Locomotive 44208.

Its builder’s number was G-6045-08 and was one of 40 locomotives of the class to be built and it was delivered on 11th August 1971 where it was given the number 44208.

Of those original 40 442 class locomotives built sadly only 10 have survived and 44208 is one of those survivors and now calls the shunting yards of Manildra Mills home.

With the imminent sale of FreightCorp the surviving locomotives were sold in 2001 to Victoria’s Great Northern Rail Services.

In total 5 of the NSW 442 class locomotives were refurbished and would be returned to service as the JL class with locomotive 44208 was renumbered to JL403.

On 13th May 1997 the NSW State Rail Authority decommissioned locomotive 44208 and it was withdrawn from service.

Despite all these setbacks in 2005 44208 was given yet another refurbishment before it was sold to the Manildra Group.

Today 44208 operates within the confines of the Manildra Group’s shunting yard and is now classified as a ‘driver Only’ loco.

Manildra, New South Wales, Australia.

2/23/2022 - Being delayed for over an hour in traffic due to a car accident that happened in front of us, we had a train to catch up with. L&C Train 14 we had seen in the previous days, had 3 Blue L&C Lashup. It was something we wanted to capture due to the nostalgia of it. When we found the Train 14, we noticed that one of the Blue locomotives had been swapped. Yes a little disappointing but I have to admit, it was a cool unit. Plus we still got the Classic L&C Blue still in the consist, including the EMD GP38AC #2866 "High Hood" sandwiched in the middle,my favorite. This would be the start of a great day with my buddy Ethan, as we would get to see these 2 Classic Blue's by themselves, and manage to catch their sole SD40T-2 #6002 on Train 12, with a cool crew! Thanks to Ethan for helping me produce this.

#train #trains #lancaster #and #chester #railroad #railway #shortline #regional #chase #chasing #south #carolina #sc #southcarolina #emd #high #Hood #canadian #cab #standard #9548 #2866 #3821 #railfanning #railfans_of_instagram

In just a few words, who or what was your most memorable dream about? Mine was about my mother. Do you dream in color? I do. I'm told that dreaming in color is strange but I somehow doubt that.

This image is of the first lotus bud in the pond this season. The pond is going to be very well established by the time it and the hardscape are fully completed. A raccoon has caused a bit of a setback. He has torn several holes in the liner at dove creek. It's been temporarily repaired so the water does not leak. However, it must get a permanent repair along with raccoon and critter proofing. Hopefully, this will be the last setback. If not for the raccoon the project would be complete. The cause of the water leak had to be found so all work stopped.

Met up with Soren at Kingscliff this morning, new place for me and it was a very nice spot. Thanks Soren for another great morning.

I had the chance to visit these magnificent turbines again last month with friends... we planned to shoot it at sunset but our itinerary had some setbacks so we end up getting there earlier at 3pm... the sun is still high and there were scattered clouds with unflattering formations.

Finding an interesting shot was a bit hard... hope these would suffice. ^_^

Barrow / Villa Rodriguez

El paraje Barrow que comenzó en la estación de ferrocarril, sufrió un revés una vez que las locomotoras dejaron de circular, dejando recuerdos, viviendas y muchos sueños que quedaron truncos, como el de crecer a la vera de los rieles.

1886, cuando los caminos de hierro se extendían en la provincia como un elemento indispensable de subsistencia del país, las líneas férreas ya cruzaban la zona de la localidad de Barrow, que por ese entonces se denominaba Empalme. En 1907, se crea la estación, como consecuencia del tendido de la línea férrea a Lobería. Su nombre fue un homenaje a M.W. Barrow, gerente de la empresa Ferrocarril del Sud (actual Ferrocarril General Roca), entre 1890-1892 y que sin proponérselo se había convertido en el artífice de tantos pueblos de la provincia. La distinción le llegó en la época en que los ingleses habían decidido reconocer los servicios prestados por los miembros de esa colectividad relacionados con el desarrollo de los rieles en la República Argentina. Así, bregaron para que el gobierno nacional decretara en la fecha del 50º del primer ferrocarril argentino, el 30 de agosto de 1907, el cambio de nombre de algunas estaciones, como la de Barrow, reconociendo al hombre que alcanzó un poder ilimitado como gerente del Ferrocarril, ocupando infinidad de funciones y cargos, siguiendo un espíritu visionario que llevó al crecimiento del país. Durante su gerencia, M.W. Barrow había estudiado la idea de instalar nuevos y modernos talleres para las operaciones del Ferrocarril del Sud que tomaban cada día mayor incremento. En las frecuentes visitas que realizaba a los talleres notaba que las operaciones se realizaban en un estrecho círculo y en instalaciones completamente inadecuadas que imposibilitaban la libre tarea de los mil operarios. Y desde entonces dedicó toda su energía a procurar la formación de instalaciones modernas que se ajustaran a la realidad.

Postulaba Alberdi, unieron los FF.CC. al país más que la Constitución Nacional y permitió la aparición de núcleos urbanos integrados, que fueron punto de reunión, de encuentro social y de vida.

TRASLATOR

Barrow / Villa Rodriguez

The Barrow spot that started at the railway station suffered a setback once the locomotives stopped circulating, leaving memories, homes and many dreams that were truncated, such as growing alongside the rails.

1886, when the iron roads extended in the province like an indispensable element of subsistence of the country, the railway lines already crossed the zone of the locality of Barrow, that by that then was denominated Empalme. In 1907, the station was created, as a consequence of the laying of the railway line to Lobería. His name was a tribute to M.W. Barrow, manager of the company Ferrocarril del Sud (current General Roca Railroad), between 1890-1892 and who had unwittingly become the architect of so many towns in the province. The distinction came at the time when the English had decided to recognize the services provided by the members of that group related to the development of the rails in the Argentine Republic. Thus, they struggled for the national government to decree on the date of the 50th of the first Argentine railway, on August 30, 1907, the change of name of some stations, such as Barrow, recognizing the man who achieved unlimited power as manager of the Railroad, occupying countless functions and positions, following a visionary spirit that led to the growth of the country. During his management, M.W. Barrow had studied the idea of ​​installing new and modern workshops for the operations of the Southern Railway, which were increasing every day. In the frequent visits he made to the workshops he noticed that the operations were carried out in a narrow circle and in completely inadequate facilities that made impossible the free task of the thousand workers. And since then he devoted all his energy to procuring the formation of modern facilities that fit the reality.

Postulated Alberdi, joined the FF.CC. the country more than the National Constitution and allowed the emergence of integrated urban centers, which were a meeting point, social meeting and life.

Excerpt from aht.ca/who-we-are/our-history/:

Anishnawbe Health Toronto (AHT) is a vision of the late Elder, Joe Sylvester.

Initial efforts began with a diabetes research project, which realized that a more comprehensive approach to health care was needed by the Aboriginal community.

In response, Anishnawbe Health Resources was incorporated in 1984. One of its objectives stated, “To recover, record and promote Traditional Aboriginal practices where possible and appropriate.”

In 1989, having successfully secured resources from the Ministry of Health, Anishnawbe Health Toronto became recognized and funded as a community health centre.

Since then, AHT has and continues to grow to meet the needs of the community it serves. As a fully accredited community health centre, AHT offers access to health care practitioners from many disciplines including Traditional Healers, Elders and Medicine People. Ancient ceremonies and traditions, intrinsic to our health care model are available. Our work with the homeless has evolved from early directions of crisis intervention to our current efforts of working with those who seek to escape homelessness. Training programs offer community members the opportunity to learn and grow in a culture-based setting.

Today, AHT not only promotes Traditional Aboriginal practices but has affirmed and placed them at its core. Its model of health care is based on Traditional practices and approaches and is reflected in the design of its programs and services.

Excerpt from secure.toronto.ca/nm/api/individual/notice/2413.do:

Description

Take notice that Toronto City Council intends to designate the lands and building known municipally as 425 Cherry Street under Part IV, Section 29 of the Ontario Heritage Act.

Reasons for Designation

The property at 425 Cherry Street is worthy of designation under Part IV, Section 29 of the Ontario Heritage Act for its cultural heritage value, and meets Ontario Regulation 9/06, the provincial criteria prescribed for municipal designation under 5 criteria of design and physical, historical and associative, and contextual values.

Description

The property at 425 Cherry Street is located at the southeast corner of Front Street East and Cherry Street. The building is comprised of a three-storey structure fronting on Cherry Street, with a three-storey warehouse addition behind, extending along Front Street East. The building was constructed in three major stages - the two-storey Palace Street School, constructed in 1859 and designed by architect Joseph Sheard in the Jacobean style with an addition in 1869 by architect William Irving; the three-storey Cherry Street Hotel, constructed in 1890 incorporating the former school and designed by architect David Roberts Jr. in the Queen Anne Revival style; and the three-storey warehouse, constructed in c.1920.

Statement of Cultural Heritage Value

Design and Physical Value

The property at 425 Cherry Street is valued as a representative example of an evolved building type and style, reflecting the evolution of the property from its early use as one of the city's early "free" schools, to a hotel, a warehouse, and a restaurant. The building contains representative elements of the Jacobean and Queen Anne Revival styles, the former being used for many of the first schools constructed by the Toronto Board of Education, and the latter a popular style in Toronto for house form and hotel buildings between 1880 and 1910. While altered through later additions, elements of the Jacobean style can be seen on the first two floors of the former school's west and south facades, including the use of brick cladding (buff and red), brick quoins at the window surrounds and at the building's corners, the symmetrical organization of the facades featuring central projecting frontispieces bound by large rectangular window openings; and the stone drip moulds over the south entrance and the second storey window above. The building's Queen Anne Revival style is evidenced in the portion of the building constructed as the hotel (at the corner of Front and Cherry Streets) and in the third floor addition above the former school, and include the mansard roof with dormer windows; the arched window openings on the second storey; the elaborate use of brick ornamentation at the second storey cornice; the large plate-glass storefront windows with sandstone details; and the Dutch gable with inset Palladian window opening. The three-storey warehouse addition features elements indicative of the warehouse building type, including large rectangular window openings with cast stone lintels and brick sills; a flat roof with brick parapet; and minimal architectural ornamentation.

Historical and Associative Value

The historical and associative value of the property at 425 Cherry Street resides in its construction as the Palace Street School (1859), its subsequent adaptive reuse as the Cherry Street Hotel (1890) it's later conversion for use as a warehouse for various manufacturing and transportation-related businesses (1920), and its having been the location of the Canary Grill, from 1965 to 2007. Originally constructed in 1859 as one of the early "free" schools built in Toronto by the Toronto Board of Education and the first free school to serve St. Lawrence Ward, the one-storey schoolhouse was designed by architect, alderman and future Mayor of Toronto, Joseph Sheard. In 1869 the structure was expanded to the designs of architect William Irving, a former apprentice in Sheard's office and a prolific architect in Toronto through the second half of the 19th century. The Palace Street School is also associated with Georgina Stanley Reid, an educator with the Toronto Board of Education who served as principal of the school from 1882 until its closure in 1887, and who continued to serve as principal of its replacement school, Sackville Street Public School (now Inglenook Community School), until her retirement in 1912.

Following construction of the larger Sackville Street Public School in 1887, the Toronto Board of Education sold the property to brewer, businessman, and real estate developer Robert Thomas Davies, who had the building converted into a hotel to the designs of architect David Roberts Jr. in 1890. David Roberts Jr. had previously designed much of the nearby Gooderham and Worts Distillery, as well as a number of hotels, including the nearby Dominion Hotel on Queen Street East, which was also owned by Davies. Robert Davies was an influential industrialist in late Victorian Toronto who owned a concentration of businesses along the Don River; he was the founder of the Dominion Brewery, and later owned the Don Valley Brick Works and Don Valley Paper Company Limited. The hotel which at various times was called the Iverson Hotel, Darcy's Hotel/Hall, Eastern Star Hotel, and Cherry Street Hotel, was a fixture within the Corktown community from 1890 to 1910, however its role within the neighbourhood diminished alongside the demolition of the surrounding area's residential character, the displacement of the neighbourhood's working-class residents, the relocation of the nearby Don Station, and the expansion of railway lines and supporting industries. The property was subsequently converted for warehouse and manufacturing use, and the three storey warehouse addition was constructed on the east façade of the building c.1920.

In 1965 the Canary Grill moved into the first floor, and became a well-known establishment within the area catering to those employed in transportation and manufacturing-related industries, as well as commuters. Through the latter half of the 20th century studio spaces within the building were leased to a wide range of creative and cultural tenants, including musicians, artists, manufacturers and cultural sector workers. In the late 1980s, the property was expropriated as part of the joint municipal and provincial governments' plans to redevelop the West Don Lands into a new neighbourhood, called "Ataratiri". The expropriation resulted in the eviction of many of the building's tenants, however the Canary Grill remained open until 2007, after which the building was fully vacated.

Contextual Value

Contextually, the Palace Street School / Cherry Street Hotel is significant in its relation to the former Canadian National Railways Office Building, located on the northeast corner of Front Street East and Cherry Street, and is part of a larger post-industrial landscape within the West Don Lands, which includes the Gooderham and Worts Distillery, Cherry Street Interlocking Station, and the Dominion Foundry Complex. The CNR Office Building was constructed in 1923, and is recognized on the City of Toronto's Heritage Register. The two buildings complement each other, with similar setbacks from the corner and with a common low-scale brick clad form. Together, the properties form a gateway into the West Don Lands neighbourhood, a mixed-use area constructed as part of the 2015 Pan Am and Para Pan Games, and form a significant landmark within the community.

Heritage Attributes

Design and Physical Value

Attributes that contribute to the value of the property at 425 Cherry Street as representative of the Jacobean style and the Queen Anne Revival style include:

- The scale, form and massing of the former school and hotel buildings

- The symmetrical organization of the facades of the former school building, featuring centre bays bound by large rectangular window openings

- The setback of the former school building from the hotel addition on the west facade

- The use of brick cladding (buff and red) with stone foundations and sandstone detailing

- The brick detailing, including the corbelling below the mansard roof on the former school building the inset detailing on the west façade of the former hotel, and the engaged brick pier on the third floor of the west façade that extends above the cornice line alongside the corner window

- The ornamental wrought iron railing set above the corner entrance to the former hotel building

- The brick quoins, located at the corners of the former school building, the protruding bays, and the window surrounds

- The stone drip moulds over the entrance on the south facade and the second storey window above

- The mansard roof with high hipped dormers extending above the roofline

- The brick end wall on the south façade, with stepped brick detailing

- The flat headed window openings on the former school building with splayed brick lintels

- The arched window openings on the second floor of the former hotel building with radiating brick voussoirs

- The flat headed window opening set within the curved corner above the primary entrance of the hotel building

- The two-over-two hung wood windows on the former school and hotel buildings

- The entrances to the former school building on the south and west facades, both set within brick openings with shoulder arched openings

- The prominent corner entrance to the former hotel building, set atop a short flight of stairs and within a chamfered corner, with a large transom window above

- The round arched door opening on the north façade, which has been infilled

- The brick chimney on the north façade, with inset brick detailing at the third floor and above the roofline

- The large plate-glass storefront windows on the west facades with sandstone details set between brick and sandstone pilasters and below a metal-clad signboard and cornice

- The Dutch gable with inset Palladian window opening and featuring a radial transom window

Attributes that contribute to the value of the property at 425 Cherry Street as representative of the warehouse building type include:

- The scale, form and massing of the three-storey warehouse addition

- The red brick cladding with brick foundation

- The regular rhythm of the large rectangular window openings with cast stone lintels and brick sills, and multi-pane steel sash windows;

- The flat roof with brick parapet.

Attributes that contribute to the contextual value of 425 Cherry Street at the intersection of Front Street East and Cherry Street and its identification as a local landmark include:

- The setback, placement and orientation of the building, with its corner entrance and prominent curved corner windows above facing towards the intersection of Front Street East and Cherry Street

- The view of the building looking east on Front Street East from Cherry Street, and in relation to the adjacent Canadian National Railway Office Building

Our bar in the corner on the terrace is definitely closed today, unfortunately.

“As long as we build walls around our cities, we make desperate people who want to come in more resolute to bring them down.” ― Bangambiki Habyarimana

The remains of the city walls and towers. Gradisca d'Isonzo (GO), Italy. © Michele Marcolin, 2020. K1ii + DFA 150-450

The first document about the town, dates back to 1176 and describes Gradisca as an agricultural village of seven families of Slavic and Latin origin, under the jurisdiction of the Patriarch of Aquileia. Only after 1420, with the annexation of the Patriarchate of Aquileia by the Republic of Venice, the inhabited area assumes greater importance.

Starting from 1473 the settlement changes vocation, being re-founded within a powerful and large fortress, at the center of a larger defensive system, conceived as a bulwark of defense of Venice against the incursions of the Turks. So between 1476 and 1498, an imposing defensive fortress was built on the right bank of Isonzo river. The entire city was enclosed in a mighty wall almost twenty meters high, while, outside the walls, the waters of the river were diverted and conveyed into a large defensive moat, and the walls were strengthened by seven fortified towers.

The agricultural village acquired such an importance that, in 1500, Leonardo da Vinci was sent to Gradisca on behalf of the Venetian Senate, to develop new weapons and defense systems for the outpost (today at the entrance to Porta Nuova there is a bust of Leonardo da Vinci).

In 1511, during the war of the League of Cambrai, the troops of the Holy Roman Emperor Maximilian I of Habsburg besieged and bombed the city which despite the strenuous resistance, following a pestilence bursting among the population, had to capitulate becoming a captaincy imperial.

The city acquired military importance during the captaincy of Niccolò della Torre, who added new fortifications. At the same time there was a notable increase in population and the city acquires an ever greater autonomy. From 1615 to 1617 Venice tried in vain to regain control of the territory, starting the War of Gradisca. Resisting Venetian attacks for two years, the city became the capital of the new County of Gradisca, later sold by Ferdinand III, to meet the costs of the Thirty Years' War, to Prince Giovanni Antonio di Eggenberg.

This was undoubtedly the most flourishing period for the city, which, from a military fortress, underwent a progressive transformation into a noble residential city. The town is enriched with new buildings, many of which are still present today, including the imposing Palazzo Torriani (current town hall), the ancient residence of the noble Della Torre family, to which some of the most important captains of the city belonged.

In 1754 Gradisca experienced a setback: Empress Maria Theresa of Habsburg decided to unite the counties of Gorizia and Gradisca. The latter was no longer strategic because the empire had eroded the Serenissima and extended over much of northern Italy. This change authorized the village to demolish a section of the walls in which it had lived for centuries. The green “Spianata” thus created became the center of the town's social life.

fun time with autumn, katie, and sophie <3

yolo

Bare trees shrouded in fog stand in a field of dried grass.

Just reading these words quickly creates a dreary and gloomy autumn vision.

But we haven't taken a teammate into account yet. A powerful player, the sun, which suddenly transforms this scene into a magical golden landscape.

There are often only a few aspects in life that turn a problem into a challenge or a setback into an opportunity for further development.

The difference is sometimes marginal (and is often just a matter of how we think about ourselves), but the effect it has on us is even greater.

The only question is whether we can see these small but crucial aspects, whether we even want to see them.

I too sometimes only manage to do this with some distance and sometimes not at all. But I have learned that every time I succeed, I take a big step forward.

This experience gives me the energy and conviction I need to at least try again and again.

Kahle Bäume in Nebel gehüllt stehen auf einem Feld aus vertrocknetem Gras.

Wenn man nur diese Worte liest entsteht ganz schnell eine triste und düstere Herbst Vision.

Doch da haben wir einen Mitspieler noch nicht mit einberechnet. Einen mächtigen Mitspieler, die Sonne, welche diese Szene mit einem mal in eine magisch goldene Landschaft verwandelt.

Häufig sind es auch im Leben nur wenige Aspekte, die ein Problem zu einer Herausforderung oder einen Rückschlag zu einer Chance zur Weiterentwicklung werden lassen.

Der Unterschied ist manchmal marginal (und liegt häufig nur darin begründet, wie wir über uns selbst denken), die Wirkung, die es in uns auslöst ist dafür um so größer.

Die Frage ist eben nur, ob wir diese kleinen aber entscheidenden Aspekte sehen können, ob wir sie überhaupt sehen wollen.

Auch mir gelingt dies manchmal nur mit etwas Abstand und manchmal auch garnicht. Doch ich habe gelernt, dass es mich jedes Mal, wenn es mir gelingt um einen großen Schritt nach vorne bewege.

Diese Erfahrung gibt mir die nötige Energie und Überzeugung es zumindest immer wieder zu versuchen.

more of this on my website at: www.shoot-to-catch.de

The Fly Manufacturing Building in Shelbyville, Tennesse was listed on the National Register of Historic Places under criterion A because of local significance in the twentieth century industrial history of Bedford County and criterion C due to its early-twentieth century industrial architectural style. Constructed in 1927, this industrial building employed hundreds of workers from the communities of Shelbyville, Wartrace, and Unionville. Joel Orval Fly, the founder of the Fly Manufacturing Company, began his career in the textile industry managing an overall factory for J.S. Reeves and Company in Clarksville, Tennessee. In 1914, Fly moved to Shelbyville and the following year established the Fly Manufacturing Company in a pre-Civil War frame warehouse. At this time, he had eighteen to twenty employees. In August 1916, this building was destroyed by fire and Fly lost a large amount of machinery and materials. Unhindered by this setback, Fly moved his headquarters into a newly constructed building owned by Mr. Ray B. Jean and continued his operations for the next twelve years, producing thousands of pairs of overalls. In December of 1924, he founded a second apparel-producing company in — the Eureka Pants Manufacturing Company. Due to the large amount of business, the Fly Manufacturing Company needed more space than was available at the Jean Building. In 1925, Fly purchased a lot on South Main Street for $5,000. By August of 1927, construction of the new building was completed and the Fly Manufacturing Company resumed the process of sewing and piecing together overalls. The following year, Fly added a shirt manufacturing department to the operations at the new building. Due to this increased production, Fly commissioned a brick, steel, and concrete addition on the rear of the existing building in 1938. This is the complete building that you see here today that was listed on the NRHP on March 7, 1996.

All information above was taken from the original NRHP documents as found here:

npgallery.nps.gov/NRHP/GetAsset/36eff335-7ec3-4b35-84b6-f...

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the link below:

www.flickriver.com/photos/photojourney57/

The first thought was that someone had thrown a football at my head. It seemed unlikely – I didn’t know anyone around here and I’d absented myself from five a side that evening because after nearly a week of incessant rain and doubtful grey skies I wanted to go out into the sunshine with the camera. But in those split seconds of this unwanted exchange it dawned on me. Footballs don’t have wings and feathers but seagulls do, and everyone down here knows about their famed air raids on innocent souls carrying food in an obvious manner. Even Belgian Chocolate ice creams are considered fair game by those scavenging sky hyenas, and most of mine was now lying on the ground in front of me. It was a double scoop as well. I now had two options – I could either return to the hut past all of the amused spectators and buy another one, of which I’d take much better care in open spaces, or I could adopt a nonchalant air, as with pace unbroken I strode to the nearest sand dune to sit and sulk in the sunshine. I chose the latter course of action. And you thought this stuff only happened to unwary tourists didn’t you? We locals smirk quietly behind our hands when hapless visitors get mobbed by Herring Gulls in pursuit of pasties at St Ives, so in truth it makes us look all the more idiotic when we're subjected to the same fate. I can still almost taste that lost dollop of Belgian Chocolate lying melting on the car park floor. Callestick Farm ice cream too - what I'd tasted before the airborne assault had been moments stolen from the very heavens. Ironic that something from the heavens should steal if from me really.

Some time after this disturbing setback Lee arrived, and he was looking very pleased with himself. Of course I already knew why. He’s a man who changes his camera systems almost as often as Elizabeth Taylor did her husbands, and more than once I’ve arrived on location to find him wielding something completely different from the time we last convened without prior warning. If he ever stops buying and selling things, your favourite auction website may just have to close down, and that time may in fact now have come. Not that I’ve studied the life and marital events of Ms Taylor that closely, but think of the Sony A7r3 as his Richard Burton – the one he returned to and remarried; his spiritual home if you will. Last time he had one of these, I rarely heard him talking about other cameras, and since he was parted with it, he’s often lamented on the shortcomings of whatever he was using at the time in comparison to the Sony. With the addition of the same lens that our much admired Mads Peter Iversen so often uses, it seemed that my friend’s ceaseless wandering through the labyrinthine pages pages of eBay may at last be over – although I’m not racing down to Ladbrokes to fill in the betting slip. Besides which he hasn't found a wide angle lens to complete the bag yet. To make his triumphant grin just that bit wider, he’d managed to secure both camera and lens at very agreeable prices. Understandably he was happy at the outcome.

While I was pleased to see that Lee’s inveterate habit of camera philandering might finally be over, I had to admit to the presence of Iago’s green eyed monster on the beach. With Iceland to come later this year, he’ll be carrying a much lighter set up than me when we go marching up those slopes to the vantage point over Reynisfjara and Dyrholaey. While he has experimented with almost every brand on the market over the last few years, I’ve stuck steadfastly to the one I know and have gradually begun to make sense of. I may have upgraded the cameras and lenses, but each time the leap has been incremental. The gear I have is limited by my skills (or lack of them) alone, with the only downside being the weight of both the camera and the lenses. Most of the time that isn’t really an issue; except when long walks and handheld photography are on the menu. But there is a fighting chance that sometime soon I might find myself dabbling with a Sony too.

We’d decided a visit to the Mount was long overdue. It’s such an obvious subject, and one we shot far more regularly in the early days of our landscape journey, but in the last two years I'd only been here twice, despite it only being half an hour away from home. We were caught in two minds about where to set up our tripods, the decision being made easier by the fact that someone has put up what I can only describe as a giant polytunnel right in the middle of the façade that everyone sees from the central part of the beach. While there must be a purpose, it's a hideous addition to the Mount and my Photoshop skills fall short of airbrushing it convincingly from the scene. But for that we might have looked to the sidelight for our inspiration. But huge plastic edifices aren't going to be part of the story today.

In winter you can grab silhouettes from the eastern beach below the cliffs with the sun setting close to the mount, and despite some misgivings about the almost total absence of cloud we agreed this option would enable us to continue shooting well into the blue hour. The retreating tide meant that the foreground selections were forever changing, never lasting for more than a few minutes before losing their appeal. I took a number of shots during the moments before sunset and into the blue hour and in truth I liked all of them, so choosing one to share here wasn’t an easy decision. The rest either have appeared or will appear on the other channels where I share more of my photographs, so you’ll probably make your own mind up on whether I chose the right one to tell the story, but I loved the leading line made by the rockpool and the colours of the deepening sky. Bringing the tripod low, so helping to reduce that tricky featureless mid-ground that can so often slice a scene irretrievably in half was also important, and the long exposure time smoothed the sea to reduce the distractions. Almost worth the trials of negotiating my way back across the beach over wet slippery rocks in semi-darkness towards the steps that would lead to the pub and a very expensive pint of Korev, which Lee in his benevolent mood paid for. At least the seagulls wouldn’t be troubling us here in the warmth, surrounded by four walls under a solid roof as we were. I sometimes wonder whether our obsession with clouds can sometimes mean we overlook the simplicity that a plain sky brings, especially when it’s packed with so much colour. The lessons never stop being learned.

Went to the Marsh for a little much needed R&R. Came across this thistle, which was nicely setback far enough to use the telephoto lens.

I was intriqued with the sharp spikey appearance of the flower and leaves contrasting against the soft bokeh focus.

Bahnhofsfest 2024 in Raeren!!

eisenbahnfreunde-grenzland.de/bahnhofsfest-2024-raeren/

eisenbahnfreunde-grenzland.de

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Unfortunately I can't show this photo on the world map, I don't know what they did on Flickr again, sorry, these aren't improvements, just another setback! But maybe I'm just too stupid for that, I'm happy to be corrected!!!

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Leider kann ich dieses Foto nicht auf der Weltkarte anzeigen, ich weiß nicht, was die da wieder auf Flickr gemacht haben, tut mir leid, das sind keine Verbesserungen, nur ein weiterer Rückschlag! Aber vielleicht bin ich auch einfach zu blöd dafür, ich lasse mich gern korrigieren!!!

One thing I enjoy about Plainview is the wide variety of storefronts, setbacks, colors and textures.

I used a classic non-ai 35mm Nikkor from the 1960s for this photo.

2020-04-08 0425-CR2-L1T2

Cribbage is by far my favorite card game to play. I enjoy euchre and setback but cribbage is a very strategical card game. What to throw in your crib, what to throw in your opponents crib, how to set yourself or your partner up to score pegging points. How to minimize your opponent's pegging points How to know what to save in your hand or throw away....its all about the percentages.

I have always loved playing cards ever since my mom taught me, my sister and two neighborhood kids how to play pinochle while I was in the 5th grade. Then a neighbor lady taught us kids how to play poker for pennies. I have loved card games ever since.

Oh....and I DO NOT LIKE TO LOSE

Barrow / Villa Rodriguez

El paraje Barrow que comenzó en la estación de ferrocarril, sufrió un revés una vez que las locomotoras dejaron de circular, dejando recuerdos, viviendas y muchos sueños que quedaron truncos, como el de crecer a la vera de los rieles.

1886, cuando los caminos de hierro se extendían en la provincia como un elemento indispensable de subsistencia del país, las líneas férreas ya cruzaban la zona de la localidad de Barrow, que por ese entonces se denominaba Empalme. En 1907, se crea la estación, como consecuencia del tendido de la línea férrea a Lobería. Su nombre fue un homenaje a M.W. Barrow, gerente de la empresa Ferrocarril del Sud (actual Ferrocarril General Roca), entre 1890-1892 y que sin proponérselo se había convertido en el artífice de tantos pueblos de la provincia. La distinción le llegó en la época en que los ingleses habían decidido reconocer los servicios prestados por los miembros de esa colectividad relacionados con el desarrollo de los rieles en la República Argentina. Así, bregaron para que el gobierno nacional decretara en la fecha del 50º del primer ferrocarril argentino, el 30 de agosto de 1907, el cambio de nombre de algunas estaciones, como la de Barrow, reconociendo al hombre que alcanzó un poder ilimitado como gerente del Ferrocarril, ocupando infinidad de funciones y cargos, siguiendo un espíritu visionario que llevó al crecimiento del país. Durante su gerencia, M.W. Barrow había estudiado la idea de instalar nuevos y modernos talleres para las operaciones del Ferrocarril del Sud que tomaban cada día mayor incremento. En las frecuentes visitas que realizaba a los talleres notaba que las operaciones se realizaban en un estrecho círculo y en instalaciones completamente inadecuadas que imposibilitaban la libre tarea de los mil operarios. Y desde entonces dedicó toda su energía a procurar la formación de instalaciones modernas que se ajustaran a la realidad.

Postulaba Alberdi, unieron los FF.CC. al país más que la Constitución Nacional y permitió la aparición de núcleos urbanos integrados, que fueron punto de reunión, de encuentro social y de vida.

TRASLATOR

Barrow / Villa Rodriguez

The Barrow spot that started at the railway station suffered a setback once the locomotives stopped circulating, leaving memories, homes and many dreams that were truncated, such as growing alongside the rails.

1886, when the iron roads extended in the province like an indispensable element of subsistence of the country, the railway lines already crossed the zone of the locality of Barrow, that by that then was denominated Empalme. In 1907, the station was created, as a consequence of the laying of the railway line to Lobería. His name was a tribute to M.W. Barrow, manager of the company Ferrocarril del Sud (current General Roca Railroad), between 1890-1892 and who had unwittingly become the architect of so many towns in the province. The distinction came at the time when the English had decided to recognize the services provided by the members of that group related to the development of the rails in the Argentine Republic. Thus, they struggled for the national government to decree on the date of the 50th of the first Argentine railway, on August 30, 1907, the change of name of some stations, such as Barrow, recognizing the man who achieved unlimited power as manager of the Railroad, occupying countless functions and positions, following a visionary spirit that led to the growth of the country. During his management, M.W. Barrow had studied the idea of ​​installing new and modern workshops for the operations of the Southern Railway, which were increasing every day. In the frequent visits he made to the workshops he noticed that the operations were carried out in a narrow circle and in completely inadequate facilities that made impossible the free task of the thousand workers. And since then he devoted all his energy to procuring the formation of modern facilities that fit the reality.

Postulated Alberdi, joined the FF.CC. the country more than the National Constitution and allowed the emergence of integrated urban centers, which were a meeting point, social meeting and life.

Park Place in Vancouver with its pink granite and copper-glazed exterior.

Powis Castle is a medieval castle, fortress and grand country house near Welshpool, in Powys, Wales. The seat of the Herbert family, earls of Powis, the castle is known for its formal gardens and for its interiors, the former having been described as "the most important", and the latter "the most magnificent", in the country. The castle and gardens are under the care of the National Trust. Powis Castle is a Grade I listed building, while its gardens have their own Grade I listing on the Cadw/ICOMOS Register of Parks and Gardens of Special Historic Interest in Wales.

The present castle was built in the 13th century. Unusually for a castle on the Marches, it was constructed by a Welsh prince, Gruffydd ap Gwenwynwyn, rather than by a Norman baron. Gruffydd was prince of the ancient Kingdom of Powys and maintained an alliance with the English king Edward I during the struggles of the later 13th century. He was able to secure the position of his son, Owain, although the kingdom itself was abolished by the Parliament of Shrewsbury in 1283. After his father's death, Owain was raised to the peerage as Owen de la Pole, 1st Lord of Powis. Following his own death c. 1293, and the death of his only son, he was succeeded by his daughter, Hawys Gadarn, "the Lady of Powis". Hawys married Sir John Charlton in 1309.

In the late 16th century the castle was purchased by Edward Herbert, a younger son of the earl of Pembroke, beginning a connection between the family and the castle that continues today. The Herberts remained Roman Catholic until the 18th century and, although rising in the peerage to earls, marquesses and Jacobite dukes of Powis, suffered periods of imprisonment and exile. Despite these setbacks, they were able in the late 17th and early 18th centuries to transform Powis from a border fortress into an aristocratic country house, and surround it with one of the very few extant examples of a British Baroque garden.

In 1784 Henrietta Herbert married Edward Clive, eldest son of Clive of India, a match which replenished the much-depleted Herbert family fortune. In the early 20th century, George Herbert, 4th Earl of Powis redeveloped the castle with the assistance of the architect George Frederick Bodley. Herbert’s wife, Violet, undertook work of equal importance in the garden, seeking to turn it into "one of the most beautiful, if not the most beautiful, in England and Wales". On the 4th earl's death in 1952, his wife and his sons having predeceased him, the castle passed into the care of the National Trust.

It's Movie Night again, and STB had big plans to decorate his quarters now that's almost October. However, STB had a small setback, and he knew the guys would understand.

TK-432: Dude, your "little Frankenstein" weighs a ton. A little help here would be nice!

TK-1110: What he said! And no, pointing where you want us to move it does not count!

STB: Guys, I already told you I threw my back out when I fell off the tv hanging my spider web!

TK-1110: Well, you should have waited for us like you do every year! You know we're always good for lending a hand when it comes to decorating.

TK-432: What he said! We don't mind a little heavy lifting when we know there's good eating afterward! But Frankie here ain't budging unless you give us just a little push!

STB: You're doing great, guys! Just a little further. You can do it! You're almost there. Once you're done I'll restart the movie, and then we can chow down!

TK-1110: My trooper senses tell me we're getting nowhere. We'll gladly do your heavy lifting tonight for some grub, brewskies and cupcakes later.

_________________________________________

Viewing Large is always fun. Just click on the image.

In life, victory is sweet, but it’s not the only gift. Every step, whether a win or a stumble, holds a lesson. When things don’t go as planned, don’t be disheartened.

For every setback is a whisper of wisdom, teaching patience, resilience, and growth, True success doesn't mean never failing, every time you fall, you become stronger and wiser, haven't you noticed that?

⁛ Even in defeat, there is always hope, always something gained.

© 2025 Lorrie Agapi. All rights reserved.

My heart, my words. Please respect them.

Everything I share here comes from my own soul and my own journey.

Please don’t copy or rewrite my texts as your own.

Your own voice deserves its own space.

Human spaceflight image of the week:

The European Columbus module is packed up and loaded for transport to the US in this image from 2006. Built in Turin, Italy, and Bremen, Germany, the completed module was shipped to NASA’s facilities in Cape Canaveral, Florida ahead of its February 2008 launch aboard Space Shuttle Atlantis.

Columbus has been providing microgravity research facilities for the past decade. In honour of this milestone, this week’s image celebrates Columbus’ triumph over setbacks. Many events factored into its delayed launch: the bureaucratic challenge of planning and budgeting, construction delays and the tragic 2003 Columbia Shuttle disaster meant Columbus was five years behind schedule by the time it climbed into the sky.

So it was with joy and relief when Columbus inside its climate-controlled container was loaded into the Beluga aircraft, an Airbus A300 named after the whale it resembles.

Among the many who attended its farewell ceremony was German Chancellor Angela Merkel.

Once at Kennedy Space Center in Florida, the fully integrated module underwent final tests before being loaded into the Shuttle payload bay.

Since its launch in February 2008, the biggest European contribution to manned spaceflight has provided a multi-disciplinary, multi-user platform for research in biology, fluidics and physics, and technology demonstrations – and continues to do so today.

Credit: EADS–I. Wagner

2-frame panorama

"Amalfi is a town and commune in the province of Salerno, in the region of Campania, Italy, on the Gulf of Salerno. It lies at the mouth of a deep ravine, at the foot of Monte Cerreto (1,315 metres, 4,314 feet), surrounded by dramatic cliffs and coastal scenery. The town of Amalfi was the capital of the maritime republic known as the Duchy of Amalfi, an important trading power in the Mediterranean between 839 and around 1200.

In the 1920s and 1930s, Amalfi was a popular holiday destination for the British upper class and aristocracy.

Amalfi is the main town of the coast on which it is located, named Costiera Amalfitana (Amalfi Coast), and is today an important tourist destination together with other towns on the same coast, such as Positano, Ravello and others. Amalfi is included in the UNESCO World Heritage Sites.

A patron saint of Amalfi is Saint Andrew, the Apostle, whose relics are kept here at Amalfi Cathedral (Cattedrale di Sant'Andrea/Duomo di Amalfi).

Amalfi held importance as a maritime power, trading grain from its neighbors, salt from Sardinia and slaves from the interior, and even timber, in exchange for the gold dinars minted in Egypt and Syria, in order to buy the Byzantine silks that it resold in the West. Grain-bearing Amalfi traders enjoyed privileged positions in the Islamic ports, Fernand Braudel notes. The Amalfi tables (Tavole Amalfitane) provided a maritime code that was widely used by the Christian port cities. Merchants of Amalfi were using gold coins to purchase land in the 9th century, while most of Italy worked in a barter economy. During the late 9th century, long-distance trade revived between Amalfi and Gaeta with Byzantine, the latter which benefited from a flourishing trade network with the Arabs.

An independent republic from the 7th century until 1073, Amalfi extracted itself from Byzantine vassalage in 839 and first elected a duke in 958; it rivaled Pisa and Genoa in its domestic prosperity and maritime importance before the rise of the Republic of Venice. In spite of some devastating setbacks it had a population of some 70,000 to 80,000 reaching a peak about the turn of the millennium, during the reign of Duke Manso (966–1004). Under his line of dukes, Amalfi remained independent, except for a brief period of Salernitan dependency under Guaimar IV.

In 1073, the republic fell to the Norman countship of Apulia, but was granted many rights. A prey to the Normans who encamped in the south of Italy, it became one of their principal posts. However, in 1131, it was reduced by Roger II of Sicily, who had been refused the keys to its citadel. The Holy Roman Emperor Lothair, fighting in favor of Pope Innocent II against Roger, who sided with the Antipope Anacletus, took him prisoner in 1133, assisted by forty-six Pisan ships. The Pisans, commercial rivals of the Amalfitani, sacked the city; Lothair claimed as part of the booty a copy of the Pandects of Justinian which was found there.

In 1135 and 1137, it was taken by the Pisans and rapidly declined in importance, though its maritime code, known as the Amalfian Laws, was recognized in the Mediterranean until 1570. A tsunami in 1343 destroyed the port and lower town, and Amalfi never recovered to anything more than local importance" (Wikipedia).

PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.

The leaves were glowing in a way that reminded me of autumn. But it was just a beech preparing for unfolding its leaves soon. After a harsh setback with temperatures around zero at night finally the trees dare to break into leaf. 25 C today! :)

Hey guys, lots going on and lots to talk about, and it feels like it's been too long since I posted a star shot.

This is the Oregon Coast with the Milky Way arcing overhead and a fishing trawler on the horizon. It's amazing how something that seems to be a nuisance at the time can become a useful dynamic later after consideration. ...And being forced to work with it! *laughing*

I like the "gentleness" of this image. What do you think about it?

This week I will be out of town working on an exciting local video production called "Treeverse." I was honored to be asked to be part of it, and then excited as it's developed into a sizable production full of creativity and imagination. You can find out more information

# here and # here

I will be doing timelapse and night photography of the event. Fingers crossed that we get a clear night for stars! A major shout out and thank you to # Dynamic Perception for supporting the production with a Stage Zero timelapse dolly system. If you are into timelapses- check out their system. It is incredibly powerful and incredibly simple to use. I could not rave enough about how much I am loving the Stage Zero and may run away with it to Mexico when I am supposed to send it back- wait, Canada is closer, so maybe Canada instead of Mexico. I will try to attach a sample video below of the kind of stuff I will be doing for this production. I am leaving this morning for the event and will be gone until Sunday. It's going to be an amazing week of photography, videography, timelapse, adventure and soggy mud.

A big thank you to all of you that responded to the video tutorial on Processing Stars! It was a major effort to put it together and get it online. Thank you for your support and interest. There will be more videos to come and in field workshops this summer.

It has been a wild ride pursuing this star photography thing. Lots of surprises, challenges, excitement, setbacks, and learning. When I first pointed my camera up into the night sky to try and take a picture of the stars with my DSLR, my jaw dropped when my preview screen lit up with more stars than my eyes could see or imagine were out there. The shot was underexposed, out of focus, and noisy as hell. Even though I was completely hooked at that first moment, I never would have guessed or imagined that the excitement of that one star shot would translate into the path it has become. We live in an exciting time where the digital revolution is putting POWERFUL tools at very affordable prices our hands. I encourage you to give a try at taking star pictures. Drive far out of town, and point that camera up into the sky! More than likely, your first tries will be out of focus, underexposed and noisy as hell just like mine were- but as likely, you'll feel that wonder of looking up into a starry sky and the amazement that you can take a picture of it! In case you've missed the posting in the past, if you do want to give shooting stars a chance, I've made a video tutorial geared to show you tips and techniques for "Your First Night Out Shooting Stars." It is not exhaustive, but it will point you in the right direction and give you that push of confidence and interest you may be needing to try it out. And, hopefully you can skip the first year and a half it took me to figure out how to even begin taking star shots!

Check it out # here

Thanks everyone for your support and interest in my work. It is continually a source of encouragement and inspiration for me!

After a setback near Frazee and a bad order set-out in Detroit Lakes, mixed freight for Pasco, Washington continues the trip west through Audubon.

Thanks to the conductor for the wave. Safe travels to Dilworth!

Fake spring is upon us. One day this robin was poking around for worms and the next day he had this to deal with. Here he sits on the upside down birdbath (winter storage position) wondering if he should have taken a later flight.

Packed up smoking these things along with alcohol 27 years ago, and it was the 3rd best thing to happen to me in my life so far !

Despite many, many extremely stressful setbacks during that time, apart from a ' few twinges ' during the first three months, those particular urges have long since gone ~ I'm not going to mention my passion for McCoys crisps !

Another year has gone by!

I'm surprised to see how few pictures of Tidda I've posted over the last year. Partly that's because I've been making videos of our walks for my YouTube channel. www.youtube.com/@soulwalkies

I'm happy to report that Tidda continues to slowly but surely act more and more secure and gain confidence. :)

The only mishap in the last year (Tidda is definitely prone to mishaps!) was when an inconsiderate off-road bicyclist unexpectedly came up behind us, trying to pass closely, and rammed a surprised Tidda when she darted out at the last moment - hitting her in the operated hip! I was very upset! That caused a setback in terms of her hip and has taken over two months to recover from. But thankfully she's back to running and playing once again! :)

Sometime in the next several months we'll be making our first road trip. I think she's ready. To San Francisco!

She is now 8 years old.

before crossing the pond. Still no camera and the flowers have started to bloom. A slight setback in buying the new camera. Moniter and graphics card went out and had to buy new. The boys and I decided to upgrade and bought a 24"HD Samsung moniter and a GeForce GTX260 graphics card. I'm back on line but it will be a while before I send any new shots. Meanwhile,rest assured I have been looking at your photos and each and everyone has brought a smile to my face . Good shooting.

This series is dedicated to my dear friend Bob, who I take care of here at the adult care home. He just had a setback, mini strokes that have stolen his strength. He is a wonderful man, who loves nature as I do, and has spent many years camping and mushrooming in these mountains. Yesterday he was at the Emergency room most of the day, and now he is very weak and uncoordinated. It breaks my heart to see him confused and struggling... so I brought him in a squash shell I found in the compost that had every seed sprouting with determination, and I told him he just needs to be stubborn like a squash! All around this sqaush shell, the compost was turning into dirt, but this collection of seeds was determined to grow rather than become food for other plants. I think every seed in the gourd has sprouted, and so I have replanted it into a place that it can go ahead and grow. It will be interesting to see how many of these seedlings actually become plants, how many survive. It is always heartwarming to see when my elders fight against the pitfalls of old age and ill health and move forward in a positive direction! I learn so much from watching these 79-92 year old folks!

Art Deco was the hot architectural style in America during the 1920s and 1930s. The style is characterized by features like smooth wall surfaces (often shiny metal), with zigzags, chevrons, and other geometric motifs as decorative elements on the façade. The geometric motifs usually emphasize verticality, which is often enhanced by adding towers and vertical projections. Even figure sculptures display an angular geometric approach. One of the best examples of Art Deco style in New York State, and arguably in America, is the Niagara Mohawk Building in Syracuse. This dramatic seven-story structure, which is the headquarters of the Niagara Mohawk Power Company at 300 Erie Boulevard West, was built in 1932. It was designed by the Buffalo architectural firm of Bley & Lyman and the Syracuse architect Melvin L. King. The façade is constructed of gray brick and stone in a series of setbacks, with additional cladding in stainless steel, aluminum, and black glass. The ornamentation is truly opulent. There are parallel bands, zigzags, and chevrons. At the base of the tower six stories above the entrance, there is a 28-foot-high statue of a male figure with outstretched arms from which rays of light emanate like giant wings. The stunning sculpture is called, “Spirit of Light.” Niagara Mohawk gleams, shimmering in daylight and glittering at night with interior lighting and powerful exterior flood illumination.

The building was listed on the U.S. National Register of Historic Places in June, 2010.[1] The listing was announced as the featured listing in the National Park Service's weekly list of June 25, 2010.[4]

The building was built in 1932. It was headquarters for what was "then the nation's largest electric utility company".[5]

It was nominated by New York State's Board of Historic Preservation for listing on the National Register of Historic Places in December, 2009. The Board described the building as "'an outstanding example of Art Deco architecture and a symbol of the Age of Electricity.

300 Erie Boulevard West,Syracuse, New York

Architectural style:

Art Deco

Governing body:

Private

NRHP Reference#:

10000361

I didn’t choose this quote. It was chosen by one of the two groups that featured my (above) image this week. That was a spot on on my feelings & views of life. Love #BrooklynBridge

Maybe it’s just me but after a certain age every little setback feels as a major failure. And then I figure that if we try 1000 times maybe at least once will get something right. The theory of probability just can’t be wrong !

La Real Colegiata de Santa María es un conjunto monumental situado en la localidad de Roncesvalles (Navarra, España), considerado como el mejor ejemplo navarro del gótico, al más puro estilo de la región parisina de la Isla de Francia. Su construcción fue impulsada por el rey de Navarra Sancho VII, el Fuerte quién deseaba, al mismo tiempo, le sirviera de lugar de enterramiento como finalmente fue. Se levantó a principios del siglo XIII y acogiendo entre sus paredes una preciosa imagen de la Virgen del siglo XIV. Ha sufrido varias reformas y reconstrucciones tras varios contratiempos siendo la reconstrucción del siglo XVII la que afectó a todo el conjunto especialmente a la iglesia y claustro.

Hoy la iglesia presenta una planta de tres naves, la central de doble anchura que las laterales, que se dividen en cinco tramos a los que hay que añadir en la nave central una cabecera pentagonal; las laterales terminan en recto. El sistema de soportes está compuesto de pilares cilíndricos que separan las naves de grosor alternante, se apoyan en una basa y rematan en capitel decorado con doble faja de crochets de tratamiento muy simple. Los pilares sirven de apoyo a los arcos formeros apuntados y a las columnillas que soportan las cubiertas. Sobre los arcos formeros corre el triforio, formado en cada tramo de la nave central por cuatro arquillos apuntados sobre columnillas con el mismo tipo de capitel, galería que da paso sin elementos de separación al óculo en el que se dispone como único elemento decorativo una secuencia de arcos apuntados. En la cabecera se abren grandes ventanales decorados con vidrieras coloreadas modernas fabricadas en Alemania.

Preside el templo una magnífica escultura de la Virgen de Roncesvalles. Es una talla de madera, forrada de plata, gótica, de mediados del siglo XIV y realizada en Toulouse. Transmite a la perfección el espíritu gótico en lo que tiene de cercanía, naturalismo y familiaridad.

es.wikipedia.org/wiki/Real_Colegiata_de_Santa_María_de_R...

The Royal Collegiate Church of Santa Maria is a monumental complex located in the town of Roncesvalles (Navarra, Spain), considered the best example of Gothic Navarre, in the purest style of the Parisian region of the Isle of France. Its construction was promoted by the king of Navarre Sancho VII, the Strong who wished, at the same time, to use it as a burial place, as it finally was. It was erected at the beginning of the 13th century and it houses within its walls a beautiful image of the Virgin of the 14th century. It has undergone several reforms and reconstructions after several setbacks being the reconstruction of the seventeenth century which affected the whole especially the church and cloister.

Today the church has a plan of three naves, the central one of double width than the lateral ones, which are divided into five sections to which a pentagonal chancel must be added in the central nave; the lateral ones end in a straight line. The system of supports is composed of cylindrical pillars that separate the naves of alternating thickness, supported on a base and topped with a capital decorated with a double band of crochets of very simple treatment. The pillars support the pointed former arches and the small columns that support the roofs. Over the former arches runs the triforium, formed in each bay of the central nave by four pointed arches on small columns with the same type of capital, a gallery that gives way without separating elements to the oculus in which there is a sequence of pointed arches as the only decorative element. In the chancel there are large windows decorated with modern colored stained glass windows made in Germany.

A magnificent sculpture of the Virgin of Roncesvalles presides over the temple. It is a wood carving, covered with silver, Gothic, mid-fourteenth century and made in Toulouse. It transmits to the perfection the Gothic spirit in what it has of closeness, naturalism and familiarity.

Translated with www.DeepL.com/Translator (free version)

La Real Colegiata de Santa María es un conjunto monumental situado en la localidad de Roncesvalles (Navarra, España), considerado como el mejor ejemplo navarro del gótico, al más puro estilo de la región parisina de la Isla de Francia. Su construcción fue impulsada por el rey de Navarra Sancho VII, el Fuerte quién deseaba, al mismo tiempo, le sirviera de lugar de enterramiento como finalmente fue. Se levantó a principios del siglo XIII y acogiendo entre sus paredes una preciosa imagen de la Virgen del siglo XIV. Ha sufrido varias reformas y reconstrucciones tras varios contratiempos siendo la reconstrucción del siglo XVII la que afectó a todo el conjunto especialmente a la iglesia y claustro.

Hoy la iglesia presenta una planta de tres naves, la central de doble anchura que las laterales, que se dividen en cinco tramos a los que hay que añadir en la nave central una cabecera pentagonal; las laterales terminan en recto. El sistema de soportes está compuesto de pilares cilíndricos que separan las naves de grosor alternante, se apoyan en una basa y rematan en capitel decorado con doble faja de crochets de tratamiento muy simple. Los pilares sirven de apoyo a los arcos formeros apuntados y a las columnillas que soportan las cubiertas. Sobre los arcos formeros corre el triforio, formado en cada tramo de la nave central por cuatro arquillos apuntados sobre columnillas con el mismo tipo de capitel, galería que da paso sin elementos de separación al óculo en el que se dispone como único elemento decorativo una secuencia de arcos apuntados. En la cabecera se abren grandes ventanales decorados con vidrieras coloreadas modernas fabricadas en Alemania.

Preside el templo una magnífica escultura de la Virgen de Roncesvalles. Es una talla de madera, forrada de plata, gótica, de mediados del siglo XIV y realizada en Toulouse. Transmite a la perfección el espíritu gótico en lo que tiene de cercanía, naturalismo y familiaridad.

es.wikipedia.org/wiki/Real_Colegiata_de_Santa_María_de_R...

The Royal Collegiate Church of Santa Maria is a monumental complex located in the town of Roncesvalles (Navarra, Spain), considered the best example of Gothic Navarre, in the purest style of the Parisian region of the Isle of France. Its construction was promoted by the king of Navarre Sancho VII, the Strong who wished, at the same time, to use it as a burial place, as it finally was. It was erected at the beginning of the 13th century and it houses within its walls a beautiful image of the Virgin of the 14th century. It has undergone several reforms and reconstructions after several setbacks being the reconstruction of the seventeenth century which affected the whole especially the church and cloister.

Today the church has a plan of three naves, the central one of double width than the lateral ones, which are divided into five sections to which a pentagonal chancel must be added in the central nave; the lateral ones end in a straight line. The system of supports is composed of cylindrical pillars that separate the naves of alternating thickness, supported on a base and topped with a capital decorated with a double band of crochets of very simple treatment. The pillars support the pointed former arches and the small columns that support the roofs. Over the former arches runs the triforium, formed in each bay of the central nave by four pointed arches on small columns with the same type of capital, a gallery that gives way without separating elements to the oculus in which there is a sequence of pointed arches as the only decorative element. In the chancel there are large windows decorated with modern colored stained glass windows made in Germany.

A magnificent sculpture of the Virgin of Roncesvalles presides over the temple. It is a wood carving, covered with silver, Gothic, mid-fourteenth century and made in Toulouse. It transmits to the perfection the Gothic spirit in what it has of closeness, naturalism and familiarity.

Translated with www.DeepL.com/Translator (free version)

In spite of all the setbacks the Corona virus throws at us, I wish you all a merry Christmas. Best wishes for the coming year will follow when I am sure the next year, indeed, has arrived.

Wochenende auf der Baustelle

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

Unfortunately I can't show this photo on the world map, I don't know what they did on Flickr again, sorry, these aren't improvements, just another setback! But maybe I'm just too stupid for that, I'm happy to be corrected!!!

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

Leider kann ich dieses Foto nicht auf der Weltkarte anzeigen, ich weiß nicht, was die da wieder auf Flickr gemacht haben, tut mir leid, das sind keine Verbesserungen, nur ein weiterer Rückschlag! Aber vielleicht bin ich auch einfach zu blöd dafür, ich lasse mich gern korrigieren!!!

Cimetière Montmartre - Paris.

Jean Bauchet (1906-1995) a commencé une carrière d'artiste comme danseur acrobatique avant de se lancer dans la chansonnette au Moulin-Rouge, sans grand succès. En 1941, il est le partenaire athlétique de la chanteuse Odette Moulin. Il présente aussi un numéro athlétique baptisé « l'enclume » mettant en valeur sa musculature. Il se marie en 1942 avec Jeanne Henriette Prodel (1919-2014). Après la Seconde Guerre mondiale il a reçu l'autorisation d'exploiter des jeux de billard qui ont été à l'origine de sa fortune. Il a racheté le Wepler1,2. Il dirige le Casino de Paris. Joseph et Louis Clerico ont acheté le Lido en 1946 puis le Moulin-Rouge, en 1955. Jean Bauchet en assume la direction. Il a créé le casino de Beyrouth. En 1976, il dirige le théâtre du Châtelet avant qu'il dépose le bilan en 1979. Jean Bauchet achète le Casino de Paris au bord de la faillite en 1976, à la demande de Line Renaud et son mari Loulou Gasté. Le Casino de Paris ferme ses portes le 5 janvier 1980 à la suite de déboires financiers.

Montmartre Cemetery - Paris.

Jean Bauchet (1906-1995) began his career as an artist as an acrobatic dancer before launching into singing at the Moulin Rouge, without much success. In 1941, he was the athletic partner of the singer Odette Moulin. He also presented an athletic number called "l'enclume" highlighting his muscles. He married Jeanne Henriette Prodel (1919-2014) in 1942. After the Second World War, he received authorization to operate billiards games, which were the source of his fortune. He bought the Wepler1,2. He managed the Casino de Paris. Joseph and Louis Clerico bought the Lido in 1946 and then the Moulin Rouge in 1955. Jean Bauchet took over its management. He created the Beirut casino. In 1976, he directed the Théâtre du Châtelet before it filed for bankruptcy in 1979. Jean Bauchet bought the Casino de Paris on the verge of bankruptcy in 1976, at the request of Line Renaud and her husband Loulou Gasté. The Casino de Paris closed its doors on January 5, 1980 following financial setbacks.

Roger Wick never made it big in the movies like his brother. We can only speculate about the reasons, but having been born cross-eyed didn’t really make him a number once choice for the role of a successful, dead on target hitman.

Nowadays he makes it his job to keep crazy housewives from trying to swim in the rat infested pool of the trailer park he lives in - with a squirt gun, mind you.

mix-and-mesh.blogspot.com/2021/02/career-setback.html

Here’s what I'm wearing:

Hair: Dura-U108-FAT PACK A (New Release)

Mesh Head + Skin Applier Head/Body: [AK Advanced Men] – Bento Head M02 3.0

Mesh Body: [SIGNATURE] Gianni V5.0.

Necklace: = REBELLION = "KAI" NECKLACE.

Inks: Endless Pain Tattoos - Carnage Male.

Shirt: flow . Bomb Button Down Shirt Fatpack (New Release)

Pants: [Deadwool] Kojima jeans - marine

Shoes: [Deadwool] Oxford shoes - brown

Sgt. Dmitri Kirov

13th Guards Rifle Division

The past month has consisted mostly of the same street fighting, ambushes, and booby traps I’ve come to know go hand in hand with taking a city as big as this. The Germans and Hungarians have turned every intersection into barricades, rife with machine gun nests, snipers and tanks. The fighting in the west end of town slowed us down for three weeks, only to find all the bridges over the Danube had been blown. But even with these setbacks, I can tell the end of the fighting is near. They’ve been cut off from supply for too long, disease and starvation are rampant amongst soldiers and civilians alike.

If they’d rather tear their city apart than give up the fight, fine by me.

One Bryant Park top floors and rooftop setbacks.

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The Security Building is a historic site in downtown Miami, Florida. It is located at 117 Northeast 1st Avenue. On January 4, 1989, it was added to the U.S. National Register of Historic Places. The building has 16 floors with a height of 225 feet (69 m) and was built from 1926 to 1927.

The Dade County Security Company was organized in 1901 and moved to a nearby headquarters in 1923. By the mid-1920s the company needed a larger headquarters. In 1921, the Dade County Security Company had acquired the McKinnon Hotel which occupied a mid-block parcel on Northeast 1st Avenue and renamed it the Security Hotel. Dade Security had considered adding stories atop the hotel but opted in 1925 to raze the hotel and construct a new headquarters on the same site under the direction of architect Robert Greenfield.

Construction on the Security Building began in 1926. The building was known as the Security Building from its opening in 1927 until 1945. Upon opening, the first level and mezzanine were devoted to banking offices. The floors above provided 275 office suites and were reached by four "high speed" elevators.

The Security Building faces west onto NE 1st Avenue. It is located in mid-block with buildings on either side. Those buildings are considerably shorter than the Security Building. The building maintains a zero-foot (0 m) setback, and the entry doors open directly onto the sidewalk. There are no landscape features on the property. The building is composed of a main block parallel to the street, and a second block connected perpendicularly that extends to the east.

With only a 50-foot (15 m) frontage, the architect made a grand statement by creating an almost temple-like base, consisting of the first three stories. Engaged pilasters, that also frame the center bay, articulate the corners creating three distinct bays. Spandrels between the floors are bronze and feature relief ornament. The pilasters carry the entablature, with the name “Security Building” in incised letters. A dentilled molding ornaments the cornice that terminates this division of the building.

The fourth floor begins the transition to the high-rise portion of the building. Stone panels with a similar relief accent the corners and separate the bays. Above the windows of the fourth floor is another projecting element, a stringcourse that is ornamented with a guilloche pattern in relief.

Floors five through 13 continue the three bays with window arrangements that are grouped in pairs on each of the end bays, and are grouped in three in the center bay, emphasizing the importance of the center bay to the entire composition. The windows are a metal casement type.

Security Building (Miami) South and West Facades, top floors with mansard roof and cupola.

The 14th and 15th floors function as the base for the great mansard roof, which terminates the building. To balance the composition, the two floors are treated as if they were one by the use of a round arch at the 15th floor that is carried by the pilasters of the 14th floor, so that the two floors are visually united.

A bracketed cornice separates the building from the roof form that is so decidedly different from roof treatments in Miami during this period. A mansard roof is a double-pitched roof with a steep upper slope. The mansard roof was named for architect Francois Mansart (1598–1666). Mansart worked in the 17th century and introduced the roof form that extended attic space to provide additional usable area. The mansard roof is a character-defining feature of the Second Empire style that was named after Napoleon III, who took on major building projects in Paris during the 18th century.

The mansard roof of the Security Building is clad in copper and terminates in a series of antefixae. A series of arches containing windows and serving as dormers penetrates the roof. Bull's-eye windows are placed between the arched windows. An eight-sided cupola that extends from the center of the roof is fenestrated on each side with a multi-paned arched window. The dome of the cupola also is clad in copper.

The north and south ends of the building are not ornamented. The windows are a metal casement type. The quoining on the corners of the west elevation is repeated in the north and south elevations of the building. The extension to the east is flat-roofed and is terminated by a defined cornice. The majority of the wall surface contains windows that are either square or rectangular in shape. They contain metal casement windows.

Credit for the data above is given to the following websites:

en.wikipedia.org/wiki/Security_Building_(Miami,_Florida)

miami-history.com/security-building-in-downtown-miami/

© All Rights Reserved - you may not use this image in any form without my prior permission.

In the mid 1960s Škoda manufacturer AZNP started to think about a successor for the 1000 MB and the later 100/110 series. Ital Design founder Giorgetto Giugiaro (It., 1938) was asked for ideas. In June 1969 useful sketches were approved, and in Aug. 1969 the first model 740 prototype was presented.

After overcoming many problems and setbacks, production could finally start in 1976.

The Škoda Type 742 and 746 share the same body. They were available as 105, 120 and as 125, depending on the engine. The type designation 130 Type 743 was reserved for the coupe.

In 1983 renewed 742 versions were presented. They received rectangular head lamps.

In the UK these cars were sold as Estelle. In France as 1050, because Peugeot had claimed the rights of using the 105 model name for their own cars.

1046 cc L4 rear engine.

Performance: 46 bhp.

902 kg.

Production Škoda Type 742 series: Aug. 1976-1989.

Production Škoda 742 series this 2nd version: Sept. 1983-1989.

Production Škoda Type 742 105 series version: Aug. 1976-1987.

Original Dutch reg. number: Aug. 10, 1984.

Since July 2, 2011 with current owner.

Alkmaar, Wezelkoog, April 27. 2025.

© 2025 Sander Toonen Halfweg | All Rights Reserved

Southeast Financial Center is a two-acre development in Miami, Florida, United States. It consists of a 764 feet (233 m) tall office skyscraper and its 15-story parking garage. It was previously known as the Southeast Financial Center (1984–1992), the First Union Financial Center (1992–2003), and the Wachovia Financial Center (2003-2011). In 2011, it retook its old name of Southeast Financial Center as Wachovia merged with Wells Fargo and moved to the nearby Wells Fargo Center.

When topped-off in August 1983, it was the tallest building south of New York City and east of the Mississippi River, taking away the same title from the Westin Peachtree Plaza Hotel, in Atlanta, Georgia. It remained the tallest building in the southeastern U.S. until 1987, when it was surpassed by One Atlantic Center in Atlanta and the tallest in Florida until October 1, 2003, when it was surpassed by the Four Seasons Hotel and Tower, also in Miami. It remains the tallest office tower in Florida and the third tallest building in Miami.

Southeast Financial Center was constructed in three years with more than 500 construction workers. Approximately 6,650 tons of structural steel, 80,000 cubic yards of concrete and 7000 cubic tons of reinforcing steel bars went into its construction. The complex sits on a series of reinforced concrete grade beams tied to 150 concrete caissons as much as ten feet in diameter and to a depth of 80 feet. A steel space-frame canopy with glass skylights covers the outdoor plaza between the tower and low-rise building.

The tower has a composite structure. The exterior columns and beams are concrete encased steel wide flanges surrounded by reinforcing bars. The composite exterior frame was formed using hydraulic steel forms, or "flying forms," jacked into place with a "kangaroo" crane, that was located in the core and manually clamped into place. Wide flange beams topped by a metal deck and concrete form the interior floor framing. The core is A braced steel frame, designed to laterally resist wind loads. The construction of one typical floor was completed every five days.

The low-rise banking hall and parking building is a concrete-framed structure. Each floor consists of nearly an acre of continuously poured concrete. When the concrete had sufficiently hardened, compressed air was used to blow the forms fiberglass forms from under the completed floor. It was then rolled out to the exterior where it was raised by crane into position for the next floor.

The building was recognized as Miami's first and only office building to be certified for the LEED Gold award in January 2010.

The center was developed by a partnership consisting of Gerald D. Hines Interests, Southeast Bank and Corporate Property Investors for $180 million. It was originally built as the headquarters for Southeast Bank, which originally occupied 50 percent of the complex's space. It remained Southeast Bank's headquarters there until it was liquidated in 1991.

The Southeast Financial Center comprises two buildings: the 55-story office tower and the 15-story parking annex. The tower has 53 stories of office space. The first floor is dedicated for retail, the second floor is the lobby and the 55th floor was home to the luxurious Miami City Club. The parking annex has 12 floors of parking space for 1,150 cars. The first floor is dedicated for retail, the second floor is a banking hall and the 15th floor has the Downtown Athletic Club. A landscaped plaza lies between the office tower and the parking annex. An enclosed walkway connects the second story of the tower with the second story of the annex. The courtyard is partially protected from the elements by a steel and glass space frame canopy spanning the plaza and attached to the tower and annex. Southeast Bank's executive offices were located on the 38th floor. Ground was broken on the complex on December 12, 1981 and the official dedication and opening for the complex was held on October 23, 1984.

The Southeast Financial Center was designed by Edward Charles Bassett of Skidmore, Owings and Merrill. The Associate Architect was Spillis Candela & Partners. It has 1,145,311 ft² (106,000 m²) of office space. A typical floor has about 22,000 ft² (2,043.87 m²) of office space. Each floor has 9 ft x 9 ft (2.7 m x 2.7 m) floor to ceiling windows. (All of the building's windows are tinted except for the top floor, resulting in strikingly bright and clear views from there.) The total complex has over 2.2 million ft² (204,000 m²). The distinctive setbacks begin at the 43rd floor. Each typical floor plate has 9 corner offices and the top twelve floors have as many as 16. There are 43 elevators in the office tower. An emergency control station provides computerized monitoring for the entire complex, and four generators for backup power.

The Southeast Financial Center can be seen as far away as Ft. Lauderdale and halfway toward Bimini. Night space shuttle launches from Cape Canaveral 200 miles to the north were plainly visible from the higher floors. The roof of the building was featured in the Wesley Snipes motion picture Drop Zone, where an eccentric base jumper named Swoop parachutes down to the street from a suspended window cleaning trolley. The building also appeared in several episodes of the 1980s TV show Miami Vice and at the end of each episode's opening credits.

Zara founder Amancio Ortega purchased the building from J.P. Morgan Asset Management in December 2016. The purchase price was reportedly over $500 million, making it one of the largest real estate transactions in South Florida history.

Credit for the data above is given to the following websites:

en.wikipedia.org/wiki/Southeast_Financial_Center

www.emporis.com/buildings/122292/wachovia-financial-cente...

© All Rights Reserved - you may not use this image in any form without my prior permission.

Taken with Canon EF 50mm F1.4.

Spruce 7

Spruce 9

Excerpt from historicplaces.ca:

Description of Historic Place

The Syndicate Housing Heritage Conservation District consists of ten semi-detached 19th century brick working class residences located on the north side of Bower Street between Elgin Street and Frederick Street in Acton, Town of Halton Hills.

The district was designated by the Town of Halton Hills in 2005 for its heritage value under Part V of the Ontario Heritage Act (By-law 2005-0021).

Heritage Value

The Syndicate Housing Heritage Conservation District reflects an effort by leading industrialists in the Village of Acton to provide services for the growing community. In January 1882, the Acton Banking Company was founded by industrialist William H. Storey, providing the community with its own financial institution. Shortly after this, the Beardmore Tannery announced in March that it would need about 50 tenement houses for its employees. These needs may have prompted the newly formed Acton Banking Company to establish the Acton Building Association to meet the community's housing needs. The ten tenements on Bower Street were built without delay commencing in the summer of 1882 and were of excellent workmanship.

Located uniformly along Bower Street, the ten semi-detached residences of the Syndicate Housing Heritage Conservation District provide a visual reminder of the growth of industry in Acton in the late 19th century. The houses also reflect architectural features common at the time of their construction. They are characterised by symmetrical facades, flat roofs, elaborate brickwork with contrasting colours and patterns and tall windows featuring a rounded brick arch along with similarly adorned bay windows. Brick detailing such as the belt courses of yellow, red and black bricks distinguish the worker houses from each other.

Character-Defining Elements

Character defining elements that contribute to the design or physical value of the Syndicate Housing HCD include the:

- two storey red brick exteriors

- flat roofs

- contrasting brick colours

- voussoirs above windows and doors

- bay windows

- yellow brick quoins

- belt courses of yellow, red and black brick

- double hung, 6 over 2 pane windows

- single light transom

- white wood trim surrounding all windows

- location on the north side of Bower Street

- uninterrupted streetscape

- uniform setback and spacing between the houses

I’m just waiting for a show like this to pop-up.

I often wonder if Reality TV has become a permanent part of the entertainment landscape. I used to think they would exhaust themselves, but I’m not so sure anymore.

I can’t call it.

If I were to take anything artistic from it all, it would be the editing. From sound effects to timelines, Reality TV has given way to some of the best editing I’ve seen in decades.

They know we love to watch crazy…. I do at least.

The only setback is that it’s making me dumber.

I guess that goes with the territory.

Le marché central de la ville de Valence, en Espagne, est un édifice conçu en 1914 par les architectes barcelonais Alexandre Soler i March et Francesc Guàrdia i Vial, tous deux formés à l'Escola Tècnica Superior d'Arquitectura de Barcelona et collaborateurs de Lluís Domènech i Montaner (notamment concepteur du palais de la musique catalane), qui est caractérisé par un style propre dans les lignes du Art Nouveau valencienne.

Le projet du marché central prétendait concilier l'usage des grandes structures de fer dépouillées caractéristiques de l’Art nouveau. Après quelques inconvenues et modifications apportées au projet initial, les travaux furent terminés en janvier 1928 sous la direction d'Enric Viedma i Vidal

D'une surface de plus de 8 000 mètres carrés, il est riche d'allusions décoratives relatives aux produits des potagers, vergers et jardins de Valence. Sa structure, constituée de colonnes de fer rappelant la Tour Eiffel, de faïence et de vitraux, en fait une attraction architecturale à ne pas manquer.

Cette agora de la gastronomie valencienne compte plus de 1 200 stands dans lesquels se distinguent les fruits et légumes frais, avec comme protagonistes l'orange, la tomate et les haricots, puis les viandes, fromages, poissons et fruits de mer.

The Central Market (Valencian: mercat central; Castilian: mercado central) in the city of Valencia, Spain, is a building designed in 1914 by Barcelona architects Alexandre Soler i March and Francesc Guàrdia i Vial, both trained in 'Escola Tècnica Superior d'Arquitectura de Barcelona and collaborators of Lluís Domènech i Montaner (especially designer of the Palace of Catalan Music), which is characterized by its own style in the lines of Valencian Art Nouveau.

The central market project claimed to reconcile the use of the large, bare iron structures characteristic of Art Nouveau. After some setbacks and modifications to the initial project, the work was completed in January 1928 under the direction of Enric Viedma i Vidal

With a surface area of ​​more than 8,000 square meters, it is rich in decorative allusions relating to products from the vegetable gardens, orchards and gardens of Valencia. Its structure, made up of iron columns reminiscent of the Eiffel Tower, earthenware and stained glass, makes it an architectural attraction not to be missed.

This agora of Valencian gastronomy has more than 1,200 stalls in which fresh fruit and vegetables stand out, with orange, tomato and beans as protagonists, then meat, cheese, fish and seafood.