(more information and pictures you can see by clicking on the link at the end of page!)

Stone penitentiary

Object ID: 32444 Steiner Landstrasse 4

The building of the prison was built in 1839-1843 as Redemptoristinnenkloster (Congregazione del Santissimo Redentore, Congregación del Santísimo Redentor, les Rédemptoristes, the Congregation of the Most Holy Redeemer - the female ones). After its cassation in 1848, it was adapted in 1852 for the present purpose and subsequently expanded several times. On the street side extends a long three storey wing with gaved central projection from the first quarter of the 20th Century. Adjacent to it, lies the by its narrow and tall chapel front accented, two-storey former convent. The three-bay chapel has Platzl vault (Bohemian vault) with vault and wall paintings from the construction period, which were partially destroyed. The three-storey jail house, built in 1870-1873, rises above a cross-shaped floor plan with short administration wing and three of a central octagon outgoing cell tracts. The walkways are designed as cast iron structures. A church from 1873 is located on the upper floors of the administration wing. This has a rectangular hall with coffered ceiling, a gallery and arched windows with simple ornamental panes. The equipment to which belong an aedikula, an organ and the original pews comes from the construction period. At the altarpiece an image of the Good Shepherd can be seen, which is denoted with C. Madjera 1873. Further facilities include a Baroque crucifix.

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

(for further pictures please go to the link at the end of page!)

Krems an der Donau (Stein)

Community Krems at the Danube

www.krems.gv.at

History

Stein, copper engraving, Georg Matthäus Vischer, 1672

© IMAREAL, Austrian Academy of Sciences

The twin city of Krems-Stein in 1995 celebrating the 1000 year jubilee, is one of the oldest cities in Austria. The terrace formation, the favorable climate and location at the crossroads of the Danube trade route with the north-south connections from the Waldviertel (Wood district) and the wine district (Weinviertel) favored for thousands of years the colonization of the area and contributed essentially to the development as a center in the Danube region.

For a far into the early days reaching settlement tradition speak finds from the Paleolithic (Hundssteig, Wachtberg, 30000-25000 BC), from the Neolithic period (ceramic cultures), but also the special role of the region in the Early Bronze Age Unetice Culture (1800-1500 BC) as well as traces of the urn field culture of the late Bronze Age and the Hallstatt culture (800-400 BC). In the La Tène period settled here probably celticized groups, in the Roman period the area belonged since the beginning of the second Century to the sphere of influence of the Germanic Marcomanni. According to the biography of Saint Severin ("Vita Severini") the center of the Germanic Rugians in the second half of the 5th Century probably lay in the area of Krems-Stein, for the next century the cemetery in Unter-Rohrendorf proves the presence of the Lombards.

First time mentioned by name Krems is in a charter of Emperor Otto III of 9th August 995 as orientalis urbs que dicitur Chremisa - as a fortified place in the East which is named the Chremisa. The settlement then lay on the eastern border of the small Mark Ostarrîchi in close proximity to Moravia, but soon it grew beyond the castle district and developed in the 11th Century to a market settlement around the High market (Hoher Markt). Since 1014 Krems was due to a Royal donation (Königsschenkung) parish. The sister city of Stein is only in the second half of the 11th century (1072) named. Its center was the to parish Krems belonging Michael Church. Stone primarily was a toll and loading berth for salt, wine and grain. From skipper settlement arose a market and in the 12th Century a town settlement (since 1144). The character as a city of Krems is yet a little earlier for the year 1136 proven.

The position at the Danube the two cities had assigned their complementary functions: Stein lay directly at the stream and became toll and landing place for ships, had but due to the rising hillsides little space for large commercial and market places and construction activity. Krems, however, was cut by tributaries and floodplains from the main stream, but offered plenty of space for colonization and markets as well as the protection of a mighty castle.

Around 1150 Krems was the most important commercial center in the country. In the tower of the town castle of Krems at the steep slope of the High market between 1130-190 the first Babenberg coin, the Kremser penny, was minted. On the world map of the Arab scholar Idrisi Krems is named before Vienna, which only in subsequent time should surpass Krems. The city's growth ​​probably already in the first half of the 12th Century the relocation of the parish of St. Stephen's Church on woman mountain (Frauenberg - now Piaristenkirche) to the foot of the mountain made necessary where the new Vitus church became parish. End of the 12th Century Krems was surrounded by a city wall, 1196 the first city judge is testified. The city has been expanded several times and extended in the late Middle Ages from the Steiner Tor in the west to the Krems river in the east. The Dominican monastery, founded in 1236 was initially outside the city.

Stein evolved from the high terrace in the direction of Nicholas church, which in 1283 was elevated into the status of a parish. In the late Middle Ages, the area between Landstraße and the Danube was built-up and the city in the area of the in 1223/1224 founded Minorits monastery (consecration of the church in 1264) and between Reisperbach and Linzertor extended.

Both cities since the beginning of the 12th Century were princely and complemented each other as land and Danube trading venues. Their close relationship has led to a unique construction as a twin city. Both cities had a civic community with its own military and financial sovereignty, but had a common municipal law (1305) and a common municipal judge and later mayor (since 1416). 1463 Emperor Frederick III the two cities conferred a common coat of arms, the imperial double-headed eagle in gold on a black background. In addition to Krems-Stein only Wiener Neustadt and Vienna had the privilege to lead the double eagle. The union of the cities existed until 1849, after 90 years of independence of Stein, in 1939 took place the recent merger.

The economic boom in the late Middle Ages was based on the viticulture and trade with wine, salt and iron. In Stein shipping formed a significant economic factor. 1463 Stein received by the Emperor Frederick III the privilege to build a fixed bridge, the second oldest after Vienna in the area of the Austrian course of the Danube river.

From the richness and self-conciousness of the citizenship testifies the in 1265 built "Gozzoburg" of the mighty city judge Gozzo of Krems, a castle-like town house with loggia. The appearance of both cities is characterised of the numerous houses from the 15th and 16th century, which are designed with bay windows, sgraffito and paintings and as well as arcade courtyards inside. A characteristic of both cities are the since the High Middle Ages profable "vintage courtyards" of monasteries and bishoprics, which were used to store wine and served for the administration of the monastic possessions, such as the Passau courtyards, the Kremsmünstererhof or the Göttweigerhof. The Göttweigerhofkapelle (chapel) is equipped with valuable frescoes from the early 14th Century. About 1500 Krems through the work of the Augsburg artist Jörg Breu became a center of the Danube School.

Since the second half of the 16th Century Krems was mostly Protestant. The resistance of the citizens against the recatholicization in 1593 led to the loss of all privileges. It was not until 1615 as Emperor Matthias cancelled the harsh verdict and restored the independence of the city. A big part in the Catholic restoration played the in 1616 settled Jesuits who ran the school and by their theater performances became famous. In addition to the Jesuit college emerged in the time of the Counter-Reformation the Capuchin Monastery Und (1614) and the early Baroque new building of the Kremser parish church, in which renowned Italian artists took part.

The 17th Century due to the shift of international trade routes and the decline of the importance of the Danube trade brought an economic downturn. Severe damages the city suffered in 1645 by the Swedes, who besieged Krems, conquered and extended it to the main fortress, and by the reconquest a year later. It was only after 1700 as a upswing set in again, which found its expression in the Baroque style of the city. Employers for the resident artists or handicrafts were the big monasteries of the country. One of the most important painters of this period was Martin Johann Schmidt, the Kremser Schmidt, until his death (1801) in Stein maintaining a painting workshop.

In the second half of the 18th Century changed the ecclesiastical structures of the city. The since 1616 the Jesuits transmitted Frauenberg church was taken over by the Piarists in 1776 after the abolition of the Order (1773). 1783 the Dominican Monastery, 1796 the Minorit's monastery and the Capuchin monastery was abolished and profaned.

The biggest change of the cityscape since the Middle Ages took place in the 19th Century by the removal of the ramparts and the city gates. Remained except for remnants of the wall only the Steinertor (gate), which became the symbol of the city. Of the in the course of industrialization established factories of importance were the leather factory in Rehberg, the factory for the manufacturing of mats and rugs made ​​of coconut fibres in Stein and the first quartz millstone factory of Austria. Great reputation also enjoyed the organ builders Zachistal, Capek and Hradetzky and the Kremser bell founders, including Matthias Prininger, Ferdinand Vötterlechner and Johann Gottlieb Jenichen. In the last third of the century followed the connection to the railway network, 1909, the Donauuferbahn (railway line along the Danube) was opened.

After the Second World War - on 2nd April 1945, there was heavy bombing - succeeded the city to preserve the architectural heritage largely in its original state and to connect it with modernity. The successful revitalization already received international recognition, Krems in 1975, 1979 and 2009 was Europa Nostra award winner. The city with the "Art Mile" in Stein (Kunsthalle, Museum of Caricature and Artothek), the Danube Festival and numerous cultural events developed to one of the most important cultural centers in Lower Austria .

The art treasures of the city as well as tradition and the history of wine-growing presents the "museumkrems" in the former Dominican church. Which the in 1994 founded and in 1995 opened "Danube University", Krems became 13th Austrian university town and is since 2002 the seat of a University of Applied Sciences (International Management Center). With the since 1998 annually realized Wachau Marathon Krems itself also could established as a "sports city".

In the 1970s, the city once again experienced a major expansion. In 1972 joined the community of Hollenburg Krems. The once separating Danube became the connecting element between the urban north and the "orchard" in the south. Meanwhile, the "Southtown" became integral part of the city, but could maintain its rural character.

Krems has partnerships with cities in Denmark, Germany, France, Czech Republic and the USA.

www.gedaechtnisdeslandes.at/orte/action/show/controller/O...[ort]=1610

Olympus Zuiko 50mm 1:1.8

Multi purpose offshore vessel built 2014 by Rossetti Marino,Ravenna Italy

I.M.O. 9643867

Call sign 2FUDA

Gross tons 2202t

Deadweight 3081t

Length/beam 74.5M X 16.05M

Flag U.K.

Registered London

Owned/managed by Gulf Offshore [Aberdeen]

...First sunrays on dew

Coffee in Coorg

The purpose of the first portrait coins was to identify the ruler. The front side became a mirror of the sovereign’s self-image. The back was often used to communicate the ruler’s accomplishments or intentions. The profile portrait was used because it suited the very shallow depth and limited surface of the coin. The tiny images were carved by engravers into bronze dies, one for the front and another for the back. The coins were then struck, one by one, in a process similar to how modern coins are created today.

In place of human ancestors, some rulers substituted real or mythic heroes or even the gods as their progenitors.

On the front (obverse) of this coin Queen Arsinoe (reigned 273/272-270/268 BCE) is portrayed wearing a stephane (tiara or diadem) with a tiny horn curled around her ear. The horn was the symbol of the god Zeus-Ammon and implies that the queen was in fact, a goddess on earth. There is also a lotus-tipped scepter behind her head - it's visible in front of her neck and above her veil (more visible in other strikes of this coin). The back (reverse) of this coin depicts a double cornucopia bound with a fillet, perhaps symbolizing her close relationship with her brother-husband.

The inscription on the reverse reads: ΑΡΣΙΝΟΗΣ ΦΙΛΑΔΕΛΦΟΥ - Arsinoe Philadelphos. Arsinoe II and her brother Ptolemy II shared the dynastic epithet Philadelphos, which in this context means 'sibling-loving.'

The meaning of the K behind the portrait of the queen is disputed, with several theories (some even involving her ancestor Kleopatra). But it's interesting to note that Ptolemy erected the Arsinoeion, a cult sanctuary for the worship of Arsinoe, a few kilometers to the East of Alexandria; in this sanctuary Arsinoe bears the interesting epithet of Kypris, which strikingly links Cyprus to the queen.

This coin was part of the establishment of the Ptolemaic dynastic cult, which deified Arsinoe just before or after her death.

Greek, Ptolemaic, 261 BCE, issued by Ptolemy II. Reign of Arsinoe II, Queen of Egypt, 276-270 BCE. Gold, minted in Egypt.

Diam.: 2.9 cm (1 3/16 in.)

Art Institute of Chicago (ARTIC 1933.795)

Multi purpose dry cargo ship (design Beluga E/F) HHL NILE passing Ferrypoint Landwehr / Kiel Canal eastbound with destination Rostock | Photo: 13.08.2015| © Hans-Wilhelm Delfs, Kiel

IMO 9443669 | MMSI 236111614| Flag: Gibraltar/Gibraltar | Call-Sign: ZDJL9 | Class.: DNV-GL |

GT 9611 | NT 4260 | dwt 12679 |

Loa 138,12 m | Lpp 130,00 m | Beam 21,34 m | Draught 8,00 m | Depth 11,00m |

14 kn |

Shipbuilder: CSC Jiangdong Shipyard, Wuhu/China – Yard No. JD12000-13 – Keel laid 30.08.2007 – launched 11.03.2008 - Date of build 21.08.2009 |

Owner: Hansa Heavy Lift GmbH & Co. KG MS "HHL NILE", Hamburg – Manager: Hansa Heavy Lift GmbH & Co. KG, Hamburg

Historical data:

HHL NILE (since 2009)

ex BELUGA FACULTY (2009-2009)

View On Black

It’s all for God.

Not only were you created by God; you were

created for him, too. The ultimate goal of the

universe is to show the glory of God. It is the

reason for everything that exists, including

you. God made it all for his glory. Without

God’s glory, there would be nothing.

What is the glory of God? It is who God is.

It is his nature, his character, and his power.

Where is the glory of God? Just look around.

Everything created by God reflects his glory in

some way. We see it everywhere, from the most

microscopic form of life to the vast Milky Way,

from sunsets and stars to storms and seasons.

Creation reveals our Creator’s glory. You can

learn a lot about God’s character just by

looking around. Through nature we learn that

God is powerful, that he enjoys variety, loves

beauty, is organized, and is wise and creative.

The Bible says, “The heavens declare the glory of

God.”

- Rick Warren's Purpose Driven Life

Museum of Glass

Tacoma, Washington

---------

Caption from Mike Fitzpatrick

"A Buoy" a floating device that can have many purposes

This purpose built Track Assessment Unit was built at York in 1987; it is based on the standard Class 150 Sprinter design. It was originally designated as Class 180 but operates today as Class 950 Unit No. 950001.

Aztec National Monument

Please note the horizontal black band built into the wall. It is believed that this was done for aesthetic purposes.

“The Aztec Ruins National Monument, located in San Juan County in northwest New Mexico, contains the remains of prehistoric Ancestral Puebloan (Anasazi) structures.

These ancient Indians constructed this large planned community over 1,000 years ago. At that time, the ancestral pueblo people began planning and constructing the pueblo, which was close to the Animas River, where early farmers could take advantage of the constant water supply.

Its access to the river provided the people with a reliable food source, as they could plant crops. Built on and below a terrace overlooking the river, the pueblo would ultimately have many large and small public structures, earthworks, ceremonial buildings, residential pueblos, and roads.

This extensive community likely served as a trade, ceremonial, and administrative center for many of the scattered communities associated with Chaco Canyon. The Chaco culture exhibited great influence over much of this part of New Mexico between 850 A.D. and 1130 A.D. This influence, including its architectural, ceramic, and ceremonial styles, strongly influenced Aztec’s early inhabitants and initial builders.

Aztec was a bustling community for over two centuries, and its planned layout reveals that the initial ancestral Pueblo builders conceived a grand design for their community. When the building ceased in the late 1200s, the community consisted of several great houses, great kivas, small residential pueblos, earthworks, roads, and tri-walled kivas. The structures and landscapes were all constructed and modified to give continuity and formality to the community’s overall essence. The builders used local adobe mud for the structures’ walls. They used cottonwood, pinyon pine, juniper, pine, spruce, Douglas fir, and aspen, which they obtained from mountains many miles away for roofing.

By 1100 AD, the Aztec Ruins community may have become a center in its own right when Chaco’s regional influence began to fade. By about 1300 A.D., these people left this region and dispersed to the south in various directions. After serving their society for over two centuries, a combination of drought, climate changes, depletion of natural resources, and social changes likely influenced the ancestral Puebloans’ decision to leave their well-planned community.

The ruins were named when 19th-century American settlers misattributed their construction to the Aztecs of Mexico. The first actual description of the Aztec Ruins was made by the geologist J. S. Newberry, who saw the site in August 1859. Lewis H. Morgan published the first ground plan and a further description from his visit of July 1879. From then on, little consequence appeared until archeologist Earl H. Morris began systematic excavations in the West Ruin in 1916. Morris spent six field seasons in the excavation of the West Ruin between 1919 and 1928.

In 1920 the American Museum of Natural History purchased the major ruins and deeded them to the United States. The area was proclaimed a National Monument in January 1923.

Excavation of the site revealed artifacts such as food remains, stone and wood tools, cotton and feather clothing, fiber sandals, and jewelry made of turquoise and shells.

The great houses within the West and East Ruins are large public buildings with many connected rooms surrounding a central plaza. The largest preserved structure is the West Ruin, a D-shaped great house constructed in the early 1100s. With at least 400 interconnected rooms of three stories, the site was occupied for over 200 years. Some of its walls reach 30 feet. Also of note is the excavated and reconstructed Great Kiva, situated in the center of West Ruin’s Plaza. Ancestral Pueblos used the Great Kiva for community-wide ceremonial events. Over 40 feet in diameter, the semi-subterranean structure is the oldest and largest reconstructed building of its kind.

The Hubbard Site, dating from the early 1100s and one of only a handful of tri-walled structures in the Southwest, has three concentric walls divided into 22 rooms, with a kiva. It was rebuilt in 1934 by Earl Morris, an archeologist for the American Museum of Natural History.” ( www.legendsofamerica.com/aztec-ruins-national-monument/ )

Russia. Moscow. Museum of The Special Purpose Garage. GAZ-24-95

Россия. Москва. Музей Гаража особого назначения. ГАЗ-24-95

Eagle makes haste with catch. From Saturday before the eagles left. Still working with the new camera.

ca. 1910

This image can be used for study and personal research purposes. Please observe copyright and acknowledge source of all photos. If you wish to reproduce this image for any other purpose you must obtain permission by contacting Maitland City Library

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Flickr

With Southport's famous Lord Street as a backdrop, Merseybus Dennis Lancet EKA 228Y waits for departure time. These were another bus which I liked and had to own an example of, the Duple Dominant Bus bodywork with dual purpose seating gave an attractive and comfortable little bus. EKA 224Y came to Knotty, and I think that I posted a shot of it some time ago. The Lancet was supposedly a light weight offering from Dennis... which I suppose compared to the Dorchester it was. It was available in several lengths of which this was the shortest. Power normally came from Perkins, V8s in the larger ones, and the T6.354 straight six in this case. Dennis did produce a demonstrator with a Leyland 401 engine too, but I can't think of any PSVs other than the demonstrator which ended up in South Wales with Brewers. The chassis did have something of a following with local authorities who used it as a base for mobile libraries.

I have recently discovered the true purpose of the internet...it is to search for recipes,read food blogs(I am starting one),and to waste time on Pinterest,drooling over food pictures.....this photo is of pecan waffles,and strawberry sorbet,made by me ...but food photography is a challenge!

+++ DISCLAIMER +++

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

Some background:

In 1935, the German Reich Air Ministry (RLM, Reichsluftfahrtministerium) produced a requirement for a twin engined general purpose floatplane, suitable for patrol and for anti-shipping strikes with bombs and torpedoes. Proposals were received from Heinkel Flugzeugwerke and from the Blohm & Voss aircraft subsidiary Hamburger Flugzeugbau. On 1 November 1935, orders were placed with Heinkel and Hamburger Flugzeugbau for three prototypes each of their prospective designs, the He 115 and the Ha 140.

In total, about 100 He 115 B and Cs were upgraded to the D standard, which was finished by late 1943. The aircraft had its finest moment on anti-shipping operations against Arctic convoys from bases in northern Norway. Because the first convoys lacked air cover, the slow and lightly armed He 115 was less vulnerable than near the English coast. With the appearance of carriers and escort carriers, coupled with new Soviet heavy fighters like the Petlyakov Pe-3bis, Luftwaffe air superiority over the convoys was challenged and losses increased. The remaining He 115 B and Cs were consequently taken out of front line service in 1944 (but still served in search and rescue duties or in covert operations), but some of the He 115 D, esp. the more sophisticated D-4 and D-5 versions, soldiered on until 1945.

General characteristics:

Crew: 3 (pilot, bomb aimer, radio operator/rear gunner)

Length: 17.30 m (56 ft 9 in)

Wingspan: 22.28 m (73 ft 1 in)

Height: 6.60 m (21 ft 7.75 in)

Wing area: 87.5 m² (942 ft²)

Empty weight: 6,150 kg (13,564 lb)

Loaded weight: 12,200 kg (26,872 lb)

Powerplant:

2x BMW 801A 14-cylinder radial engine, 1,560 PS (1,539 hp, 1,147 kW) each

Performance:

Maximum speed: 403 km/h (250 mph)

Cruising speed: 365 km/h (227 mph)

Combat radius: 2,100 km (1,305 mi)

Service ceiling: 7,400 m (24,240 ft)

Wing loading: 139.4 kg/m² (28.2 lb/ft²)

Power/mass: 188 W/kg (0.116 hp/lb)

Armament:

1× fixed 20 mm (.787 in) MG 151/20 machine cannon under the front fuselage

1× flexible 13mm (.51 in) MG 131 machine gun in nose position

2× remote-controlled 13 mm (.51 in) MG 131 in FDSL 131/1B barbettes on the flanks

A total internal and external ordnance load of 2.000 kg (4.400 lb),

including up to 5× 250 kg (550 lb) bombs, or two such bombs and one torpedo of 800 kg (1,800 lb),

or one 920 kg (2,030 lb) sea mine in the Internal bomb bay.

A single Hs 294 guided glide torpedo, carried externally under the fuselage.

Alternatively, two underwing hardpoints could carry loads of up to 1.000 kg each, including iron bombs

and drop tanks (up to 900 l), Hs 293 guided glide bombs and unguided LT10 “Friedensengel” or LT 11

“Schneewittchen“ glide torpedoes.

The kit and its assembly:

A project I had on the agenda for a long time, even collecting donor parts and kits, but never had the drive to tackle it. But the “Amphibian” GB at whatifmodelers.com in late 2017 gave the impulse to finally build a model of the semi-fictional upgrade of the rather overlooked He 115 floatplane.

The whole thing is not purely fictional, since the BMW 801-powered He 115 D actually existed – but only as a single prototype. However, I wondered if some more upgrades would have been possible, and this led to this model.

The basic kit is Matchbox’ venerable He 115 B/C – a simple affair, but the He 115 is, to be honest, a simple aircraft, slender and big. In my case, it’s a Revell re-boxing, and the dark green styrene, in which it is moulded, turned out to be rather brittle, not making it a truly pleasant build (unlike the light grey styrene Revell frequently uses for the Matchbox re-issues, which is somewhat smoother).

As the only IP alternative there’s just the FROG mould (and, beware, it comes in a Revell re-boxing, too!), but I am not certain if it is anything good at all? The Matchbox kit appears to be a bit more modern, even though it is very, well, simple, and basically goes together well. But it needs attention at every seam, and the nose section is tricky to mount, too.

The model was built mostly OOB, but received some superficial mods and enhancements:

The BMW 801 engine transplants come from an Italeri Do 217 K-1, including the propellers and the engine mounts/adapters. The problem: the diameter of the 14-cylinder engines is markedly smaller than the original 9-cylinder radials, so that the “adapters” had to be used to bridge this difference. But even with this help, some serious sanding and PSR were necessary. Additionally, the BMW 801s are longer than the original engines, and the adapters push them forward even a little more. Thanks to the aircraft’s sheer size, this change of proportions is not too obvious.

The FDSL 131 barbettes were taken from an Italeri/Bilek Me 210 kit, which has been earmarked for a conversion (without them). In order to mount the weapon stations, holes were drilled into the He 115’s flanks and, internally, a construction to hold them in place, made from styrene strips, was added. The periscopic sights above and below the fuselage were scratched from round styrene strips. As a side effect, the original hole in the canopy for the manual machine gun was elegantly covered.

Under the nose, a fairing for the machine cannon was scratched – it consists of sections from an F-14 recce pod. The MK 103’s barrel was scratched from styrene, with an improvised muzzle brake. The manually operated MG 17 in the nose was replaced by a heavy MG 151/20.

The Hs 293 comes from a Revell He 177 A-6, together with its pylon. Just a small fairing (a modified 1:144 F-16 centerline drop tank) was added as a container for the wire spool. The drop tank on the other side is a find from the scrap box (IIRC, it belongs to an ART Model F8F Bearcat), modified with fins to (vaguely) resemble the Luftwaffe’s 900 l drop tanks for the Do 217 (which carried the Hs 293 in a similar fashion).

Under the floats I added scratched ice skids, a suitable upgrade for an aircraft operated in Norway and over the Northern Atlantic.

Inside of the cockpit, a few details were added like a floor for the bomb aimer figure, and some internal structures added (all scratched from cardboard, and styrene strips and bits), plus a rack for the bomb aimer from an Italeri He 111, IIRC. Not much effort was put into this area of the model, since the kit would have its canopies closed, and the many braces on the clear parts would preclude any good view, anyway.

Painting and markings:

Finally a good occasion to apply a scheme that some He 177 bombers, operated over the Atlantic, carried around 1944, consisting of a disruptive pattern of RLM02 greenish grey and (supposedly) dark green RLM 73, with hard edges and a low, hard waterline to light blue undersides.

However, based on the illustrations and a few real world He 177 color pics in that scheme, I rather changed the dark green tone to RLM 72, which is rather a dull, dark greyish olive drab than the bluish RLM 73. The undersides became Lichtblau, RLM 76 – another deliberate choice instead of the typical, brighter RLM 65 for sea-borne aircraft. The upper camouflage was taken around the wings’ leading edges and onto the floats.

The paints come from the different sources: for the RLM 02, I used Revell’s acrylic 45 (which is a tad more olive green and darker than RLM 02), the RLM 72 was approximated with Humbrol 66 (Olive Drab), which IMHO comes very close to the murky German tone. RLM 76 for the undersides comes from the ModelMaster Authentic line.

Due to the sheer size and the complex structure of the aircraft with its floats and the many struts, painting took some time. Everything was painted with brushes, freehanded, only for the waterline on the rear fuselage some tape was used.

After the basis scheme was settled and dry, the kit received a light black ink wash and some panel post-shading with lighter versions of the basic tones, including “pure” RLM 02 (Humbrol 240).

The markings/decals were puzzled together from the scrap box – on the upper surfaces, simplified white crosses with thin outlines were used, almost resulting in a low-viz livery, and the tactical code was created from single letters (TL Modellbau). The “angry penguin” emblem is not really correct, but I thought that it would be a suitable mascot for the aircraft and its theatre of operations.

After that the model received some weathering with dry-brushed light grey on the leading edges and walkway areas. Exhaust soot behind the engines was created with grinded graphite and also some dry-brushing with light grey, simulating burnt areas due to lean fuel mixtures. On the floats I also added a waterline – a frequent sign of wear on the He 115 when it would stay aground/afloat for some time, with a mix of greens and greys.

The interior became RLM 66 (Dark Grey, used Humbrol 67, which is supposed to be that tone), as a typical late-war color instead of the earlier RLM 02 in which the He 115 was originally delivered. Both Hs 293 and the drop tank were painted in RLM 65 (Humbrol 65), as a subtle color contrast to the otherwise rather subdued aircraft.

A relatively subtle conversion, of a rather overlooked (and actually pretty boring) aircraft. Looks more interesting now, I think, and everything that went into the conversion was picked from real life and mixed up for something new.

The longer, slender BMW 801 engines make the aircraft IMHO look more elegant and purposeful, and the barbettes, as well as the bigger guns in general, are a suitable upgrade, too. The Hs 293 might be a little over the top, but for a slightly futuristic Luft ‘46 touch it’s just the ticket – and from an ordnance load perspective it’s even plausible. And, finally, the special paint scheme (which is real, too) just underlines the modernization of the venerable aircraft type for the late 1944 era.

Metropolitan Police Ford Mondeo General Purpose Vehicle, near the former New Scotland Yard, Westminster.

__________________________________________________

Fowler Genral Purpose Engine (1911) Output 7 NHP

Engine Number 12761

Class AB

Type Single Cylinder

Name Elsa

Registration Number BH 8166 (Buckinghamshire)

John Fowler (Leeds) Album

www.flickr.com/photos/45676495@N05/albums/72157624297365454

Built by John Fowler and Co, Leeds. "Elsa"

Working a new mobile saw bench, based on a Canadian import

Diolch yn fawr am 66,942,676 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel

Thank you 66,942,676 amazing views, enjoy and stay safe

Shot 22.07.2018 at the Steam Fair, Barton Gate, Barton under Needwood, Staffordshire Ref 135-307

Just for posterity purposes, I thought to include this present day photo of this major intersection on Elvis Presley Blvd., again looking south, and really just a pulled back view of that Firestone bonus photo featured yesterday. The buildings on the left side of the road from this vantage point (a bank and a Walgreens), were not profiled either in 2012 or 2017, since they lacked much historical significance. In my childhood years, that left side had a row of buildings similar to those seen on the right, which pre-dated me by well more than a decade, if not a few decades!

With this shot, I was also trying to get a good view of that Elvis Presley Blvd. street sign hanging up beside the traffic light, but it's hard to read it unless you zoom pretty far in on the photo. (The inset photos shows one of the souvenir versions of the street sign that a family friend has on their house). As stated before (somewhere in the 2012 photo series, I think), the city of Memphis gave up decades ago on any street-level Elvis Presley Blvd. signs, since tourists (and "enterprising" thugs in the 'hood, and heck, locals form all walks of life really!) kept stealing them...

The Olympic Stadium (Khmer: ពហុកីឡាដ្ឋានជាតិអូឡាំពិក) is a multi-purpose stadium in Phnom Penh, Cambodia. It has a capacity of 50,000. Despite its name, the stadium has never hosted an Olympic Games.

Construction on the National Sports Complex started in 1963 and was completed in 1964. Designer Vann Molyvann made use of massive earthworks to create the stadium, digging up 500,000 cubic meters of earth to shape the grounds.

The stadium might have been built to host the 1963 Southeast Asian Peninsular Games, but the games were cancelled due to political problems in Cambodia. There was the short-lived GANEFO games, that were held in Phnom Penh, Cambodia in November 25~December 6, 1966 and were named 'First Asian GANEFO'. The stadium has played host to appearances by visiting dignitaries and state occasions, and has been the home of Cambodia's national athletics teams.

The stadium played a small and integral part in the 1966 FIFA World Cup, when North Korea faced Australia in qualification as the remaining two Asia/Oceania zone teams.

As North Korea lacked diplomatic relations with most countries and did not have a FIFA-standard venue at the time, and the Australian immigration laws in force meant the North Korean team would be unlikely to receive visas to enter the country, finding a suitable venue for the match proved difficult until Chief of State Norodom Sihanouk, an ally of Kim Il Sung, informed FIFA the matches could be held in Phnom Penh.

The matches attracted 60,000 and 55,000 fans, with Sihanouk decreeing half would cheer for Australia, while the other half would cheer for the North Koreans. The matches were held on 21 November 1965 and on 24 November 1965, with North Korea winning both (6–1 and 3–1): as all fifteen African teams had withdrawn in protest after FIFA declined to allocate them a direct place in the final tournament, the Final Round was scratched and North Korea also qualified for the World Cup, where they reached the quarter-finals.

Among the facilities are Olympic size swimming pools for swimming and diving and an indoor volleyball court with a capacity of up to 8,000, now known as the Olympic Stadium Indoor Arena. The diving boards and swimming pools were restored in 2017 after years of disuse, and are now enjoyed daily by the general public.

During the Khmer Rouge era, the stadium was used as an execution site where hundreds of the Khmer Republic’s officials, formerly led by Lon Nol, were killed.

In the decades following the Khmer Rouge era, the stadium facilities fell into disrepair. In 2000, the stadium complex was redeveloped by a Taiwanese firm, the Yuanta Group, which refurbished the stadium and also redeveloped parcels of the complex into condominiums and commercial properties.

The stadium has come to be a popular attraction for Phnom Penh residents, who attend daily exercise sessions, as well as football games and other activities.

In May 2007, the Irish singer Ronan Keating performed in concert in the stadium's Indoor Arena, the first concert by a major international act in Cambodia.

In November–December 2007, the World Organization Volleyball for Disabled held its World Cup in the stadium's Indoor Arena, the first major international sporting event in Cambodia in more than 40 years. Cambodia, seeded fourth in the world, finished third.

In 2010, the stadium hosted all the football matches for the Cambodian Premier League, known for sponsorship purposes as the Metfone C-League.

In 2015, the stadium's grass pitch was replaced with artificial turf.

The 2023 Southeast Asian Games will not be held at the Olympic Stadium, but at Morodok Techo National Stadium. Although not host as a main venue, but it hosted the Men's football tournament and Women's football finals.

During the COVID-19 pandemic in Cambodia, the stadium was used as a temporary testing facility and later used as an overflow hospital.

In 2023, the stadium's capacity was decreased to 30,000 via installation of additional 25,000 individual seats to ensure compliance with the FIFA's and AFC's regulations.

-------------------------------------------------------------------------

Vann Molyvann (Khmer: វណ្ណ ម៉ូលីវណ្ណ; 23 November 1926 – 28 September 2017) was a Cambodian architect and urban planner. Molyvann is best known as pioneering the style known as New Khmer Architecture, which combined modernism and Khmer tradition, and accounted for the country's unique environment and irrigation needs.

During Cambodia's post-independence period between 1957 and 1970, Molyvann was appointed by Norodom Sihanouk to reshape and modernise Cambodia through the construction of new towns, infrastructure and architecture. He is credited with modernising the nation's capital Phnom Penh and designing several iconic landmarks, including the Independence Monument, Chaktomuk Conference Hall and Olympic Stadium. During the Cambodian Civil War and Pol Pot regime, he lived in exile in Switzerland, returning to Cambodia in 1991. He was appointed head of APSARA, in charge of conserving the temples of Angkor, until his dismissal in 2001 following disputes with the government. In contemporary Cambodia, many of his buildings and city plans fell into neglect or were demolished by unplanned development. He died in 2017 at age 90.

© This photograph is a copyrighted image. Please do not download this image to use or distribute for any other purpose without my expressed consent.

Use without permission is ILLEGAL.

Greater Manchester Police has praised the behaviour of visitors to Manchester during a weekend of sport in the city.

On Friday 20 May 2016, the Great City Games saw a number of athletes compete in various events on a purpose-built athletics arena in Albert Square and track on Deansgate.

The following day (21 May 2016) saw Manchester United beat Crystal Palace 2-1 to win the FA Cup at Wembley Stadium, with a number of fans watching the match in public venues throughout Greater Manchester.

The weekend extravaganza concluded on Sunday 22 May 2016 with over 30,000 lining up to take part in the Great Manchester Run before England defeated Turkey 2-1 at the Etihad Stadium in a UEFA Euro 2016 warm-up match in the evening.

The events saw tens of thousands of visitors to the city centre, creating a buzzing and carnival-like atmosphere.

Assistant Chief Constable John O’Hare said: “This has been a fantastic weekend for Manchester and the atmosphere in the city has been superb from start to finish.

“It was great to see so many pictures of smiling faces and people having a good time and I hope everyone who has visited the city this weekend will be going away with some great memories.

“I would like to thank everyone who has played a key role in ensuring that the weekend has been successful.”

For more information about Policing in Greater Manchester please visit www.gmp.police.uk

To report crime call police on 101 the national non-emergency number.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

bad münster am stein-ebernburg (rhineland-palatinate, germany)

- - - Please note that ALL of my images are "All Rights Reserved" and are posted for educational purposes only. Please do the right thing and contact me in advance if you wish to discuss the use or reuse of my images and provide a link to my originals. I would also ask that I be given a "first look" at any 7Up UnCola billboards or posters before you market them to the general public in return for my extensive investment in time, money and research, including interviewing some of the surviving artists. Thanks, and enjoy. - - -

Search "7Up UnCola Billboards" on eBay or Flickr.com if you'd like to learn more about this stunning body of work or acquire originals that might be duplicates to me. I keep the best and sell the rest.

Partial billboard, combined with a close-up thumbnail image on the right from a small American Contemporary Graphics Booklet produced in late 1970 or early 1971 for a traveling exhibition.

www.flickr.com/photos/30559980@N07/8387105130/in/album-72...

Only (4) of the (12) 43" wide x 59" tall panels are present. The rest were separated away in 1969 when the seller boldly asked a sign company for whatever they would give him. They just handed him 3 1/3 billboards for free including: "Uncanny In Cans" by John Alcorn (see listing on eBay), Un & Un Is Too" by Kim Whitesides, "Visit Un-derland" by Whitesides and the top left corner of this really trippy "Turn Un" by Pat Dypold.

At least the 4 panels are in perfect New Old Stock (NOS) condition.

This was the very 5th 21'x10' billboard design issued in 1969 to introduce the hugely successful "The UnCola" ad campaign to America. The rainlap diagram on the back of the top left panel A1 lists this as [Design] DES 69-5, C-2692. Pat Dypold illustrated the bulk of the 53+ 7Up UnCola billboard images issued between 1969 and the mid-1970's. Her signature is in the bottom right, next to the rim of the glass. At least 1 copy each of roughly half of those original billboards have been gathered into my collection and saved from destruction or the trash heap, usually one at a time.

The first 5 of 53 billboards were:

DES 69-1, C-2589, "# Un In The Sun" Pat Dypold (bikini girl)

DES 69-2, C-2587, "Butterfly & Bottle", Pat Dypold

DES 69-3, C-2588, "Un & Un Is Too", Kim Whitesides (guitars)

DES 69-4, C-2691, "Visit Un-Derland", Kim Whitesides (dancer)

DES 69-5, C-2692, "Turn Un", Pat Dypold, (melting face)

It was 1969 and 7Up wanted to appeal to the youth market. What else can I say... The UnCola adaptation of the popular phrase at the time "Turn On" did NOT refer to flipping light switches on during that era. Look it up if you need further explanation. The original phrase at the time was "Turn On, Tune In, Drop Out" by psychedelic LSD guru Timothy Leary.

www.flickr.com/photos/jimedblanchard/4774204283/in/photol...

I think there might have been something else mixed in with the liquid in the glass. Just imagine seeing this giant billboard actually looming over your local schoolyard back then. No advertiser would even consider doing anything so absolutely BOLD today.

This is #23 in my series of restored (if needed) and posted 7Up UnCola billboards to date. See more of the series in this album:

www.flickr.com/photos/30559980@N07/albums/72157632169912289

Contact me if you have a serious interest in acquiring any of my dozen or so duplicate billboards. I'm also interested in trades that will complete my collection.

Will also consider a legitimate gallery showings if you have a space large enough to hold up to 2 dozen billboards at 21'x10' each.

My prices would be FAR more reasonable and come with in-depth accurate research compared to my $15,000 (linen backed) & $12,500 competition:

www.1stdibs.com/furniture/wall-decorations/wallpaper/1969...] - - - ! ! !

www.20thdesign.com/itemdetails.php?id=1834992

Vintage duplicate original Billboards and Posters for sale:

www.flickr.com/photos/30559980@N07/albums/72157658672736088

Here's a Duke University archive photo of another early 1970's 7Up billboard in Phoenix using a tamer version of "Turn Un":

plus.google.com/+Bradhallart/posts/b72V4JEpSks

Just some words to help keep the faith and inspire you guys, much <3

Find me on twitter

twitter.com/Bosslogic

Facebook

www.facebook.com/pages/BossLogic-Inc/150694751922

+++ DISCLAIMER +++

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

Some background:

The Soviet Laboratory of High-Speed Automobiles (LSA ChADI, today the Chardiv National Automobile and Highway University) was founded in 1953. One of the laboratory’s founders was Vladimir Nikitin, a famous racer not only inside the Soviet Union but also around the world. The main purpose of Vladimir Nikitin’s of was to build the fastest car in the world. This idea of creating race cars became the purpose of the laboratory and has been continued by students of Nikitin throughout the years, with research and prototypes in various fields of car propulsion.

This time the goal was to push „скорость“ and the national land speed record in excess of 800 km/h (500 mph), and step by step the vehicle’s top speed was gradually increased. On August 15, an officially timed record attempt was made, again with Victor Barchenkov at the steering wheel. The first of the two obligatory runs within an hour was recorded at a very promising 846.961 km/h (526.277 mph), but, at the end of the second run, „скорость“ veered off and no time was measured. Even worse, the vehicle lost its parachute brakes and went out of control, skidding away from the dry race track into Lake Baskunchak’s wet salt sludge, where it hit a ground wave at around 200 mph (320 km/h) and was catapulted through the air into a brine pond where it landed on its right side and eventually sank. Again, pilot Victor Barchenkov remained mostly unharmed and was able to leave the car before it sank – but this fatal crash meant the end of the „скорость“ vehicle and the complete KhAGI 9-II project. Furthermore, the break-up of the Soviet Union at the same time prevented and further developments of high speed vehicles. The whereabouts of the „скорость“ wreck remain unclear, too, since no official attempt had been made to save the vehicle’s remains from Lake Baskunchak’s salt swamps.

The kit and its assembly:

This is another contribution to the late 2018 “Racing & Competition Group Build” at whatifmodelers.com. Since I primarily build aircraft in 1:72 scale, building a land speed record (LSR) vehicle from such a basis appeared like a natural choice. A slick streamliner? A rocket-powered prototype with Mach 1 potential? Hmmm… However, I wanted something else than the typical US or British Bonneville Salt Flats contender.

Inspiration struck when I remembered the real world high speed vehicle projects of LSA ChAGI in the former USSR, and especially the ill-fated, jet-powered ChADI 9, which looked a lot like Western, rocket-powered absolute LSR designs like The Blue Flame or Wingfoot Express 2. Another inspiration was a contemporary LSR vehicle called North American Eagle – basically a wingless F-104 Starfighter, put on wheels and sporting a garish, patriotic livery.

With this conceptual basis, the MiG-21 was quickly identified as the potential starting basis – but I wanted more than just a Fishbed sans wings and with some bigger wheels attached to it. I nevertheless wanted to retain the basic shape of the aircraft, but change the rest as good as possible with details that I have learned from reading about historic LSR vehicles (a very good source are the books by German author and LSR enthusiast Ferdinand C. W. Käsmann, which have, AFAIK, even been translated into English).

At the model’s core is a contemporary KP MiG-21MF, but it’s a hideous incarnation of the venerable Kovozávody Prostějov mold. While the wheels and the dashboard of this kit were surprisingly crisp, the fuselage halves did hardly match each other and some other parts like the landing gear covers could only be described as “blurred blobs”. Therefore it was no shame to slice the kit up, and the resulting kitbash with many donor parts and scratching almost became a necessity.

The MiG-21 fuselage and cockpit were more or less retained, the landing gear wells covered and PSR-ed. Fin, spine and the ventral stabilizer were cut away, and the attachment points for the wings and the horizontal stabilizers blended into the rest of the fuselage. Actually, only a few parts from the KP MiG-21 were eventually used.

The original shock cone in the air intake was used, but it was set further back into the nose opening – as an attachment point for a new, more organic shock cone which is actually the rear end of a drop tank from an Airfix 1:72 P-61 Black Widow. This detail was inspired by a real world benchmark: Art Arfons’ home-built “Green Monster” LSR car. This vehicle also inspired the highly modified air intake shape, which was scratched from the tail cone from a Matchbox 1:72 Blackburn Buccaneer – the diameter matched well with the MiG-21’s nose! With the new nose, I was able to retain the original MiG-21 layout, yet the shape and the extension forward changed the overall look enough to make it clear that this was not simply a MiG-21 on wheels.

With the spine gone, I also had to integrate a different, much smaller canopy, which came from an 1:144 Tornado. The cockpit opening had to be narrowed accordingly, and behind the canopy a new spine fairing was integrated – simply a piece from a streamlined 1:72 1.000 lb bomb plus lots of PSR.

Inside of the cockpit, a simpler seat was used, but the original cockpit tub and the dashboard were retained.

The large MiG-21 fin was replaced with a smaller piece, left over from an Amodel Kh-20 missile, with a scratched brake parachute fairing (cut from sprue material) placed under its rear. The exhaust nozzle was replaced, too, because the fit of the KP MiG-21’s rear end was abysmal. So I cut away a short piece and added an afterburner nozzle from a vintage 1:72 F-100, which fits well. Inside, the part’s rear wall was drilled open and extended inwards with a styrene tube.

The wheels of the vehicle come from an 1:72 Hasegawa “Panther with Schmalturm” tank kit – it comes not only with two turrets, but also with a second set of simplified track wheels. These had IMHO the perfect size and shape as massive aluminum wheels for the high speed vehicle.

For the front wheels, I used the thinner outer Panther wheels, and they were put, closely together, onto a central suspension pylon. This received a new “well” in the forward fuselage, with an internal attachment point. In order to streamline the front wheel installation (and also to change the overall look of the vehicle away from the MiG-21 basis), I added a scratched an aerodynamic fairing around it. This was made from tailored styrene strips, which were later filled and blended into the hull with putty.

The rear suspension was also fully scratched: the outriggers were made from styrene profiles while the wheel attachments were once part of an 1:35 tank kit suspension – I needed something to hold the three struts per side together. These parts look a bit large, but the vehicle is, after all, a Soviet design, so a little sturdiness may not be wrong, and I simply did not want to stick the wheels directly onto the outriggers. The rear wheels (in this case, the wider inner Panther track wheels with a central hub cover were used) also received a stabilizing notch around the contact surface, in an attempt to make them look slimmer than they actually are.

Final touches included the chines under the nose as well as spoilers on the rear suspension (both made from styrene profiles), and I added a pitot made from wire to the original MiG-21 angle of attack sensor fairing.

As an addition outside the model itself I also created a display base for the beauty pics, since I did not have anything at hand that would resemble the vastness of a flat and dry salt sea. The base is an 18x12” MDF board, on top of which I added a thin coat of white tile grout (which I normally use as a snow placebo, instead of plaster, which tends to absorb humidity over time and to become yellow). While the stuff was still wet I sprinkled some real salt onto the surface and wetted the whole affair with water sprays – hoping to create a flat yet structured surface with some glitter reflexes. And it actually worked!

Painting and markings:

I am not certain how ChADI 9 was painted (I assume overall silver), but I wanted for „скорость“ a little more color. Being a child of the Soviet era, red was a settled design element, but I thought that an all-red vehicle might have looked too cheesy. Other colors I considered were orange or white with blue trim, but did not find them to be appropriate for what I was looking. Eventually, I added some Russian Utilitarianism in the form of light grey for the upper hull (Humbrol 166, RAF Light Aircraft Grey), and the red (Humbrol 19) as a dark contrast around the complete air intake as well as the shock cone (somewhat inspired by the Green Monster #15 LSR vehicle), and then extended backwards into a narrowing cheatline along the flanks, which emphasizes the vehicle’s slender hull. For some more contrast between the two basic tones I later added thin white borders between them created with 2mm white decal stripes from TL Modellbau. Around the hull some bright red (Humbrol 238 Red Arrows Red) highlights as warning signs were added.

The vehicle’s afterburner section was painted with Modelmaster Steel Metallizer, the Panther wheels became Aluminum (Revell 99) with a black ink wash. Some black ink was also applied to the jet nozzle, so that the details became more pronounced, and some grinded graphite was used to enhance the burnt metal effect.

Since this would rather be an experimental car built and operated by a high school institute, and also operated in the Soviet Union, flashy sponsor markings would not be appropriate. Therefore I created some fictional marking at home with the help of PC software and printed them by myself. These designs included a fictional logo of the ChADI institute itself (created from a car silhouette drawing) and a logo for the vehicle’s title, “„скорость““. The latter was created from the cyrillic lettering, with some additions like the vehicle’s silhouette.

Unfortunately the production process for the home-made decals did not work properly – when coating the prints with gloss acrylic varnish the printer ink started to dissolve, bleeding magenta, so that the decals would look as if there was a red halo or glow around the otherwise black motifs. Thanks to the use of red in the vehicle’s overall design this flaw is not too apparent, so I stuck with the outcome and applied the decals to the car.

Beyond these basic markings, many stencils were added, including dull red inscriptions from an Italeri MiG-37 “Ferret” kit – finally, I found an expedient use for them! The Soviet flags on the fin came from an 1:144 Tu-144 airliner Braz Decal aftermarket sheet.

Finally, some panel lines were drawn onto the hull with a soft pencil and then the model was sealed with Italeri semi-gloss acrylic varnish. Just the black anti-glare panel in front of the windscreen became matt and the metallic rear section was left in “natural” finish.

I am very pleased with the outcome – the „скорость“ looks purposeful and does IMHO blend well into the line of spectacular USA and UK jet/rocket car designs that broke the 800 km/h barrier. I also find that, even though the MiG-21 ancestry is certainly there, the vehicle looks different enough so that the illusion that it was designed along the jet fighter’s lines (and not converted from one, like the real world “North American Eagle” which was built from an F-104 Starfighter) works well. I also think that the vehicle’s livery works well – it looks quite retro for a vehicle from the late Eighties, but that just adds to the “Soviet style”. An interesting project, outside of my normal comfort zone. :D

Yes, I've been jumping all over the place as far as subjects lately. I have a hard time going outside to take photos in our area during the summer in the sweltering heat when all we see in one color of green, green grass, green trees, green fields, all the same color. So, I drift though my bazillions of photos looking for things of interest.

This image contains several of my interests, iron, rivets, rust, decay, abandoned things, and railroad related. The ancient railroad tank cars were long ago re-purposed for use at an asphalt plant that is now abandoned.

NORTH PURPOSE

Supply Vessel

IMO: 9439462

MMSI: 257491000

Call Sign: LNHS

Flag: Norway [NO]

AIS Vessel Type: Cargo

Gross Tonnage: 3639

Deadweight: 4800 t

Length Overall x Breadth Extreme: 86.8m × 19.04m

Year Built: 2010

The purpose of copyright registration is to place on record a verifiable account of the date and content of the work in question, so that in the event of a legal claim, or case of infringement or plagiarism, the copyright owner can produce a copy of the work from an official government source. Know more on #licit Visit the biggest online legal services platform www.licit.ooo or can download the app goo.gl/L8GeYk

WALNEY LIGHTHOUSE WAS BUILT IN 1790, AND POSITIONED AT HAWS POINT ON THE ISLAND. ITS PURPOSE WAS TO IMPROVE THE NAVIGATION OF THE RIVER LUNE AND ACT AS A GUIDE FOR CARGO SHIPS FROM THE WEST INDIES BOUND FOR THE GLASSON DOCKS. THE LIGHTHOUSE WAS NOT BUILT TO BENEFIT BARROW, AS IT WAS ONLY A SMALL FISHING COMMUNITY AT THIS TIME.

THE LIGHTHOUSE WAS BUILT OF STONE QUARRIED FROM OVERTON IN LANCASHIRE AND TRANSPORTED TO THE SITE BY SHIP. THE OCTAGONAL TOWER IS 70 FEET HIGH AND RESTS ON A CIRCULAR FOUNDATION 20 FEET 6 INCHES IN DIAMETER. THERE ARE 91 STEPS UP TO THE TOP OF THE LIGHTHOUSE. THE ORIGINAL LIGHT WAS AN ARGENT BURNER, A TYPE OF PARAFFIN LAMP.

IN 1909 AN ACETYLENE GASLIGHT SYSTEM WAS INSTALLED WHICH FLASHED AT ONE MINUTE INTERVALS. IN 1953 THIS WAS REPLACED WITH AN ELECTRIC LIGHT WHICH FLASHES AT 15 SECOND INTERVALS. THE NEW LIGHT IS 30 TIMES MORE POWERFUL (450,000 CANDLE POWER) AND HAS A RANGE OF 18 MILES COMPARED TO 13 MILES OF ITS GAS PREDECESSOR. THE ELECTRIC LIGHT WAS FIRST POWERED BY ITS OWN GENERATOR, NOT BEING CONNECTED TO THE NATIONAL GRID UNTIL 1969. THIS GUIDING LIGHT CAN EVEN BE SEEN FROM BLACKPOOL.

ATTACHED TO THE LIGHTHOUSE ARE TWO HOUSES IN WHICH THE KEEPER AND STAFF LIVE. THESE HOUSES WERE ORIGINALLY ONE HOUSE, WHICH WAS BUILT FOR THE FIRST FULL-TIME KEEPER. THE HOUSE WAS DIVIDED INTO TWO IN THE LATE 19TH CENTURY. AT THIS TIME THE LIGHTHOUSE’S ONLY WATER SOURCE CAME FROM THE RAIN AND THE ONLY LIGHTING CAME FROM CANDLES.

DURING THE SECOND WORLD WAR, THE HOUSE WAS USED AS AN OFFICERS' MESS WHEN 170 SOLDIERS WERE ENCAMPED AT THE LIGHTHOUSE AS PART OF THE COASTAL DEFENCE NETWORK. IN 1946 14 PRISONERS OF WAR WERE MOVED INTO THE CAMP. THEY DID ODD JOBS AROUND THE LIGHTHOUSE IN RETURN FOR CIGARETTES AND FOOD. THE REMAINS OF THE BARRACKS ARE STILL VISIBLE.

TODAY THE LIGHTHOUSE IS RUN BY THE PORT OF LANCASTER COMMISSIONERS AND CONTAINS A RADIO BEACON FOR TRINITY HOUSE, FORMING A MAJOR LINK IN THE BRITISH COASTGUARD SYSTEM. ALTHOUGH THE LIGHTHOUSE IS NO LONGER OPEN TO THE PUBLIC, IT CAN BE VIEWED FROM THE OUTSIDE.

Hong Kong Transport - Trucks

The Hong Kong Truck Culture

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

*Vans are classified as Light Goods Vehicles and are not shown in this album

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

Isuzu is the market leader in terms of sale volume for all types of trucks.

(Source - The Transport Department, Hong Kong Government)

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

✚ www.j3consultantshongkong.com/j3c-blog

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Tumblr | Instagram | Flickr | Portfolio

Facebook.com/michmutters

--

Hong Kong 2013

Procamera

Snapseed

EyeEm Steph filter

The ten purpose built fishing lodges at Mill Beach on the River Blackwater Estuary near Heybridge Basin in the County of Essex (UK).

The River Blackwater Estuary area is a beautiful part of the world just ten miles or so from my home.

www.flickr.com/photos/stuart166axe/tags/millbeach/

www.flickr.com/photos/stuart166axe/tags/fishinglodges/

My Maldon, Dengie and the River Blackwater Estuary album flic.kr/s/aHsk7cnJ7a

Photograph taken by and copyright of my regular photostream contributor David and is posted here with very kind permission.

do not use for advertising purposes( all rights belong to Yi Cheng Yang)

Hong Kong Transport - Trucks

The Hong Kong Truck Culture

The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.

*Vans are classified as Light Goods Vehicles and are not shown in this album

In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below

☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.

☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.

☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.

The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.

The following brands of Trucks can be seen on the streets of Hong Kong and include:-

Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion

Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.

Isuzu is the market leader in terms of sale volume for all types of trucks.

(Source - The Transport Department, Hong Kong Government)

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below

✚ www.j3consultantshongkong.com/j3c-blog

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

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Taken for 52 Weeks of PIx, challenge: something hanging.

I went for a walk around my lunch hour, looking for something hanging-- founds lots of things. Came upon this cute bird bath. Slightly underexposed it on purpose, so that I did not blow out all the bright in the sky. Then brought the exposure up, the shadows up, the highlights up a pinch, then more increasing the exposure. But once I uploaded to Flickr it was too bright, so I darkened it just a bit for Flickr.

I liked how the live oak branches of the tree frame the birdbath. Live oaks are lovely trees-- and the sky was so bright with fluffly clouds.

Taken 3/10/10, Uploaded 3/11/10, #2053, slight enhancement and crop, slight TDetail adjustments, orginal in first comment below

If you wish, view "my own favorites" of my photostream, or view all of my Photostream, sorted by Interestingness: fiveprime.org/flickr_hvmnd.cgi?search_domain=User&tex...

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Some background:

The Type-R13EX Phantom was an experimental unmanned labor developed by Schaft Enterprises’ Planning Section 7. The exact purpose of the labor remains unclear, it might only have been a singular prototype for innovative weapon and A.I. technology, so that it is most possible that the type or its systems were primarily intended for military service, even though the Type-R13EX as such was not adopted for serial production. Its silhouette is reminiscent of the military Brocken labor, which could mean that the Phantom's body was based on the Type 7B/2B. However, the difference lies in mobility, since the Phantom was slower due to having thick armor and carrying on his torso the complex mechanism necessary to carry out his attacks.

However, just a few months later, the Phantom appeared once more at a Japan Ground Self-Defense Force (JGSDF) training ground at Oshima, where it engaged a number of light military labors in combat. The JGSDF labors were unable to repel the Phantom, and Patlabor units that arrived on scene shortly after were barely able to fend it off. This was the final appearance and known deployment of the Phantom before the debut of the Griffon.

The kit and its assembly:

It has been a while that I built a humanoid mecha, and the mysterious Phantom labor (or better: robot) from the Patlabor anime TV series was still missing in my collection. I have already built this kit, even though as a heavily modified fictional German police labor.

The kit was built almost OOB – it is a rather simple mecha/action figure kit which can probably built without using any glue. As such, the detail level is not very high, but the Phantom Labor is a rather sleek design with a very organic and clean shape. Therefore, I just added some bits and pieces to the “interior”, in the opening under the head/face and around the removable EMP generator block in the torso, which can be plugged between the hips and the torso to depict the “open” body. Most details were made from styrene profile, but I also used sprue material, paper tissue dipped in white glue, soft iron wire and plastic-coated steel wire to create the hydraulic pistons under the chin (which can hardly be seen, though, just from certain angles).

Another option is to display the heat exchanger arrangement on the Phantom’s back in open and closed position – the open module is well detailed. However, I made a mistake when I assembled the latter, because I did not read the instructions properly (which could be better drawn, some illustrations, e .g,. the assembly of the upper arms, leave you guessing). The kit's designers want you to fix the "reactor" part to the back of the mecha, and then you can alternatively put the closed heat exchanger onto/over it, or mount the three opened covers to it. I found this construction weird and intuitively glued the reactor piece to the open covers, only to find out later that the closed cover section needs the recator piece underneth to hold onto the Phantom's back and cover some gaps. Luckily I had the reactor piece left over from my first Phantom Labor build, thanks to the thorough conversion I did with it, so that I had a suitable donor part to mend the mistake. Phew... O.o'

A unique (if not odd?) design feature of Bandai’s Patlabor IP models are the silicone sleeves over an endoskeleton for arms and legs. When you follow the instructions, they are easy to mount, though, just be careful when you want to paint them: only acrylic paint is recommended, since any solvent-based paint might react with the silicone. I have also heard of many builders having problems over time with the silicone, but – with some of these kits that I have built now 20 or more years on display – I never had any issues of problems?

However, on this specific kit (bought as “used” but still NIB; not certain about its production date or age, but I assume it's from the initial 1990 run and not a re-issue from 2014 or later) I found the sleeves to be disturbingly thin and their inside surfaces stuck together. "Opening" them was a tedious and delicate task, even though the silicone/rubber material was still intact and not melded together. The parts were still sealed in their plastic bags, but a single IP sprue (the light purple material) was quite brittle (while the others were fine), too. I can only guess that the kit had been poorly stored before I bought it, probably in an attic where it was exposed to excessive summer heat that vaporized and extracted some of the plastic/silicone softeners?

The kit goes together easily and can be assembled as a snap-fit kit without glue, even though the silicone sleeves require some manual skill to trim them properly. However, apparently design with robustness in mind the extremities’ fit is not too good and requires PSR on every seam for a proper finish. Another problem: the shoulder sections with the additional guards are designed in a matryoshka fashion, with three flexible layers of parts over each other, so that you have to finish each layer individually (PSR and paint) before you can add the next. On the other side you can assemble, paint and finish many segments of the model separately, to be completed as final step.

Painting and markings:

I stuck to the mecha’s appearance in the TV series, which features quite dark colors and yellow highlights around the hull. The basic color appears to be a little controversial, as it is described as “cobalt blue”, but on TV the color rather reminds of a purple tone, and the kit is molded in a similarly colored plastic. Maybe (as often) a translation issue?

Another problem: there are no clear painting instructions - you have to refer to the box art illustration (which only shows the front of the mecha in dubious light conditions) and pictures of the finished model on the box' sides, but these are very small and are not truly helpful. The instructions themselves are disappointing, too: the product designers decided to use a poster format, which shows the box art on one side (looks cool, but it's not helpful!) and only a tiny b/w picture of the model with vague color indications. This leaves the builder guessing about many painting details. You can find some screenshots of the Phantom Labor online, or you can try to find videos of the TV series' episodes where it appears, but in the end there's a lot to be guesstimated or made up.

To keep the Phantom mysterious and give it a less comic-esque look I decided to stay true to its impression on TV but add effects like weathering and post-shading – similar to my Dorvack PA models.

For the purplish basic color I used a rather exotic tone: Humbrol’s vintage “HJ4” from the brand’s long-gone Authentic range, the infamous and highly dubious WWII “Mauve N.9” (a.k.a. “IJN Purple”) that some A6M2-Ns were supposed to have carried. This is a kind of purple, but a rather greyish and dull tone that looks more like a military/camouflage tone than decorative/flashy. The mauve tone is less bluish than the Phantom's “authentic” tone on TV, but it looks fine to me and offers enough contrast to the darker sections, which were painted in Humbrol 112 (Tarmac, also sold as Field Blue?), which is a very dark blue-grey, very similar to FS 35042 (USN Dark Sea Blue) but less greenish. The color of some areas, like the "hood" behind the head unit, had to be guessed, and I outlines some surface details on the back with black to add contrasts.

The skull-like head unit was painted in a very light grey instead of pure white, to avoid too much contrast to the rest of the mecha. The silicone sleeves were treated with thinned grey and black artist acrylic paint with very fine pigments to avoid long-term chemical reactions with the softener in the rubber material.

The technical innards, the reactor on the back and the EMP generator in the torso, were painted in a bare metallic finish. I used Humbrol 56 as basis and then layered some washings with black ink and thinned black acrylic paint over it, plus dry-brushing with brighter aluminum and rubbing the parts with graphite, which adds a dark metallic shine and a more natural look.

The lenses on the head and in the torso were laid out with silver and then "filled" with clear acrylic paints in various shades.

The parts also received a black ink washing to emphasize edges and engravings, as well as dry-brushing/post-shading with lightened/dulled-down basic tones to make the model looks less toyish, and the give the Phantom Labor a slightly worn look. Unfortunately, the kit only comes with stickers instead of decals, but since these comprise onyl some small Schaft Enterprises logos and black inserts for louvres on arms and legs, which I had painted, anyway, so that I left the model without markings. Finally, all parts (except for the silicone sleeves) received a coat with matt acrylic varnish, and the model as finally assembled/completed.

It took a long time that I eventuelly tackled and finished the Phantom Labor kit to complete my collection of Patlabor mecha - only the Type Zero police prototype is still missing and a respective kit already waiting in the The Stash. Thanks to me experience with a former build of this kit, I knew what I had to expect, even though the mistake with the optional parts for the heat exchanger on the back bugs me, but I am happy that I had a spare part to save the situation. The dubious IJN purple tone turned out to be lighter than expected, esp. when you see screenshots of the "real" Phantom Labor in direct comparison, but on the other side the color does not look bad or wrong - the overall impression is IMHO O.K., and the bigger contrast to the dark blue-grey sections on the body make the model look more interesting than the orginal all-murky livery.

East Lancs bodied Dennis Dominator 632 seen in Liverpool city centre bound for Chester on the X8. These dual purpose seated buses wore the coach version of North Western livery, which sat a little better than the blue and red diagonal scheme.

Photographed many times, here is my contribution. Commemorative roundel installed in the concourse at Piccadilly Circus tube station in November 2016, seventy five years after the death of Frank Pick, the London Passenger Transport Board's Chief Executive and Vice Chairman from 1933 to 1940. The roundel is part of a tribute entitled "Beauty > Immortality".

I first encountered the expression 'fit for purpose' in some papers pertaining to Frank Pick's vision for London Transport's identity and style, to me the very definition of the term which has become a little overused in recent years (IMO).

Neil F.

Ship Type: Multi purpose offshore vessel

Year Built: 2010

Length x Breadth: 73 m X 16 m

Gross Tonnage: 2177, DeadWeight: 3250 t

Speed recorded (Max / Average): 6.3 / 6.1 knots

Flag: Hongkong [HK]

Call Sign: VRIU6

IMO: 9444364, MMSI: 477095400

The purpose of the test was to determine the impact force, versus time, due to the impact, of a complete F-4 Phantom -- including both engines -- onto a massive, essentially rigid reinforced concrete target (3.66 meters thick). Previous tests used F-4 engines at similar speeds. The test was not intended to demonstrate the performance (survivability) of any particular type of concrete structure to aircraft impact. The impact occurred at the nominal velocity of 215 meters per second (about 480 mph). The mass of the jet fuel was simulated by water; the effects of fire following such a collision was not a part of the test. The test established that the major impact force was from the engines. The test was performed by Sandia National Laboratories under terms of a contract with the Muto Institute of Structural Mechanics, Inc., of Tokyo.

The Soosan is the first purpose-built Viper designed specifically for cats in the galaxy! It's fast, nimble, and always lands right-side-up, just like its pilot.

From signage in the church:

Between 1764 and 1781 the church was fitted with an ensemble of late Baroque fixtures: the pulpit, confessionals, pews and eleven altars. The ensemble displayed stylistic harmony, as well as a singleness of purpose-drawing attention to the main altar.

[The main altar] now contains the Crucifix that had previously hung above the altar of the Holy Cross. The cross was known to bestow special grace, and it was at this time that the fresco depicting this Crucifix was painted on the façade of the church. The identity of the person who designed the new interior furnishings is not now known. The interior was executed by several joiners (Giotto, Holtzas, Valteris and others are mentioned). Paintings for the altars were done by . . . a person with the surname Motiejus.

Between 1764 and 1768 Mikaloju Jansonas, a renowned organ builder of the day, restored the church organ and moved it from the side nave to a platform constructed at the back of the presbytery (choir). (At the end of the 19th century the organ was reconstructed once again and moved to the old balcony of the Bernardines.)

From the middle of the 18th century until the end of the 20th century the architecture and furnishings of the church remained largely unchanged. When the church was closed during the Soviet years, the painting over the altar, the liturgical vessels and other fixtures were scattered among museum collections or given to other churches.

The altar ensemble, which was disassembled for reconstruction has only been partially restored. In response to present-day liturgical requirements, a new altar created by Rimas Skakalauakas was constructed in 1998 and placed in the central nave of the church. The altar echoes the lines and shapes of the old Gothic belfry.

=====================

The Church of St. Francis and St. Bernard (also known as Bernardine Church) is a Roman Catholic church in the Old Town of Vilnius, Lithuania. It is located next to St. Anne's Church. Dedicated to Saints Francis of Assisi and Bernardino of Siena, it is an important example of Gothic architecture in Lithuania.[1]

History

After their arrival in Vilnius, Bernardine monks built a wooden church in the second half of the 15th century, and at the end of the same century - a brick one. In the early 16th century it was reconstructed, apparently with the participation of a master from Gdansk (Danzig) Michael Enkinger.

In the beginning of the 16th century the church was incorporated into the construction of Vilnius defensive wall, so there are shooting openings in its walls.

Afterwards it was renewed many times, particularly after the 1655-61 war with Moscow, when the Cossacks ravaged the church killing the monks and citizens who had taken shelter there.

In the times of the Soviet occupation it was closed down and handed over to the Art institute.

In 1994, the brethren of St. Francis returned to the church. According to the legend, the Bernardine monks used to tell such good sermons that crowds would come to listen. That is why the church is so large.

Architecture

Church and Monastery are some of the largest sacral buildings in Vilnius, although in the 17th and 18th centuries they acquired the Renaissance and Baroque features. Being much larger and more archaic than the St. Anne's Church, it forms and interesting and unique ensemble with the latter. Gothic pointed-arch windows and buttresses stand out on the façade.

Above them rises a pediment with twin octagonal towers on the sides and a fresco depicting the Crucifix in the middle niche. A Gothic presbytery is the oldest part of the church. Eight high pillars divide the church interior into 3 naves. There are many valuable 16th-century wall paintings in Bernardine church and the oldest known artistic Lithuanian crucifix sculpture from the 15th century. [2]

The walls of the naves are decorated with Gothic polychrome frescoes, partly uncovered in 1981 - dynamic, colourful figural compositions on biblical and hagiographic themes, with occasional inscriptions in Gothic characters, floral ornaments, heraldic insignia etc. These mural paintings date from the early 16th century and are considered unique in the world: their composition and type of presentation of the subject matter belongs to Renaissance, and the stylistics - to the Gothic style. [3]

The Bernardine monastery north of the church, built simultaneously with the church, was renovated and reconstructed several times. Since its founding, a novitiate and a seminary operated at the monastery, a rich library had been accumulated, and a scriptorium operated. There artists, craftsmen and organists among the monks. The monastery was closed in 1864, and the building housed soldiers' barracks. In 1919 it was given to the art faculty of the university, later - to the Art Institute (now the Art Academy).

en.wikipedia.org/wiki/Church_of_St._Francis_and_St._Berna...

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