre später
--
...
1989
Mauerfall und Grenzöffnung
La piazza ducale, il cuore della cittadina di Vigevano,è forse il più tipico esempio di piazza rinascimentale, creata di getto sopra un piano prestabilito e con un tema architettonico rigidamente unitario.
Fu voluta nel 1494 da Ludovico il Moro come nobile ingresso al Castello, eletto a residenza estiva della corte Sforzesca, e si vuole che il progetto l'abbia dato Leonardo.
E' un vasto rettangolo, tutto chiuso, cinto per tre lati da uniformi, bassi palazzetti a portici ad arcate su colonne, con un piano nobile di finestre a centina e un attico aperto da oculi, tutti rivestiti di una vivace decorazione pittorica, ripristinata a principio del secolo su tracce antiche. Dietro il lato Sud della piazza si leva imponente la torre del castello, a più piani rientranti e merlati dovuta al Bramante; è l'unica nota verticale tra così accentuato predominio di basse, sfuggenti linee orizzontali.
Sul lato orientale fa da sfondo il Duomo, la cui seicentesca facciata, con un senso della scenografia tutto barocco, si espande incurvandosi per l'intera larghezza della piazza.
L'effetto che ne viene è quello di arginarne il flusso della spazialità che le affluisce sul ritmo della lunga teoria dei portici, i quali scorrono con uguale passo,senza concedere una pausa, un varco alla loro bella continuità.
Ordine, misura e armonia determinano l'incanto di questo incomparabile ambiente, così tipicamente lombardo, così fatto su misura umana, privo di retorica, di spettacolare monumentalità, come si conveniva, del resto, alle funzioni di cortile d'ingresso a una residenza di campagna, attribuitagli in origine dal suo ideatore.
Oggi esso si mostra non meno consono allo spirito e alla vita di una cittadina di provincia, di cui a giusto titolo costituisce l'orgoglio, e che ne ha fatto il suo salotto, il suo ritrovo, il teatro dei riti della sua vita quotidiana, dei suoi ozi e delle sue piccole vanità, come se ne conviene per una cultura ricca e fervida.
Hilo de la Fotohistoria en Pullip .es: SHIN VISITS NOIREL (1 of 1) /
SHIN VISITA A NOIREL (1 de 1)
(Read in order, this is: SHOT/FOTO 15 of 55) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55.
FOTOHISTORY: In English / En Español
Noirel: (Talk with him? How could I talk to him after the show I made? I'm blushed, my God!... Furthermore, he knows and didn't tell me a thing, and that's for a reason...)
/
Noirel: (Hablar con él? Cómo voy a hablar con él después del numerito que monté? Que corte dios!... Además, si el lo sabe y no me ha dicho nada tampoco, por algo será...)
LINKS:
- FOTOHISTORIAS en casa de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
Pça. Carles Buïgas - Barcelona (Spain).
De una mini-kdd organizada por Mayte (a quien por fin he conocido) en su última visita a Barcelona. Nos acompañaron Paco, Albert, Jordi y M. Carmen y Miguel.
-----------------------------------
It was wind and cold enough (10ºC), but all is relative.
Hacía bastante viento y frío (10ºC), pero todo es relativo.
ENGLISH
The Font Màgica de Montjuïc (Magic Fountain of Montjuïc), or simply called Font de Montjuïc (Fountain of Montjuïc), is located in the Maria Cristina Avenue, in Montjuïc, (Barcelona). They are the main element of a set of light games and water that is developed in all the axis from the Palau Nacional to the Square of Spain, that includes cascades and pools and, in the inferior part, rows of luminous columns to both sides of the avenue, nowadays replaced by illuminated jets of similar proportions and simpler maintenance.
It was constructed in the occasion of the Universal Exhibition of 1929 by Carles Buïgas in the place where the Four Columns of Josep Puig i Cadafalch were located, demolished after in 1928. The construction works took less that one year.
Some numbers:
Pool dimensions: 50 x 65 m.
Pool capacity: 3,100,000 liters (Current: 2,950,000 liters)
Number of pumps: 5
Pump output: 4x 265 hp + 1 x 125 hp
Total volume of water in circulation: 2,600 liters per second
Maximum pressure: 5.4 kg/cm2, equivalent to 54 m maximum water height
Number of water jets: 3,620
Number of water arrangements: 29
Number of hydraulic valves: 109
Number of main colors: 8
Different combinations of water-light: 7,000 million
Number of electric motors: 134
Output of electric motors: 1,567 hp (1,153 Kw)
Number of lights: 4,760
Illumination power: 1,507 Kw. (Current: 995 Kw)
Sound equipment power: 7,500 w RMS
Approximate length of water pipes: 1.5 Km.
Approximate length of compressed air pipes: 6 Km.
Approximate length of electric cables: 355 Km.
-------------------------
CASTELLANO
La Font Màgica de Montjuïc(Fuente Mágica de Montjuïc), o simplemente llamada Font de Montjuïc (Fuente de Montjuïc), está situada en la Avenida Maria Cristina, en Montjuïc, (Barcelona). Son el elemento principal de un conjunto de juegos de luz y agua que se desarrolla en todo el eje desde el Palau Nacional hasta la Plaza de España, que incluye cascadas y estanques y, en la parte inferior, hileras de columnas luminosas a ambos lados de la avenida, hoy en día sustituidas por surtidores iluminados de proporciones parecidas y de mantenimiento más sencillo.
Fue construida con motivo de la Exposición Universal de 1929 por Carles Buïgas en el lugar donde estaban situadas las Cuatro Columnas de Josep Puig i Cadafalch derribadas en 1928. Las obras de construcción duraron menos de un año.
Algunos datos interesantes:
Dimensiones del lago: 50 x 65 m
Capacidad del lago: 3.100.000 litros (Actual: 2.950.000 litros)
Número de bombas: 5
Potencia de bombas: 4x 265 CV + 1 x 125 CV
Caudal total de agua en circulación: 2.600 litros por segundo
Presión máxima: 5,4 kg/cm2 equivalente a 54 m. de altura máxima del agua
Número de toberas de salida de agua: 3.620
Número de juegos de agua: 29
Número de válvulas hidráulicas: 109
Número de colores principales: 8
Combinaciones de agua-luz diferentes: 7.000 millones
Número de motores eléctricos: 134
Potencia en motores eléctricos: 1.567 CV (1.153 Kw)
Lamparas de iluminación: 4.760
Potencia en iluminación: 1.507 Kw. (Actual: 995 Kw)
Potencia del equipo de sonido: 7.500 w RMS
Longitud aproximada de tuberías de agua: 1,5 Km.
Longitud aproximada de tuberías de aire comprimido: 6 Km.
Longitud aproximada de cables eléctricos: 355 Km.
Más info: es.wikipedia.org/wiki/Font_m%c3%a0gica_de_Montju%c3%afc, fonts.bcn.es
Av. Maria Cristina - Barcelona (Spain).
De una mini-kdd organizada por Mayte (a quien por fin he conocido) en su última visita a Barcelona. Nos acompañaron Paco, Albert, Jordi y M. Carmen y Miguel.
ENGLISH
The Font Màgica de Montjuïc (Magic Fountain of Montjuïc), or simply called Font de Montjuïc (Fountain of Montjuïc), is located in the Maria Cristina Avenue, in Montjuïc, (Barcelona). They are the main element of a set of light games and water that is developed in all the axis from the Palau Nacional to the Square of Spain, that includes cascades and pools and, in the inferior part, rows of luminous columns to both sides of the avenue, nowadays replaced by illuminated jets of similar proportions and simpler maintenance.
It was constructed in the occasion of the Universal Exhibition of 1929 by Carles Buïgas in the place where the Four Columns of Josep Puig i Cadafalch were located, demolished after in 1928. The construction works took less that one year.
Some numbers:
Pool dimensions: 50 x 65 m.
Pool capacity: 3,100,000 liters (Current: 2,950,000 liters)
Number of pumps: 5
Pump output: 4x 265 hp + 1 x 125 hp
Total volume of water in circulation: 2,600 liters per second
Maximum pressure: 5.4 kg/cm2, equivalent to 54 m maximum water height
Number of water jets: 3,620
Number of water arrangements: 29
Number of hydraulic valves: 109
Number of main colors: 8
Different combinations of water-light: 7,000 million
Number of electric motors: 134
Output of electric motors: 1,567 hp (1,153 Kw)
Number of lights: 4,760
Illumination power: 1,507 Kw. (Current: 995 Kw)
Sound equipment power: 7,500 w RMS
Approximate length of water pipes: 1.5 Km.
Approximate length of compressed air pipes: 6 Km.
Approximate length of electric cables: 355 Km.
-------------------------
CASTELLANO
La Font Màgica de Montjuïc(Fuente Mágica de Montjuïc), o simplemente llamada Font de Montjuïc (Fuente de Montjuïc), está situada en la Avenida Maria Cristina, en Montjuïc, (Barcelona). Son el elemento principal de un conjunto de juegos de luz y agua que se desarrolla en todo el eje desde el Palau Nacional hasta la Plaza de España, que incluye cascadas y estanques y, en la parte inferior, hileras de columnas luminosas a ambos lados de la avenida, hoy en día sustituidas por surtidores iluminados de proporciones parecidas y de mantenimiento más sencillo.
Fue construida con motivo de la Exposición Universal de 1929 por Carles Buïgas en el lugar donde estaban situadas las Cuatro Columnas de Josep Puig i Cadafalch derribadas en 1928. Las obras de construcción duraron menos de un año.
Algunos datos interesantes:
Dimensiones del lago: 50 x 65 m
Capacidad del lago: 3.100.000 litros (Actual: 2.950.000 litros)
Número de bombas: 5
Potencia de bombas: 4x 265 CV + 1 x 125 CV
Caudal total de agua en circulación: 2.600 litros por segundo
Presión máxima: 5,4 kg/cm2 equivalente a 54 m. de altura máxima del agua
Número de toberas de salida de agua: 3.620
Número de juegos de agua: 29
Número de válvulas hidráulicas: 109
Número de colores principales: 8
Combinaciones de agua-luz diferentes: 7.000 millones
Número de motores eléctricos: 134
Potencia en motores eléctricos: 1.567 CV (1.153 Kw)
Lamparas de iluminación: 4.760
Potencia en iluminación: 1.507 Kw. (Actual: 995 Kw)
Potencia del equipo de sonido: 7.500 w RMS
Longitud aproximada de tuberías de agua: 1,5 Km.
Longitud aproximada de tuberías de aire comprimido: 6 Km.
Longitud aproximada de cables eléctricos: 355 Km.
Más info: es.wikipedia.org/wiki/Font_m%c3%a0gica_de_Montju%c3%afc, fonts.bcn.es
I invite you to view images of other Flickr photographers in my new gallery "Archtecturally Significant Buildings of Los Angeles"
The building is actually yellow, the late afternoon light makes it look gold. This is the Fritz B. Burns Building housing the adminstrative staff and the cafeteria at Loyoloa Law School in Central, Los Angeles, this building and two others on campus were designed by renowned architect, Frank Gehry.
© Lawrence Goldman 2011, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.