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The Surgical Robotic Challenge demo at the Hamlyn Centre (IMperial College London) followed by presentations and workshops at the Royal Geographical Society, 23rd June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
Me: Are you sure you want those buttons on your hat?
Carbon: Petey picked them, what's the problem?
Me: Here less than 8 hours and already succumbing to peer pressure...Petey!!!
my boy did not need to be told anything about his new toy box. he instantly went to it and began rummaging around.
The Hamlyn Centre (Imperial College London) presents The Robotics Week Showcase, presentations and awards at the Royal Geographical Society, 27th June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The Climate Group hosts a roundtable event 'Systems Shift - Justice: Embedding environmental and social justice' at at Equator Events on the 8th November 2021
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The British Heart Foundation Brighton Marathon 2018. Action shots of runners at Cheer Point 13.5miles and then afterthe race in the hospitality/ massage tent. 15th April 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
a 0.45X wide angle lens attachment was used here
my sister is used to hanging her flowers up-side-down to prevent them from bowing down
A day out in London of a Saturday morning requires planning. Jools arranged for shopping to be dropped on Thursday afternoon, meaning we did not have to go on Saturday morning.
Then setting alarms so that we got to Priory station at half seven ready for the quarter to eight train.
Jools went to get tickets, and I went to the corner greasy spoon to get sausage and bacon sticks and brews. So that when the train rolled at twenty to, we climbed on board, sitting at a table and starting on our breakfast.
Leaving at that time meant it was already light, so we could see the countryside rolling by until we got to Ashford, then flash by once we got on the high speed line, zooming up to Ebbsfleet and then under the Thames into Essex and on to Stratford.
We got out at Stratford, caught the DLR to the regional station, then changing DLR lines for the trains heading for Lewisham.
At Pudding Mill Lane, where we used to watch steam tours on the Great Eastern Main Line, a new station has been built to allow for the entrances to the Elizabeth Line tunnels, and next door is the Abba theatre.
We have been talking about going, so Jools checks prices for the show, and amazed that some are nearly £200! Prices next June are £99, but still for seeing a video recreation rather than the band themselves.
The train rattled on, turning south where the old Bryant and May match factory used to be. The building is still there but seems to be business units or flats now.
Passing the old factory used to be the cue for my Granddad to get us standing up and gathering our coats and bags as we were five minutes from Liverpool Street.
Instead, we took the line south through Bow and towards the crystal towers of Docklands and Canary and other Wharves.
I texted Graham to say we were on our way, and he replied to say he was 5 minutes from Canary Wharf. I said we would be there in a few minutes, maybe we would meet there?
Through Poplar and into the 21st century hellscape that is Docklands, we get off on platform 1, and our next train is waiting on platform 2. Jools walks over, I lag behind, scouring the platform for Graham.
Then as I reach the doors, and the electronic bleeps announcing departure, Graham reaches us and comes on board.
Doors close and the train departs, taking tight turns around the skyscrapers before heading to the river, and after Mudschute, dives under the river for Greenwich.
We get off at Cutty Sark, so named after a tea clipper, and find the way out signed to a flight of 125 steps to street level.
I sigh and follow Jools and Graham up, regretting my life choices.
But I made it to the top, and a short walk we called in at a coffee shop for a refill and wait for the Cutty Sark itself to open.
Although the story of the Cutty Sark and the other tea clippers is very interesting, I wanted to come for purely photographic reasons, to snap the prow and the glazed roof that protects the old dry dock.
We pay to go on, and enter the ship, going up two flights of steps onto the deck, where the masts and rigging tower high above. Remember, sailors used to have to climb up these and gather in sails, and all weathers and on all seas, no matter their state.
Hardy buggers.
Cabins were small and on deck, as all space down below was for cases of tea only, to keep them dry and in perfect condition.
Then down through the visitor centre to the bottom of the dry dock, and the copper bottom of the ship, suspended so that shots looking along and up the prow could be taken.
Which I took plenty of.
Above the roofs of the shops and pubs,the tower of the parish church, St Alphage, Greenwich, which is an usual dedication, but turns out this was the site where the titular Saint was martyred in the 11th century.
Graham had never found it open, but I had checked online and it was due to open at eleven, ten minutes ago. So we walked towards the church, dodging through the traffic and arrived at the church gate.
The south doors were closed, as were the north, so I began to doubt myself. But a nearby sight indicated that the main entrance was on the south side, so we went back round.
And one of the doors was indeed ajar.
Bingo.
Bango.
Bongo.
We climbed the steps and went in, and were met my quiet the most friendly and informative volunteer I think I have ever met.
Interesting details were pointed out, and those hidden were shown, including the location of the font where King Henry XIII was christened, and the last surviving part of the second church's wall.
The church, which is after Hawksmoor, is a delight, though gutted during the blitz, so most glass is now lost, though the Victorian is of good quality.
We were here for the Mars display in the Painted Hall at the Greenwich Naval College.
We have been here before, but some 15 years back at least, so a return was overdue, though the sumptuous painting would be partly hidden by the 7m model of the planet Mars.
We have seen the artist's Moon work at the Maritime Museum nearby, but also in Denver back in 2017. But seemed to have missed his "Earth", I'm sure it'll come round again.
We walked through the college grounds, into the painted hall, exchanged vouchers for tickets and climbed the two sets of stairs into the hall itself.
The view opened out, and the first impression was amazing, Mars at the far end, suspended and slowly turning, with the painted hall as a background. And a helmeted Mar looking down at the planet named after him, a great juxtaposition.
We took and hour to take it all in, then talked about going to the Chapel, which we were not sure was open.
At the base of the stairs, we found the entrance to a passageway, with sign pointing to the Chapel, could this lead all the way under the formal gardens?
Yes. Yes it could. And did.
Up spiral staircases to the lobby, then up a formal stairway flanked by statues of Faith, Hope, Charity and Meekness, into the church, a delight, without much in the way of painting to match the hall opposite, but stunning all the same, and few folks had made it over, so we soaked up the building and details, and fittings.
Time was getting on, and thoughts turned to food. So, we left and headed out to the narrow path beside the river, where high tide meant water was lapping at our feet, but we powered back towards the High Road, and the cluster of pubs and other eateries.
Beside the Cutty Sark was the Gipsy Moth pub, but that was full, so we walked on and found a table beside the fire in the Spanish Galleon, a Shepherd Neame's pub, but they had tables and a great looking menu.
We got pints of Whitstable Bay, and ordered burgers each, all in a great end to the trip where we did all we set out to do, and now rounded it off with a pub lunch.
We ate the burgers with pints of Bishop's Finger, now a timid 5.2% rather than the 7% in days of yore, but still full of flavour.
Time to go home. Back to Cutty Sark DLR station, down in the lift this time, and straight on a train heading north. Change at Canary Wharf, where our train to Stratford was also waiting.
We said goodbye to Graham, hopped on, and the doors closed, so we moved off north.
Back at Stratford, down the steps to the concourse, and straight onto a train going to the International Station, we got on, and so were on the platforms for Kent a full ten minutes before the train was due.
When it came, there were a few seats, so I got to sit and rest by back after the 11,000 steps done, so while darkness fell outside, I kept up to date with the football, Norwich 2-2 with Luton at half time, but scoring twice in the second half to win 4-2, and make it 12 goals scored in three games over seven days.
By the time final whistle went, we were back home, and supping fresh brews as we rested, taking our shoes off.
A brilliant day out.
The West Ham fans we had seen on the DLR were going to their home game against Arsenal, which was on TV at half five. Not the game they were hoping for, as Arsenal were 5-2 by halftime, though no more goals scored in the second half, but worthy of that first half to have watched.
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Cutty Sark is a British clipper ship. Built on the River Leven, Dumbarton, Scotland in 1869 for the Jock Willis Shipping Line, she was one of the last tea clippers to be built and one of the fastest, at the end of a long period of design development for this type of vessel, which ended as steamships took over their routes. She was named after the short shirt of the fictional witch in Robert Burns' poem Tam o' Shanter, first published in 1791.
After the big improvement in the fuel efficiency of steamships in 1866, the opening of the Suez Canal in 1869 gave them a shorter route to China, so Cutty Sark spent only a few years on the tea trade before turning to the trade in wool from Australia, where she held the record time to Britain for ten years.[5] Continuing improvements in steam technology early in the 1880s meant that steamships also came to dominate the longer sailing route to Australia, and the ship was sold to the Portuguese company Ferreira and Co. in 1895 and renamed Ferreira. She continued as a cargo ship until purchased in 1922 by retired sea captain Wilfred Dowman, who used her as a training ship operating from Falmouth, Cornwall. After his death, Cutty Sark was transferred to the Thames Nautical Training College, Greenhithe, in 1938 where she became an auxiliary cadet training ship alongside HMS Worcester. By 1954, she had ceased to be useful as a cadet ship and was transferred to permanent dry dock at Greenwich, London, for public display.
Cutty Sark is listed by National Historic Ships as part of the National Historic Fleet (the nautical equivalent of a Grade 1 Listed Building). She is one of only three remaining intact composite construction (wooden hull on an iron frame) ships from the nineteenth century, the others being the clipper City of Adelaide, now in Port Adelaide, South Australia, and the warship HMS Gannet in Chatham. The beached skeleton of Ambassador, of 1869 lying near Punta Arenas, Chile is the only other significant remnant of this construction method.
The ship has been damaged by fire twice in recent years, first on 21 May 2007 while undergoing conservation. She was restored and was reopened to the public on 25 April 2012.[6] Funders for the Cutty Sark conservation project include: the Heritage Lottery Fund, the House of Commons Digital, Culture, Media and Sport Committee, Sammy Ofer Foundation, Greenwich Council, Greater London Authority, The Stavros Niarchos Foundation, Berry Brothers & Rudd, Michael Edwards and Alisher Usmanov.[7]
On 19 October 2014 she was damaged in a smaller fire.[8]
Cutty Sark whisky derives its name from the ship. An image of the clipper appears on the label, and the maker formerly sponsored the Cutty Sark Tall Ships Race. The ship also inspired the name of the Saunders Roe Cutty Sark flying boat.
Cutty Sark has a registered length of 212.5 feet (64.77 m), with a depth of hold of 21 feet (6.40 m) and a net tonnage of 921. The hull is one of the sharpest of all the tea clippers: she has a coefficient of under deck tonnage[a] of 0.55, compared to Thermopylae at 0.58.[1]: 195–199, 247 Cutty Sark's prismatic coefficient, another measure of hull sharpness, is 0.628; this allows comparison with US-built clippers studied by Howard I. Chapelle.[b][c] After water-line length, the prismatic coefficient is the next most important determinant of potential hull speed.[17] Unladen, or with a cargo of low density, ballast was required for stability. For example, when she was loaded with wool, 200 tons of ballast was carried. The largest wool cargo she ever carried was 900 tons' weight (the total of ballast and cargo of 1,100 tons is consistent with the estimated deadweight cargo capacity of 1,135 tons at 20-foot draught). The largest tea cargo carried was 615 tons' weight. Conversely, a dense cargo allowed full use of the deadweight capacity: if loaded with coal, she would usually carry 1,100 tons.
The maximum logged speed for Cutty Sark was 17.5 knots (32.4 km/h; 20.1 mph). Her greatest recorded distance in noon to noon sights was 363 nautical miles (672 km; 418 mi) averaging 15 knots (28 km/h; 17 mph), although she recorded 2,164 nautical miles (4,008 km; 2,490 mi)[25] in six days, which given the weather over the whole period implied she had achieved over 370 nmi (690 km; 430 mi) some days.[26] By comparison, Thermopylae's best recorded 24-hour distance was 358 nmi (663 km; 412 mi). On another occasion she recorded 3,457 nmi (6,402 km; 3,978 mi) in 11 days.[23] Cutty Sark was considered to have the edge in a heavier wind, and Thermopylae in a lighter wind.
The ship was named after Cutty-sark, the nickname of the witch Nannie Dee in Robert Burns's 1791 poem Tam o' Shanter. The ship's figurehead, the original of which has been attributed to carver Fredrick Hellyer of Blackwall, is a stark white carving of a bare-breasted Nannie Dee with long black hair holding a grey horse's tail in her hand.[27] In the poem she wore a linen sark (Scots: a short chemise or undergarment[28]), that she had been given as a child, which explains why it was cutty, or in other words far too short. The erotic sight of her dancing in such a short undergarment caused Tam to cry out "Weel done, Cutty-sark", which subsequently became a well-known catchphrase. Originally, carvings by Hellyer of the other scantily clad witches followed behind the figurehead along the bow, but these were removed by Willis in deference to 'good taste'. Tam o' Shanter riding Meg was to be seen along the ship's quarter. The motto "Where theres a will is a way" was inscribed along the taffrail,[29] with variable spaces enabling also the reading Where there(')s a Willis away. The Tweed, which acted as a model for much of the ship which followed her, had a figurehead depicting Tam o' Shanter.
The Hamlyn Centre (Imperial College London) presents The Hamlyn Symposium, presentations and workshops at the Royal Geographical Society, 24th June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
Required: incense stick, black background, set flash (or utilize any light source like sunlight) at 90 degree angle to smoke and cross your fingers. change image to a negative in a software program (and tweak a little) and marvel at the results...a big thank you to Ashley and Lian for helping me set this up (whilst they should have been doing their homework!)
The Surgical Robotic Challenge demo at the Hamlyn Centre (IMperial College London) followed by presentations and workshops at the Royal Geographical Society, 23rd June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
Professor Guang-Zhong Yang opens the Student Challenge Competion where five finalists present their ideas to a panel of Dragon's who will judge their projects before announcing a winner, 19th March 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com
In 1892 Monet was required to travel to Rouen in order to sort out an inheritance issue. While there, he began a series of canvases of the cathedral, carried out in two campaigns in spring 1892 and 1893. These views of the façade are from three successive locations, moving progressively southwards. The first vantage point was front-on from an apartment located opposite the cathedral. The second shows the edifice seen slightly from the side: for this the painter was positioned on the first floor of a women’s underwear shop. He set up behind a screen after the clients protested! Finally the third point of view is even further to the side, from a second shop further to the south, which meant that the sky disappeared from his canvases. At the start of his work, Monet was dissatisfied and disheartened with his results, as was often the case. He kept retouching his works endlessly, without achieving the effects he anticipated. At any rate, by the end of his stay he had gained a far better understanding of the subject, though he still ended up finishing in his studio at Giverny around thirty versions he had begun on site. His time in Rouen was so dominated by the light on the cathedral façade that he even refused visits from his wife. This series is the most spectacular demonstration of his unflinching determination to convey what he called ‘instantaneity’. The amount of studies and the unprecedented number of versions reveal an increasingly sharp awareness of atmospheric variations and changes in light according to the time of day. The Gothic architecture became the focus of his pictorial studies: even a subject as permanent and solid as this constantly changed its appearance. Monet used a rougher technique to show the way the light caught the façade and to suggest the texture of the stonework.
Minimum:
• Requires a 64-bit processor and operating system
• OS: Windows 7/8.1/10 (64 bit)
• Processor: AMD FX-8350 or Intel Core i5-4690K or newer running at 3.5 GHz or higher
• Memory: 8 GB RAM
• Graphics: 4 GB Direct3D 11 capable video card – GeForce GTX 960 or Radeon R9 380
• DirectX: Version 11
• Storage: 25 GB available space
• Sound Card: Integrated or dedicated DirectX 9 compatible soundcard
Additional Notes: Keyboard, mouse and an internet connection for Steam.
Recommended:
• Requires a 64-bit processor and operating system
• OS: Windows 10 (64bit)
• Processor: AMD Ryzen 5 1600 or Intel Core i7-6700K or newer running at 3.2 GHz or higher
• Memory: 16 GB RAM
• Graphics: 6 GB Direct3D 11 capable video card – GeForce GTX 1660Ti or Radeon RX 590
• DirectX: Version 11
• Storage: 25 GB available space
• Sound Card: Integrated or dedicated DirectX 9 compatible soundcard
Additional Notes: Keyboard, mouse and an internet connection for Steam
Powerlifting is a sport that requires a tremendous amount of strength, power, and endurance. Powerlifters aim to lift the maximum weight possible in three lifts: squat, bench press, and deadlift. To achieve this goal, some powerlifters turn to performance-enhancing drugs, including steroids. In this article, we will discuss the steroids of choice among powerlifters, their effects, and potential risks.
Steroids are synthetic versions of the male hormone testosterone. They are classified as anabolic steroids, which means they promote muscle growth and increase muscle strength. Powerlifters use steroids to improve their performance by increasing their muscle mass, strength, and endurance. However, using steroids can have serious consequences, including adverse effects on health, including liver damage, cardiovascular disease, and psychological disorders.
READ MORE HERE: www.curatorialuniongallery.com/
The most commonly used steroids among powerlifters are:
Testosterone:
Testosterone is the primary male hormone that is responsible for the development of male characteristics such as deepening of the voice, growth of facial and body hair, and increased muscle mass. Testosterone is available in different forms, including injections, patches, and gels. It is often used as a base steroid for many cycles, as it is considered to be relatively safe.
Dianabol:
Dianabol is an oral steroid that is popular among powerlifters. It is known to increase muscle mass and strength rapidly. However, it can also cause severe side effects, including liver damage and high blood pressure.
Deca-Durabolin:
Deca-Durabolin is an injectable steroid that is known for its ability to increase muscle mass and strength. It also has a low rate of side effects compared to other steroids, making it a popular choice among powerlifters.
Trenbolone:
Trenbolone is a powerful steroid that is known for its ability to increase muscle mass and strength rapidly. However, it also has significant side effects, including liver damage, high blood pressure, and increased risk of heart attack and stroke.
Anadrol:
Anadrol is an oral steroid that is known for its ability to increase muscle mass and strength quickly. However, it also has significant side effects, including liver damage and high blood pressure.
While using steroids may increase muscle mass and strength, it is important to note that they are not a substitute for hard work and dedication. They should only be used under the guidance of a healthcare professional and in compliance with the rules and regulations of the sport. The use of steroids also carries significant health risks, and users should be aware of the potential consequences.
Conclusion
In conclusion, powerlifting is a challenging sport that requires strength, power, and endurance. Some powerlifters turn to steroids to enhance their performance. The most commonly used steroids among powerlifters are testosterone, Dianabol, Deca-Durabolin, Trenbolone, and Anadrol. While they may increase muscle mass and strength, their use carries significant health risks. Therefore, it is important to use them under the guidance of a healthcare professional and in compliance with the rules and regulations of the sport.
Flat Rock Cedar Glade and Barrens is an 846-acre natural area in Rutherford County. It is located about eight miles east of Murfreesboro, Tennessee in the geographic center of the Central Basin. Flat Rock supports a mosaic of forest types, oak barrens, open grassland barrens, and cedar glades, including federal and state-listed plant species and glade endemic species. These glades are characterized by exposed limestone that is typically interspersed with cedar-oak-hickory forest that occurs in deeper soils. This limestone, with its many sinkholes, is a karst topography commonly associated with glades.
Flat Rock Cedar Glades and Barrens support a diversity of annual grasses, including sporobolus and aristida. Rare plants associated with these cedar glades include Tennessee milk-vetch (Astragalus tennesseensis), Missouri primrose (Oenothera missouriensis), and limestone fame-flower (Talinum calcaricum). Small creek tributaries and flat gravelly wash areas provide specialized habitat for rare plants, including the federally endangered leafy prairie-clover (Dalea foliosa), the state-listed yellow sunnybells (Schoenolirion croceum), low nut rush (Scleria verticillata), and Boykin's milkwort (Polygala boykinii). Little bluestem (Schizachyrium scoparium) and cedar trees occur in pockets of deep soil scattered across the glades. Open grassland barrens found in deeper soils are dominated by little bluestem and side-oats grama (Bouteloua curtipendula). Flat Rock barrens support numerous state-listed species, including wavy-leaf purple coneflower (Echinacea simulata), southern prairie-dock (Silphium pinnatifidum) and slender blazing-star (Liatris cylindracea). These same species occur in the open canopy post oak forest areas referred to as an "oak barrens." Flat Rock is also significant as the type location for the federally listed Pyne's ground-plum (Astragalus bibullatus).
Flat Rock Cedar Glades and Barrens is one of Tennessee's most ecologically significant natural areas and is an important research natural area. It is located only a few miles from Middle Tennessee State University.
Snow days always require black-and-white shots of the winter wonderland, but it was way, way, way too cold to take many pictures. This was about as good as it gets, a look at the dried hydrangea next to the driveway looking like it's been dipped in soap suds.
The Hamlyn Centre holds its annual Hamlyn Symposium at the Royal Geographical Society and Imperial College, 27th June 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com
The British Heart Foundation Brighton marathon. Photos from the cheer point at 13.5 miles and then in the charity village tent next to the finish line where runners could relax and recharge. 9th April 2017
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
The Hamlyn Centre (Imperial College) holds a reception and dinner at IET, 2 Savoy Place as the culmination of Robotics Week, 29th June 2018
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com
The Fall
The Stone
San Francisco, California
3-14-86
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The Fall; The Stone; San Francisco; California; 3-14-86; Any further use requires permission from the photographer; Michael Conen.
***
These photos were taken on print film, and then digitally scanned at 2000 dpi.
All images viewed here are "proofs" of the negatives.
Serious inquiries regarding further publication will be entertained.
Please contact me with comments, questions, etc. at michaelconen@tutanota.com
The Surgical Robotic Challenge demo at the Hamlyn Centre (IMperial College London) followed by presentations and workshops at the Royal Geographical Society, 23rd June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'
Not so much wilderness as many places we've visited, it's still a wild and wonderful part of untamed nature.
The Hamlyn Centre (Imperial College London) presents The Hamlyn Symposium, presentations and workshops at the Royal Geographical Society, 24th June 2019
Photography by Fergus Burnett
Accreditation required with all use - 'fergusburnett.com'