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Position, Point Guard/Shooting Guard
Name. Daniel Boris Millican
Date Of Birth. 06/02/2005
Home City. Gateshead.
Started playing basketball at 9 years old.
Daniel has played for several clubs at different levels which are listed below..
1. Gateshead Phoenix Basketball Club.
U12 Eagles Central Venue League.
2. Birtley Phoenix Basketball Club.
U12 Eagles Central Venue League.
U14 Eagles Central Venue League.
U16 Eagles Central Venue League.
U18 Eagles Central Venue League.
3. Newcastle Eagles Basketball Club.
U14 National League North East Premier Division.
4. Tees Valley Mohawks Basketball Club.
U14 National League North East Conference Division.
U16 National League North East Conference Division.
U16 Local League.
Division 3 National Men's League (Covid) Abandoned.
5. Whickham Spartans Basketball Team.
Tynemet Division 2 Local Men's League.
6. Teesside Lions Basketball club. U18 National League North East Conference Division.
U18 Local Tribal League.
Division 3 National Men's League.
7. East Durham Lions Basketball Club.
U18 National League North East Conference Division.
Durham Basketball League Division 1 Local Men's.
8. Team Sunderland Basketball Club.
Division 3 National Men's League.
Division 1 Local Men's League.
9. Gateshead College Basketball Team.
Association Of Colleges Northern League.
10. South Tyneside Basketball Club. Tynemet Division 1 Local Men's league
Daniel also represented the North East at the Basketball England aspire junior level over a two year period 2018 and 2019.
Daniel would have made the final cut at the Yorkshire Basketball England aspire junior level if not for covid stopping the event 2020.
Daniel Has Aspirations to play in any of the following Leagues or tournaments.
The British Basketball League (BBL)
Outside North America, the top clubs from national leagues qualify to continental championships such as the EuroLeague and the Basketball Champions League Americas.
The National Basketball Association (NBA) is the most significant professional basketball league in the world in terms of popularity, salaries, talent, and level of competition (drawing most of its talent from U.S. college basketball).
The FIBA Basketball World Cup and Men's Olympic Basketball Tournament are the major international events of the sport and attract top national teams from around the world.
Each continent hosts regional competitions for national teams, like EuroBasket and FIBA AmeriCup.
After this shot, I had one of those dumb moments that caused me to lose valuable time. I couldn't get anything to work on my camera and it was saying my card was full. So I put in a new card and still the same. Took out the battery, off with the lens and remote cord but nothing. So now I was really frustrated as I knew I was losing that tinge of darkness that made these city lights pop. I was doing everything three-four times to no avail, but every time I pull out my memory card the shutter would release. And finally I realized that I accidentally pushed my remote into the locked position. Crazy me!
So, I guess it was time to take a couple of those "selfies" everybody seems to be talking about.
This is my new hairstyle du jour, with thanks to the professionals of Hizi Hair.
Being both the model and the photographer at the same time is quite the challenge by the way.
Just out of riverdale on the old B&OCT another in a seemingly endless line of CSX trains pass the position light signals guarding the very busy Dolton Jct.
With nearly 90-degree side lighting and a group of trees casting a large shadow, it's tough to squeeze off a shot of the color position light at the south end of the siding at Wapakoneta.
Elmo being lit from multiple directions as part of the strobist lighting 102 course.
SB-800 remotely fired from D70 1/128 power from approx 2 feet.
Corridors don't have to be as plain as the one in the instructions. This corridor is a bit different. It has some detail and decoration but still has the same general corridor shape and complies with the moonbase standard.
Long exposure of some poles to tie small boats to.
ND110 filter
62mm
f/22
139sec.
Watch it in light box = "L"
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My internet connection is killing me.... ... .. .:o(
We stalk our target for hours after hours
Hidden with our camouflage were almost invisible you only have one shot
╱ “If you want to be happy for life, love what you do.” ~ Mary Higgins Clark ╲
“Always be a poet, even in prose.” ~ Charles Baudelaire
it is my position that what makes a painting, a sculpture, a drawing "Art", as in "fine art" or "important art", is its ability to evoke emotion within the viewer. the gaze becomes more than a passive observance but an action, a reverberance that remains with the audience long after the eyes have shifted. it doesn't matter if the art is in a museum or hung on a refrigerator, it's ability to create emotion, contemplation, inspiration, critical thought, creativity, dreams, and action are the measure of its inherent value. this series of photos are an attempt to capture that moment of exchange between the viewer and the art piece.
Highest Position Explore: 348 _ 28 Diciembre 2008
HDR realizado a partir de un único archivo .DNG editado en Photomatix Pro, mediante la opción Detail Enhancer.
Curvas de iluminación ajustadas en Photoshop CS
”You did rather well against Cain. Better than I expected.”
”Try not to sound too sarcastic.”
”I’m not. You genuinely did better than I expected.”
”Oh?”
”I thought Cain would have killed you.”
”Well he wasn’t exactly friendly. The stab wound on my back would agree to that.”
”It’s a lesson. You’ll know never to allow your opponent to dictate the position of your body again.”
”AHHHH! Watch it will ya?”
”I can leave it to get infected if you really want.”
”No it’s just…”
”Sore? I’d hope so. Last thing I want is for Cain to be going easy on you.”
”Your concern is greatly apprecia…….ah Christ!”
”Stop being such a cry baby. Face the consequences of your actions.”
”I am!”
”I don’t just mean this wound. You also must confront what your actions caused that night in Crime alley.”
”I do. Every single day I open my eyes.”
”You dream about the life you might have had had you simply managed to sit through the show. The life you’ve always wanted. With them….”
”Leave them out of this.”
”It’s unavoidable. They’re part of you, and thus they can never be left in the past. No matter how desperately you attempt to bury their memory.”
”Stop talking about them.”
”Your inability to discuss them freely confirms my suspicions. Like most, you fear the consequences of your actions and rather than confront them, you choose to deny them.”
”I’m warning you Talia. Stop mentioning them.”
”Or what? You’ll lash out at me in anger? Run as you’ve always done? Or will you be a man and confront the consequences of your actions. Take responsibility for all that you have done.”
”There was nothing I could do.”
”There’s always something that can be done Bruce. You simply need the will to act.”
Despite my attempts to purge the memories of that night in Crime alley, it’s inescapable. Then again, the truth often is….
“Thomas are you sure we should be walking out the back door of the theatre? Surely we could just walk out the front door.”
“Yeah we could do Martha but it’ll take us five minutes to get to Alfred through the sea of press. This way he can pick us up at the end of the alley without being hounded by the press and we can get Bruce back to bed. He does have school tomorrow after all.”
“Well I don't like the look of this place. Stay close to me Bruce.”
“Alright Mom. But I think we’ll be all right. Father tends to know best after all.”
“Well I wouldn’t go that far, but he does know Gotham better than most people so I’m sure he knows what he’s doing. Come along.”
“Well, well. Looks like we’ve got the whole Wayne brigade out tonight!”
The figure remains hidden in the shadows but raises his right hand to reveal a gun. Mother panics and grabs hold of me. Father pulls out his wallet from his inside suit pocket and reaches into it before pulling out all the money he has.
“Pffft you think I can be bought off just like that? Sorry Wayne, but it’s not money I’m after. It’s vengeance.”
“Vengeance? What have I done to you? What has my family ever done to you?”
<“You’ve done a lot to me, even if you don’t want to admit it. Tommy.”
“Tommy?”
“Here’s a hint.”
Instinctively, I race forward and grab the robber’s hand before he has a chance to pull the trigger.
“Bruce!”
In the distance I hear Mother calling out to me but I’m transfixed on ensuring that I don’t let go of this guy’s hand. Almost immediately, my Father comes to my aid and punches our attacker in the stomach, knocking the wind out of him. Before the robber has a chance to make another move, I bite his hand causing him to drop the gun.
“AHHH! YOU LITTLE BASTARD!”
Immediately, he takes a swing towards me only to be greeted by my Father’s fist. Evidently it was a hell of a blow as the assailant collapses to the ground.
”Martha. Take Bruce. Get Alfred.”
“But Thomas…”
”JUST DO IT!”
Without another word, Mother follows Father’s instructions and grabs hold of my hand to lead me out of the alley way as Father picks up the gun.
Deep down, I dream of that scenario every night. Or at least, I tell myself that I do. What might have happened had I been willing to act. Would they have still died? Or would my life have changed for the better? Sadly, there’s no way that I’ll ever know. All I can do now is look forward and accept that I can’t change the past. But I can change the future. My future.
”If it wasn’t for me. They’d still be here.”
”It’s possible.”
”I know that they would be.”
”It’s a big world Bruce. You can’t stop it from taking lives.”
”No, but I could have stopped it had I not been born.”
”…You shouldn’t things like that?”
”Why? It’s true. The world would be a better place were it not for me. My father probably would have transformed Gotham into the perfect utopia he envision, my Mother would have eliminated poverty in Gotham and Alfred would probably be more than happy not having to raise an ungrateful little brat.”
”You really think the world would be better without you?”
”I don’t think it would be. I know it would be. I have nothing worth living for without them, at least if I’d died they would have had each. ”
Talia pauses for a moment, clearly uncertain about what she’s just unearthed within me. After a good few seconds though, she responds by lifting her blade from the nearby table and presenting the hilt to me.
”What are you doing?”
”If you really have nothing to live for. Why draw things out any longer?”
To say her response caught me by surprise would be an understatement. Talia had hardly been the living embodiment of friendship, but her willingness to allow me to take my own life caught me off guard. This wasn’t the first time I’d considered suicide. Hell I almost jumped off the roof of Wayne Manor hours after my parents were gunned down. But to see someone willing to indulge my desire threw everything in perspective.
As I grabbed the hilt of her blade and took a moment to inspect it, my mind was racing whilst trying to decide what action to take. Am I brave enough to take my own life? Is it that simple? Can I do it?.....Is it what I want?
My hesitation on performing the act says it all to Talia though, and she proceeds to slowly walk up to me and gently take the blade from me. Unable to move due to my indecision, I simply stand still and watch as she returns the blade to its spot on the table.
What comes next though is what shocks me the most.
Talia walks up to me, I fear she’s about to punish me for considering the coward’s way out.
Instead, she simply grabs hold my hands and looks straight into my eyes.
”We all have something to live for Bruce. For good or bad. Whether you want to admit it or not, there are people who would miss you if you were gone.”
With that, she kisses me on my left cheek.
Miraculous. I’d seen Talia gut men before my very eyes and be more than dismissive about my chances of survival under her father’s tuition, and yet in those few moments. I saw something beautiful. I saw the real Talia Al-Ghul.
”You’ll always matter here. Don’t ever forget that.”
-----
Happy Batman day everyone!
Day 161 [6-9-2016]
Slow. Work was work as usual. Nothing too exiting there. When I got home I worked on some personal projects before picking up Teddy for some photo fun. I feel like this is the first day in a while where I have actually gone out of my way to take photos. It is a good feeling to be proud of my photos and these today I an definitely proud of.
Can't wait to see what the next day brings!
Since my railroad is based upon the Norfolk & Western, I wanted to have some Color Position Light signals similar to the ones the N&W used - thus, I fiddled these things together in MLCad. Should be easy to get another set of signals above it with a 4L Bar and switching out the connector as well.
They're a bit anachronistic for my theoretical time frame, but who cares. I'll probably try and get some of these together for the next time RichLUG has a train/town display - I'm hoping to start moving in the direction of a layout by amassing trackside paraphernalia such as this.
After a thoroughly depressing meeting and luncheon in London on Thursday, I emerged into late afternoon wall-to-wall sunshine. Possibly the first real day of spring(?) Just a short walk through St. James' Park and onto Westminster Bridge for this shot of The London Eye. The usual shot of Queen Boadicea (or however you choose to spell it) is looking from the riverside, up the steps, with Big Ben in the background. So, just by way of a change (plus the Sun was in totally the wrong position!) here's one looking the other way.
Commentary.
Like a number of settlements in The Weald,
Goudhurst stands on a Sandstone ridge.
This image shows the village pond at the bottom of the High Street.
At the top stands St. Mary’s Church, a landmark for miles around.
Founded in Norman times, 1170, it has been restored many times.
Until 1637 it had a spire on top of the massive West Tower.
A lightning strike put pay to it, and the following year
the whole tower was re-built.
Like so many Wealden villages it had an Iron Industry in Medieval times, due to the Iron Ore found in the local rocks.
Subsequently, it was renowned for its hops and weaving.
Now, I notice that vineyards are developing on south-facing slopes, along with hundreds more, right across South-East England.
The notorious smugglers known as The Hawkhurst Gang,
who often operated from Rye in East Sussex,
met their end in the Battle of Goudhurst in 1747.
The elevated position of the village was used by surveyors
to triangulate heights and relative locations with surrounding high points, for mapping purposes.
Now, its most obvious blight is the motor vehicle.
Early and late, traffic jams occur due to the narrowness of its main road.
A few parked cars can cause a mayhem that belies its
otherwise, rural hinterland.
"The exceptionally valuable architecture of the parish building and deanery at St. James the Greater is a valuable example of German Neo-Gothic romanticism from 1900 to 1901, built in a prominent corner position near the Church of St. James the Greater in the historic center of Brno.
At the turn of the 19th and 20th centuries, the street from Velké náměstí to the Na Kiosku park, i.e. from today's Náměstí Svobody to Moravské náměstí, was demolished so that the German House, built in 1891, could be seen. At that time, the old St. James's rectory from 1710 with a garden that intersected and closed Kostelní street, i.e. today's Rašínova street, obstructed the intended view. Therefore, it was demolished in 1899. Plans for the construction of a new rectory at the church of St. James the Greater were drawn up by Germano Wanderley. The author chose a historicizing "picturesque" neo-Gothic style that resonates with the late Gothic style of the church opposite. The construction was carried out in 1900–1901 by Alois Prastorfer (Vybíral 1993, p. 11), according to more recent literature by Josef Nebehosteny (Zatloukal 2006, p. 146). Gothic tendencies motivated by architectural “unification with the church” soon influenced the new constructions of the surrounding tenement houses from 1902–1906 (Jakubské náměstí 2–7), mostly designed by Maxim Johann Montero.
It is a corner three-storey house with an open courtyard, with two L-shaped wings that meet in the front (rounded) facade. The internal layout of the house is three-section: the 1st section is residential, the 2nd section is the entrance and staircase, and the 3rd section is residential with a commercial ground floor. The entrance portal, plinth cladding and stonework details are made of Hořice sandstone. The lower parts of the portal, steps, pedestals and two columns, including bases and shafts, located in front of the main entrance, are made of polished Boršov granite.
The southeast facade of the house (1st wing in Jakubská Street) is six-axis from the left, with the connected 5th and 6th axes filled by a slightly projecting risalit with a bay window. The facade is smooth, rusticated at the corners of the risalit. The raised stone plinth of the building is broken on the ground floor by six closed cellar vents with grilles, above which there are six windows with segmental arches with indicated vaults. The windows are wooden, two-part with one-part skylights and set in mullions on the window sills. Their jambs are framed by arches with grooves, and the openwork parapet fillings are then dentils. Above the windows in the risalit, a crow-shaped trunnion of a shallow bay window protrudes, which extends to the 1st and 2nd floors. The facade of the first floor is separated from the ground floor by a cordon cornice and is lit by six windows. The windows are wooden, two-part with two-part skylights and set in mullions on the window sills. Their jambs are framed by half-columns (in the bay window, inter-window supports), composed of bases, rings, stems and capitals. The semicircular suprafenestres (in the bay window, segmental) have blind tracery fillings (in the bay window, intersected), which are finished with vimperks with bouquets and side violets with crabs. Above the windows in the bay window there is a rich parapet tracery finished with a cornice. The facade of the second floor is illuminated by six windows with saddle arches. The windows are wooden, two-part with one-part skylights and outside the bay window set in mullions on the window sills, supported by footers. The window frames are framed by intersecting rods, and in the bay window there are also small inter-window half-columns, composed of bases, rings, stems and capitals. Above the windows in the bay window there is a cornice with parapet tracery. The facade of the third floor is illuminated by seven windows, while the projection above the bay window is filled by a balcony with three windows. The windows are wooden, two-part with two-part skylights and set in mullions on polygonal cornices under the windows. Their frames are framed by recesses. Other windows are on the balcony, with segmental arches with vaults and receding behind the face of the masonry. The hoods are supported by inter-window bundle ribs with consoles. The crown of the masonry is filled with a blind tracery belt. The gable roof, decorated with three dormers, is separated from the third floor by a crown cornice, on which decorative bases are placed. Above the risalit is a triangular gable topped with a bouquet and lateral violets. In its axis is a triangular niche, and on the sides are stone lanterns with canopies.
The front (rounded) facade of the house (2nd wing opposite the Church of St. James the Greater) is three-axis. The facade is smooth with a stone plinth. The second (central) axis of the ground floor is broken by a saddle-shaped entrance portal with profiled lintel and stairs. In front of it is a portico supported by two columns consisting of pedestals (enclosed by a metal fence), rings, shafts and capitals. The lintel is filled with a pointed arch, topped with a vimperk with a cross bouquet and side violets with crabs. The entrance door is wooden, one-piece. The side axes of the ground floor (1st and 3rd) are then illuminated by two windows with segmental arches with indicated vaults. The windows are wooden, two-piece with one-piece skylights and set in mullions on the window sills. Their linings are framed by arches with grooves, and the openwork parapet fillings are dentils. The facade of the first floor is separated from the ground floor by a cordon cornice and is lit by three windows. The windows are wooden, two-part with two-part skylights and set in bays on the window sills. Their linings are framed by half-columns, composed of bases, rings, stems and capitals. The semicircular suprafenestres have blind tracery fillings, which are finished with vimperks with bouquets and side violets with crabs. The space between the windows is broken by shallow niches on the bases, topped with small battlements. The facade of the second floor is lit by three stained glass windows with saddle arches. The windows are wooden, two-part with single-part skylights and set in mullions on the window sills supported by footers. The window frames are framed by intersecting bars. Above the windows is a cornice with a parapet tracery and triangular supports. The third floor is filled with a terrace, which is built above the rounded southeast corner. The crown of the masonry is filled with a blind tracery strip. The gable roof, decorated with two dormers, is separated from the third floor by a crown cornice. A slender metal tower with a window, gallery, lantern and spire then rises in the axis of the roof.
The eastern facade of the house (3rd section in Rašínova Street) is six-axis from the left, with the connected 1st and 2nd axes filled by a slightly projecting projection with a bay window. The facade is smooth, rusticated in the corners of the projection. The raised stone plinth of the building is broken in the 1st and 2nd axes of the ground floor by two closed cellar vents with a grille, above which there are two windows with segmental arches with indicated vaults. The windows are wooden, two-part with single-part skylights and set in mullions on the window sills. Their jambs are framed by arches with grooves, and the openwork parapet fillings are then dentils. Above the windows, a crow-shaped trunnion of a shallow bay window protrudes, which extends to the 1st and 2nd floors; The 3rd to 6th axis of the ground floor, on the other hand, is broken by entrances with stairs to the individual commercial ground floors, between which there is an entrance to the courtyard with a gate. The approaches create an arcade with segmental arches with outlined vaults and retreat behind the face of the masonry. Their linings are framed by arches with recesses, and the inter-bay areas are then profiled buttresses with half-columns, composed of bases, rings, shafts and capitals. The facade of the first floor is separated from the ground floor by a cordon cornice and is illuminated by six windows. The windows are wooden, two-part with two-part skylights and set in mullions on the window sills. Their linings are framed by half-columns (in the bay window, inter-window buttresses), composed of bases, rings, shafts and capitals. The semicircular suprafenestras (segmented in the bay window) have blind tracery fillings (intersecting in the bay window), which are finished with vimperks with bouquets and side violets with crabs. Above the windows in the bay window there is a rich parapet tracery finished with a cornice. The facade of the second floor is illuminated by six windows with saddle arches. The windows are wooden, two-part with one-part skylights and outside the bay window set in mullions on the window sills supported by feet. The window jambs are framed by intersecting rods, and in the bay window there are also small inter-window half-columns, composed of bases, rings, stems and capitals. Above the windows in the bay window there is a cornice with parapet tracery. The facade of the third floor is illuminated by seven windows, while the projection above the bay window is filled by a balcony with three windows. The windows are wooden, two-part with two-part skylights and set in bays on polygonal cornices below the windows. Their jambs are framed by recesses. Other windows are on the balcony, as they have segmental arches with vaults and retreat behind the face of the masonry. The hoods are supported by inter-window bundle ribs with consoles. The crown of the masonry is filled with a blind tracery belt. The gable roof, decorated with three dormers, is separated from the third floor by a crown cornice, on which decorative bases are placed. A triangular gable ends with a bouquet and lateral violets rises above the risalit. A triangular niche is located in its axis, and on the sides are stone lanterns with canopies.
The facade of the courtyard facade is smooth, three-storey and nine-axis, topped with a crown cornice. All windows and doors have profiled jambs. The western facade of the 3rd section (facing Rašínova Street) is four-axis on the left, of which the 1st and 2nd axes form a receding wing with galleries. The load-bearing wall is illuminated by windows and doors, including the corners. The facade of the 3rd and 4th axes is also illuminated by windows. The ground floor of the 3rd axis is broken by the entrance to Rašínova Street, closed by a metal gate. An adjacent building is then added to the northern wall. The angled facade of the 2nd section (facing the church) is single-axis. It is formed by a slightly projecting projection to the second floor, topped with a cornice. The axis of the basement is broken by a door to the rear space of the vestibule. Above them are the windows of the staircase section. The axis of the 1st mezzanine is illuminated by two windows with three-lobed arches, the axis of the 2nd mezzanine is illuminated by a large window with a segmental arch, and the axis of the 3rd mezzanine is illuminated by a similarly large window with a compressed arch. The northwestern facade of the 1st section (facing Jakubská Street) is four-axis from the left, from which the 1st and 2nd (two-story) axes are illuminated by windows. The ground floor of the 1st axis is broken by an internal arcade with a segmental arch. The space is illuminated in the basement and on the ground floor by large windows, and on the southwest side by small windows; the 3rd and 4th axes form a receding wing with galleries. The load-bearing wall is illuminated by windows and broken by doors, including corners. An adjacent building is then added to the southwest wall." - info from the National Heritage Institute.
"Brno (/ˈbɜːrnoʊ/ BUR-noh, Czech pronunciation: [ˈbr̩no]; German: Brünn [bʁʏn]) is a city in the South Moravian Region of the Czech Republic. Located at the confluence of the Svitava and Svratka rivers, Brno has about 403,000 inhabitants, making it the second-largest city in the Czech Republic after the capital, Prague, and one of the 100 largest cities in the European Union. The Brno metropolitan area has approximately 730,000 inhabitants.
Brno served as the capital of Moravia from the Middle Ages until 1948, and remains the political and cultural hub of the South Moravian Region. Brno is an important centre of the Czech judiciary. The Constitutional Court, the Supreme Court, the Supreme Administrative Court, the Supreme Public Prosecutor's Office, as well as state authorities, such as the Ombudsman and the Office for the Protection of Competition, are all located here. Brno is also an important centre of learning and higher education, with 10 universities, 29 faculties and a student population of over 65,000, as well as more than 60 secondary schools throughout the city.
The Brno Exhibition Centre is one of the largest in Europe. The complex opened in 1928 and has a long history of hosting international trade fairs and expositions. The Masaryk Circuit has been hosting motorsport events since 1930, including the Road Racing World Championship Grand Prix. Another local tradition is the international fireworks competition and drone show Ignis Brunensis, which attracts over a million visitors annually.
Two medieval landmarks, the historic Špilberk Castle and its fortifications, as well as the Cathedral of Saints Peter and Paul on Petrov Hill, dominate the cityscape and are seen as Brno's traditional symbols. Another historic landmark is the Veveří Castle near the Brno Reservoir. The Villa Tugendhat, a seminal example of functionalist architecture, was added to the UNESCO World Heritage Sites List in 2001. One of the natural sights outside the city is the Moravian Karst. Brno is a member of the UNESCO Creative Cities Network and was designated a "City of Music" in 2017.
Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.
The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.
Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Sir Richard Rogers, winner of the 2007 Pritzker Architecture Prize, wrote of the London Eye in a book about the project,
The Eye has done for London what the Eiffel Tower did for Paris, which is to give it a symbol and to let people climb above the city and look back down on it. Not just specialists or rich people, but everybody. That's the beauty of it: it is public and accessible, and it is in a great position at the heart of London.
Writing for G2 in an article from August 2007, Steve Rose described the Eye as follows,
The Eye... exists in a category of its own.... It essentially has to fulfil only one function, and what a brilliantly inessential function it is: to lift people up from the ground, take them round a giant loop in the sky, then put them back down where they started. That is all it needs to do, and thankfully, that is all it does.
Source: Wikipedia
Positioned on top of the tallest building in the Western Hemisphere, levels 100, 101, and 102 of the 1,776 foot tall One World Trade Center building, One World Observatory provides unique, panoramic views of New York City, its most iconic sites, and surrounding waters. This vantage point looks off toward Brooklyn with the Brooklyn Bridge (right), Manhattan Bridge (centre-right),and Williamsburg Bridge (left) which span the East River.
U.S. Army 1st Lt. Christian Genao (Bottom) of Orlando, Fla., assigned to 5th Signal Command, participates in a combatives tournament during U.S. Army Europe's Best Warrior Competition in Grafenwoehr, Germany Aug. 23, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe . These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Spc. Franklin Moore)