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I loved the vibrant red tiles and their neat and precise rows. The rich red painted walls really popped against the white open shutters on the windows. To me this scene was like a visual treat - an unexpected little piece of candy :)
Happy Window Wednesday Everyone!
“The Rows (Danish: Stokkene) are six two-storey terraces which were originally built by Henrik Ruise as barracks for the soldiers based at the Kastellet (The Citadel). The dorms measured four by four metres and contained two triple beds, a small table and two benches. Over time they became known under individual names: General Stock where the commanders resided until the Commander's House was built, Artillery Stock for the artillerists, and Star Stock, Elephant Stock, Swan Stock and Fortuna Stock. The Mansard roofs are not part of the original design but date from 1768 when the rows were altered. The original roof profile is today only seen at the end of Artillery Row as seen from the Prince's Bastion.”
It's been a while since I uploaded a selfie, 6 months to be precise (the last one was WNGD in May) so here I am with clothes on and a new haircut, my hairdresser went a bit mad with the scissors when I asked her to get rid of my split ends 😄 Happy Selfie Sunday and Happy Sliders Sunday! I used the inbuilt Flickr filter called "Keen" which seemed appropriate.
The main reason I'm uploading this photo is because myself and thousands of other people all over Ireland are taking part in a 300,000 steps in November challenge, raising much needed funds for Barnardos Ireland. This long established charity provides a vital service helping vulnerable children & their families - this is the charity's website www.barnardos.ie/
If you feel able to donate even a small amount to support this very worthwhile cause I'd be eternally grateful but if charity donation is not your thing, or you prefer to support local charities in your own country I quite understand. You can donate anonymously if you wish and/or keep the amount private if you choose. Rest assured all monies raised go directly to the charity each week, the participants are not responsible for sending it on.
I use a Fitbit watch to track my daily steps and I will be posting weekly progress updates on my Just Giving page. I'm up to just over 72,000 steps in the 6 days since the challenge started.
Below is the link to my Just Giving page, if you can't click on it then please copy & paste :
www.justgiving.com/fundraising/Julie-C1967?utm_source=Sha....
mamoiada-sfilata de Sos Mamuthones
Probably actors who performed pagan rituals in ancient times but whose precise origins and meaning have been lost in the centuries, Sos Mamuthones and Issohadores have manteined intact their fascination and mystery.
"Without the Mamuthones there is no Carnival, say the people of Mamoiada. Theu are its most important feature, its symbol, almost. Their appearance is taken as a sign of festivity, happiness and times of grace.
The preparation of the masquerade creates an industrious ardour, a frantic, thrilled atmosphere that spreads to the whole community.
That of the Mamuthones is a solemn ceremonial, an orderly procession and dance at the same time.
The Mamuthones, in two parallel rows and flanked by the Issohadores, move very slowly, bent under the weight of the cowbells and, at regular intervals, lift their shoulder shaking the bell harness all at the same time. The Issohadores move with more agile steps and jumps, then, suddenly, they run, swiftly throw their lasso ("Sa Soha") to catch and pull towards them as prisoner the male friend or the woman they have singled out in the crowd."
Nati in tempi remotissimi, come attori attivi nei riti pagani, di loro si è persa l'origine e il significato.
"Sos Mamuthones" e "Sos Issohadores" , sono sopravvissuti con tutto il loro fascino e mistero.
"Senza Mamuthones non c'è carnevale", affermano i mamoiadini: il che vuol dire che è questa la più importante manifestazione e quasi simbolo del carnevale stesso e che l'apparizione dei Mamuthones è segno di festosità, di allegria e di tempi propizi.
La preparazione della mascherata, crea un fervore operoso, un'atmosfera agitata e fremente che si propaga in tutta la comunità.
Quella dei Mamuthones, è una cerimonia solenne, ordinata come una processione, che è allo stesso tempo una danza.
I Mamuthones si muovono su due file parallele, fiancheggiati dagli Issohadores, molto lentamente, curvi sotto il peso dei campanacci e ad intervalli uguali dando tutti un colpo di spalla per scuotere e far suonare tutta la sonagliera.
Gli Issohadores si muovono con passi e balzi più agili, poi all'improvviso si slanciano, gettano il laccio ("Sa Soba") fulmineamente e colgono e tirano a sè come un prigioniero l'amico o la donna che hanno scelto nella folla".
or to be more precise...
in my face, again... [see my previous 'dirt eating' ~ here]
rider: matti lehikoinen
place: downhill line, fort william, scotland
downhill world championship '09
canon 5d mark ii + canon 15mm [fish eye]
view it in large size on black ~ click
ps. this shot almost got onto the paper, but no luck this time,,,
this photo was POD on pinkbike.com on 2009-08-23
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Nimble and precise, Vastt uses his gravity defying powers to create mind-bending battlefields. His four wing daggers are perfect for up close combat, or can be guided from a distance to fall to their targets. Vastt's Mask of Durability protects him from even the heaviest of impacts and allows him to slice through the toughest materials.
Build Notes:
Just a quick guy for the upcoming Bionilug convention display. Also hey first MOC I've posted this year!
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
Astronomers using NASA’s Hubble Space Telescope have for the first time precisely measured the distance to one of the oldest objects in the universe, a collection of stars born shortly after the big bang.
This new, refined distance yardstick provides an independent estimate for the age of the universe. The new measurement also will help astronomers improve models of stellar evolution. Star clusters are the key ingredient in stellar models because the stars in each grouping are at the same distance, have the same age, and have the same chemical composition. They therefore constitute a single stellar population to study.
Image Credit: NASA, ESA, and T. Brown and S. Casertano (STScI) ; Acknowledgement: NASA, ESA, and J. Anderson (STScI)
Major Kristin "BEO" Wolfe of the @f35demoteam nibbles at Mach 1, popping a big vapor cone for a split-second, in the Lockheed Martin F-35A Lightning II during Sunday's demonstration at Thunder Over Michigan.
Major Wolfe did a fantastic job showcasing the power and precise handling qualities of the Air Force's newest Fifth Generation multi-role platform.
For more details on the COR Precise visit: www.corwheels.com/precise/
view our entire Chevrolet gallery at:
La tour de l’Horloge est un édifice aux multiples fonctions.
Au fil du temps, elle joue tous les rôles : commémorer le souvenir des marins disparus, marquer l'entrée du port, cacher les hangars voisins, et bien sûr… indiquer l’heure!
La tour de l'Horloge est érigée entre 1919 et 1922, d'après des plans de l'ingénieur montréalais Paul Leclaire. Du haut de ses 45 mètres, elle marque l'entrée du port et sert de monument commémoratif dédié aux marins de la Marine marchande disparus en mer au cours des grands conflits mondiaux.
Son mécanisme d'horlogerie, d'une grande précision, a été fabriqué en Angleterre par la compagnie Gillett and Johnston, qui en a fait une réplique du fameux Big Ben de Londres. Comme Big Ben, sa précision est proverbiale. Les navigateurs avaient d’ailleurs pris l’habitude de régler leurs chronomètres sur ses cadrans. La tour de l’Horloge rythmait les activités du port au temps où la montre-bracelet n’était pas d’usage courant. On raconte même que lorsque l’horloge cessait de fonctionner, plusieurs ouvriers du port arrivaient en retard!
Grâce à sa puissante lampe, la tour servait également de phare pour les navires entrant dans le port. À l’origine, elle dissimulait à la vue les hangars qui s'alignaient sur les quais.
Monument désigné « Édifice fédéral classé du patrimoine » depuis 1996, la tour de l’Horloge offre à ceux et celles qui ont le courage de grimper ses 192 marches, une vue spectaculaire sur le fleuve Saint-Laurent et la ville de Montréal
The Clock Tower is a multi-purpose building.
Over the years it has served several roles: to honour the memory of lost sailors, to mark the entrance to the port, to conceal neighbouring storage sheds, and, of course, to indicate the time!
The Clock Tower was built between 1919 and 1922 from a design by Montréal-based engineer Paul Leclaire. Forty-five metres high, it marks the entrance to the port and is a memorial to sailors lost at sea in wartime.
Its extremely precise clock mechanism was made in England by Gillett and Johnston, and is a replica of Big Ben in London. Like Big Ben, its accuracy is legendary, and sailors would set their own time pieces by it. The Clock Tower was the port’s time keeper in an era when wrist watches were not yet common. It is even said that when the clock stopped working, many port employees would report to work late.
With its powerful light, the tower also served as a lighthouse to guide incoming ships. The structure was originally designed to conceal the unsightly sheds that once lined the quays.
Classified as a federal heritage building since 1996, the tower provides spectacular views of the St. Lawrence River and the city for those willing to climb its 192 steps to the top.
Or to be precise, a Black Legged Kittiwake, captured from Mumbles Pier today. Really thrilled to see these ( and their chicks ) today because last year the Pier was closed for its ongoing refurbishment and this year, i wasn't sure if I'd get here due to Lockdown, let alone the fact that The Pier was open . One of my favourite seabirds with their raucous call which gives them their name, a call you can hear all the way from Knab Rock, Mumbles and further away depending on the wind direction.
Or to be more precise, there's snow on popcorn tree. The clusters of seedpods resemble popcorn in the fall before the birds and squirrels gobble them up.
But during a recent, rare winter snowstorm event this past weekend, we had some accumulating snow on the trees, shrubs, grassy areas and a few other things, for a couple of hours when it was coming down hard and wet. When it stopped snowing, however, it started to melt away.
But for those few hours it was a lot of fun to see as we rarely ever have snow down here in the southeast, where we live.
Thousands of people meet and clash in the stations. If you stop to observe them for a moment, they are physically present, but a moment later they vanish to be replaced by other people passing by.
Stations are timeless places, where everything exists only in the precise moment we are looking at it.
Stazione dei bus
Nelle stazioni si incontrano e si scontrano migliaia di persone. Se ti fermi per un momento ad osservarle, sono fisicamente presenti, ma un attimo dopo svaniscono per essere sostituite da altre persone di passaggio,
Le stazioni sono luoghi senza tempo, dove tutto esiste solo nell’istante preciso in cui lo stiamo guardando.
I was up early to capture this scene, 4:30 to be precise. I was wandering solo in the forest, and I had a thought. "Wouldn't it be awesome if a moose walked right here into this scene?" And right on queue, literally, this big guy showed up for some posing. I watched, admiring him for about 30 minutes with the only sounds of birds chirping, water running in the creek, his footsteps, and an occasional mosquito. A beautiful morning in isolated Denali National Park.
Join me May 17-21, 2019, for the Spring in Denali workshop. Visit www.wildernessphotoworkshops.com for more details.
+ Prints available at www.chaddutson.com
+ Workshops available at www.wildernessphotoworkshops.com
File info: 180775907
Image info: Nikon D850, 70-200mm f/2.8, f/2.8, 200mm, 1/1600, ISO-400
Palmer, Alfred T.,, photographer.
Women are trained to do precise and vital engine installation detail in Douglas Aircraft Company plants, Long Beach, Calif.
1942 Oct.
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Douglas Aircraft Company
Airplane industry
Women--Employment
World War, 1939-1945
Assembly-line methods
United States--California--Long Beach
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-39 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35357
Call Number: LC-USW36-130
San Lorenzo Maggiore is a church in Naples, Italy. It is located at the precise geographic center of the historic center of the ancient Greek-Roman city, at the intersection of via San Gregorio Armeno and via dei Tribunali. The name "San Lorenzo" may also refer to the new museum now opened on the premises, as well as to the ancient Roman market beneath the church itself, the Macellum of Naples.
The church's origins derive from the presence of the Franciscan order in Naples during the lifetime of St Francis of Assisi, himself. The site of the present church was to compensate the order for the loss of their earlier church on the grounds where Charles I of Anjou decided to build his new fortress, the Maschio Angioino in the late 13th century.
San Lorenzo actually is a church plus monastery. The new museum takes up the three floors above the courtyard and is given over to the entire history of the area that centers on San Lorenzo, beginning with classical archaeology and progressing to a chart display of historical shipping routes from Naples throughout Magna Grecia and the Roman Empire. The museum provides a detailed account of the local "city hall" that was demolished in order to put up the church in the 13th century and continues up past the Angevin period and into more recent history.
Beneath San Lorenzo, about half of an original Roman market has been excavated.The site has been open since 1992, the result of 25 years of painstaking excavation. The market place is the only large-scale Greek-Roman site excavated in the downtown area.
In this church Boccaccio met his beloved Fiammetta (1338) (Wikipedia)
Standing alone in the long grass at the edge of the Shugborough parkland, this two-storey octagonal tower is one of the most architecturally precise garden buildings in England - a direct response to a specific ancient original, designed by the man who had measured and drawn that original with his own hands. One of the most prominent of the garden buildings at Shugborough is the Tower of the Winds, an octagonal structure of 1765, designed by James "Athenian" Stuart.
The original Tower of the Winds - the Horologion of Andronikos Kyrrhestes - stands on the north slope of the Acropolis in Athens, an octagonal marble structure built around 100-50 BC as a combined sundial, water clock, and weather station. Accurate illustrations were not published until 1762, when they appeared in volume one of James Stuart and Nicholas Revett's The Antiquities of Athens. Stuart had spent years in Athens measuring the building himself - hence the nickname "Athenian" - and the Shugborough tower, completed just three years after the publication of his own drawings, reflects that direct knowledge. The little entrance porticoes were designed with a close eye on the original, and their capitals are a version of Corinthian with acanthus leaves but no spiral volutes, a form now often known as Tower of the Winds Corinthian.
The building's subsequent history is characteristically English in its layered pragmatism. The tower was originally surrounded by water, situated at the end of an ornamental lake, and linked to the land by two bridges. The ground floor windows were inserted in 1803 when Samuel Wyatt converted the building into an ornamental dairy for Lady Anson. In the 19th century, the upstairs room apparently became a gambling den presided over by the 1st Earl of Lichfield - a use the Athenian original had not anticipated. The upper floor ceiling, meanwhile, is based not on any Greek precedent but on one from Nero's Golden House in Rome: a reminder that even "Athenian" Stuart was an eclectic at heart.
The photograph, taken in stormy July light with the long uncut grass blowing in the foreground, catches the tower in a mood of quiet grandeur. Isolated from the hall and its formal gardens, it seems entirely self-contained - a small piece of Athens deposited, with perfect confidence, in the Staffordshire countryside.
Ahi weaves precise slashes and pyroclastic strikes to form his unique eruptive fighting style, leaving only ash and obsidian in his wake.
Made some changes to Ahi. The shins have been replaced to be more sleek, and some of the torso colors have been changed to be less messy. Also, the sword blade is the correct color. The leg articulation is a lot better in this version, so he can actually pull off some neat poses.
Reference was made in an earlier upload, of the fate that befell several of the ECW-bodied Leyland Leopards in the Greater Manchester fleet - and here is one piece of the outcome, well 6 to be precise and no Leyland Leopards to be seen, just the detached bodywork sat rather forlornly in the yard at Charles St, Stockport back in June 1981, awaiting their eventual fate, some barely 6 years after construction. From the left, as the title suggests are what remained of 82, 89, 86, 87, 88 and just slightly off shot to the far right, 84. Some of the number blinds still visible offer a clue to their previous homes whilst still in service.
This image is copyright and must not be reproduced or downloaded without the permission of the photographer.
The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising. Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Aira Force, to be precise.
I'd say this is one of the most well known and/or visited waterfalls from the Lake District...and if it isn't, it should be.
This is a second visit for me and I'm pretty sure there was a tad more 'force' in the fall, the last time I was here. Even so, it's a lovely place to visit with a decent walk, a fair few steps in places, with plenty to distract you along the way.
I sacrificed the bridge for the sake of the 'pool' in this shot. Definitely personal preference and at least I'm consistent as I seem to recall I did that last time.
Or to be precise Nigella damascena, I saw this one in a garden and thought at first it may be an aquilegia but the leaves were wrong, Mr Google helped me out and now the big test is to see if the garden centre has any and if so, will it grow in my chalky soil in Ramsgate? The garden it was in looked like the topsoil had been replaced.
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
¿Cuántas ventanas hay en Manhattan?
First of all, there can be no precise figure for the number of windows in Manhattan, simply because there are no uniform buildings in Manhattan. But according to the New York Times, one can estimate that there are approximately 47,000 buildings of all kinds in Manhattan, depending on the source. However, even knowing this fact may not help, since the rest would be pure guesswork.
Another boss-impressing approach might be to estimate the rough number of square blocks in Manhattan — roughly 200 by 10. Next, subtract 150 square blocks for Central Park, which leaves 1,850. Then estimate the average number of windows on one floor per street block and the average windows per floor per avenue block – the Times suggest about 25 (times 2), and 75 (times 2), respectively. This rounds off to about 200 windows per block floor.
However, the next problem is coming up with an average building height – something that the City Planning Department doesn’t track. Again, the Times guesses an average of 10 stories, making 2,000 windows per square block. Add another 500 hundred or so for small inward facing windows, and multiply those 2,500 windows by 1,850 blocks: 4.6 million windows total.
And unfortunately that guess may be as close as any obsessive urbanite can get. [NYT]
En primer lugar, no puede haber una cifra precisa del número de ventanas en Manhattan, simplemente porque no hay edificios uniformes en Manhattan. Pero según el New York Times, se puede estimar que hay aproximadamente 47.000 edificios de todo tipo en Manhattan, según la fuente. Sin embargo, incluso conocer este hecho puede no ayudar, ya que el resto serían puras conjeturas.
Otro enfoque que impresionaría al jefe podría ser estimar el número aproximado de bloques cuadrados en Manhattan: aproximadamente 200 por 10. A continuación, reste 150 bloques cuadrados para Central Park, lo que deja 1850. Luego calcule el número promedio de ventanas en un piso por bloque de calle y el promedio de ventanas por piso por bloque de avenida: el Times sugiere alrededor de 25 (por 2) y 75 (por 2), respectivamente. Esto redondea a unas 200 ventanas por piso de bloque.
Sin embargo, el siguiente problema es encontrar una altura de construcción promedio, algo que el Departamento de Planificación de la Ciudad no rastrea. Nuevamente, el Times adivina un promedio de 10 pisos, haciendo 2,000 ventanas por bloque cuadrado. Agregue otras 500 o más para las ventanas pequeñas que miran hacia adentro y multiplique esas 2500 ventanas por 1850 bloques: 4,6 millones de ventanas en total.
Y, desafortunadamente, esa conjetura puede ser lo más cercano que cualquier urbanita obsesivo puede estar. [Nueva York]
Not easy to give a precise location, but it's just south of West Vernon Park Place and just east of S. Aberdeen.
Hill of Crosses is a site of pilgrimage about 12 km north of the city of Šiauliai, in northern Lithuania. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the 1831 Uprising.Over the generations, not only crosses and crucifixes, but statues of the Virgin Mary, carvings of Lithuanian patriots and thousands of tiny effigies and rosaries have been brought here by Catholic pilgrims. The exact number of crosses is unknown, but estimates put it at about 55,000 in 1990 and 100,000 in 2006.
Over the generations, the place has come to signify the peaceful endurance of Lithuanian Catholicism despite the threats it faced throughout history. After the 3rd partition of the Polish–Lithuanian Commonwealth in 1795, Lithuania became part of the Russian Empire. Poles and Lithuanians unsuccessfully rebelled against Russian authorities in 1831 and 1863. These two uprisings are connected with the beginnings of the hill: as families could not locate bodies of perished rebels, they started putting up symbolic crosses in place of a former hill fort.
When the old political structure of Eastern Europe fell apart in 1918, Lithuania once again declared its independence. Throughout this time, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence.
The site took on a special significance during the years 1944–1990, when Lithuania was occupied by the Soviet Union. Continuing to travel to the hill and leave their tributes, Lithuanians used it to demonstrate their allegiance to their original identity, religion and heritage. It was a venue of peaceful resistance, although the Soviets worked hard to remove new crosses, and bulldozed the site at least three times (including attempts in 1963 and 1973). There were even rumors that the authorities planned to build a dam on the nearby Kulvė River, a tributary to Mūša, so that the hill would end up underwater.
On September 7, 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice. In 2000 a Franciscan hermitage was opened nearby. The interior decoration draws links with La Verna, the mountain where St. Francis is said to have received his stigmata. The hill remains under nobody's jurisdiction; therefore people are free to build crosses as they see fit. (-wiki)
Facebook Page: www.facebook.com/xiaoyangphotography/
Instagram: inhiu
Photo taken by Herwart Schneider and kindly provided by him for inclusion on this page.
München-Riem
August 1987
N108WA
McDonnell Douglas DC-10-30CF
46837 / 282
World Airways
(no titles, World Airways cheatline, red tail from lease to Malaysian Airline System)
N108WA was noted at Riem on 3 August 1987, possibly the precise date for this shot.
Information from flickr - thanks to Guido Allieri:
N108WA (c/n 46837 l/n 282, series -30CF) was delivered new to World Airways In May 1979. It would be sold to Federal Express in July 1994 for MD-10F conversion.
World Airways leased the aircraft several times to Malaysia and also to Tunisair and VIASA.
Following 28 years of operation with Federal Express, the aircraft was wfu and stored at VCV on 30 December 2022 (source: planespotters.net).
Registration details for this airframe:
www.scramble.nl/database/civil/details/DC10_143
N108WA with MAS at MEL in September 1980 (full colours):
www.flickr.com/photos/edge-to-edge-photography/14002448161
N108WA with World Airways at FRA in June 1984 (full colours):
www.flickr.com/photos/digro/31729958274
N108WA with MAS at FRA in August 1985 (hybrid colours with World cheatline):
www.flickr.com/photos/aero_icarus/52534783088
N108WA with World Airways in April 1987 (World titles on tail only):
www.flickr.com/photos/guidojet/50083687976
N108WA with World Airways at DFW in October 1987 (full titles, still with red tail):
www.flickr.com/photos/egcb_egcc/16106657857
N108WA with World Airways at LGW in April 1991 (white fuselage, logo on tail):
www.flickr.com/photos/106636364@N04/12016512696
N108WA with World Airways at HKG in October 1991 (later colours):
www.flickr.com/photos/22331715@N06/53041315993
N108WA with Malaysia at LGW in June 1993 (later colours):
cdn.jetphotos.com/full/6/99281_1610989674.jpg
N108WA with World Cargo at HKG ca. late 1990s:
cdn.jetphotos.com/full/1/56144_1060130427.jpg
This airframe as N318FE with Federal Expres at LAX in January 2022:
www.flickr.com/photos/dc-10forever/52459504529
N318FE stored at VCV in May 2023:
cdn.plnspttrs.net/43461/n318fe-fedex-express-mcdonnell-do...
Scan from Kodachrome slide.
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
5837 and 5237 to be precise, the two locomotives were at Worcester Depot (85A) as Peter passed through. He probably grabbed this shot from his train, Peter was heading for Gloucester Eastgate station.
5837 was built at Brush, it entered service new to Sheffield Darnall 19/04/1962, Under TOPS it became 31304. The loco was withdrawn 07/1999 and scrapped 14/01/2000.
5237 was a Derby built locomotive it went new to Toton 19/12/1963. The loco was withdrawn 28/09/1980 and cut at Swindon Works 01/04/1981. Under TOPS it was numbered 25087.
Peter Shoesmith Circa 1970
Copyright Geoff Dowling & John Whitehouse: All rights reserved
Precise, lightweight, and powerful; the BR-81 is an excellent rifle for any scenario. While lacking the capability of full-auto fire, the easily controlled tri-burst more than makes up for it.
Base models come equipped with an integral flashlight, however it can be replaced with a rail system if desired.
Courtesy of ORION Technologies
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Credit to Shockwave for the charging handle.
And to CN for the 203 inspiration.
That is certainly an apt description for these incredibly talented pilots. Watching the Blue Angels do their amazingly precise maneuvers in San Francisco is beyond Awesome! Let that be an inspiration for fulfilling any task you put your mind to: Be precise.
Have a fabulous weekend everyone!
— in San Francisco, California.
The precise extent of the once wooded area from which Southwood in the town of Ramsgate takes its name is uncertain. Today, Southwood has much clearer definition in the local inhabitant's mental map as a predominantly residential area and as the home ground of Ramsgate football. It equates with the area of the former Southwood Farm and of Southwood House. Southwood's large, Victorian water tower is also one of Ramsgate's distinctive and prominent landmarks. The Southwood neighbourhood occupies an area of about half a square kilometre, and consists of predominantly late nineteenth and early twentieth century houses. It sits on elevated ground one kilometre to the west of Ramsgate town centre and behind the more prestigious houses, cliff-top promenades, and greens of the West Cliff area.
The Tower was built in 1887 and was made a grade II listed building in 1988, now converted into flats. I can see the back of this building from anywhere in the front of the house.,
Apparently my house was lot 3 when the farm was sold and was used as a brickfield until the row of houses were built in 1902. A brickfield is a common location name in southeast England. Its name derives from a field where the topsoil was removed and the clay beneath was stripped, and mixed with chalk and ash to create bricks, we now have topsoil and chalk so I suppose all the clay was used up!
MY THANKS TO ALL WHO VISIT AND COMMENT IT IS APPRECIATED
"Hummingbird - Painterly Portrait" by Patti Deters.
This is a close-up portrait of a female ruby-throated hummingbird (Archilochus colubris) perched at the end of a small branch. It is the males that have the red throat - females have white throat feathers, although they may occasionally sport a single red feather. Females have rounded tail feathers with white tips. This tiny little hummer can beat her wings about 53 times a second. She has very short legs that prevent her from walking or hopping - the best she can do is shuffle along a perch. But she is an exceptionally quick precise flyer and you can even hear the beat of the wings if you ever get close enough. If you like this wildlife nature artwork, please see more birds, animals, painterly and more at patti-deters.pixels.com/featured/hummingbird-painterly-po....
These guys are so precise!!! They do things in a formation that most pilots wouldn't even attempt on their own.
EXPLORE WITH A RANK OF 489 ON FEB 27, 2010.
THANKS EVERYONE!!!!!!
Ektar ist a film that requires precise metering. Apparently, the old selenium meter on the Agfa Reflex is off by at least one stop.
Because of the resulting underexposure there is a colour shift and some loss of definition, which comes on top of the somewhat reduced sharpness of the triplet lens (the lens can do better than this). I'll have to keep that in mind for the next roll.
I didn't notice that on the previous roll because that was B&W and the film latitude absorbed the underexposure.
Agfa Optima Reflex 35mm TLR
Kodak Ektar 100 professional grade color negative film
Developed and scanned by www.meinfilmlab.de
Vachon, John,, 1914-1975,, photographer.
Dr. Schreiber of San Augustine giving a typhoid innoculation at a rural school, San Augustine County, Texas
1943 April
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
World War, 1939-1945
Children
Rural schools
Physicians
Vaccinations
United States--Texas--San Augustine County
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-56 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35422
hdl.loc.gov/loc.pnp/cph.3d02191
Call Number: LC-USW36-828
{Explore} Highest Position: 452 on Thursday, May 7, 2009
We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over.
~ James Boswell
This is so true and it is what essentially builds a genuine friendship. A friend who isn't just there because it's convenient but especially when it's not. I have had friends like these before and I wish I still have them around.
Then again, we meet new people as we journey down the path we have chosen. We choose then again to dispense a drop of kindness... and another... and yet another... until we've once more found ourselves to that last drop that "which makes our heart run over."
Photo taken at the Chicago Botanical Garden with our Chicagoland Digital Photography Meetup Group on May 3rd.
And as I previously stated, I'm working my way up all your streams... I will get to yours eventually. It's just taking a good deal of time not because I feel like I'm dragging my feet but because I'm having a lot of fun browsing through all your amazing imagery (and most of the times, that includes reading the comments in your photos too... you'd be surprise how delightful that can get). As such, I can't go on to the next one without ever leaving a note of praise or approval (or a very light constructive critique if it's going to be helpful). A little more patience please and I do hope you don't tire of my unintelligible rantings!
HBW my Flickr Friends!
Along the empty streets at night... I am really not sure about the precise location. Somewhere below Rato.
Minolta SRT 101 & Rokkor PF 55mm f/1.7, Kodak TMax 3200 in Rodinal 1+50 for 16 min @ 20°C, digitalized using kit zoom with macro rings.
Thank you everyone for your visits, faves and comments, they are always appreciated :)