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PHILIPPINE SEA (Aug. 20, 2021) An F-35B Lightning II fighter aircraft from Marine Fighter Attack Squadron (VMFA) 211, embarked on the Royal Navy aircraft carrier HMS Queen Elizabeth (R08), takes off from the flight deck of forward-deployed amphibious assault ship USS America (LHA 6) during flight operations between America and the Royal Navy. America, flagship of the America Expeditionary Strike Group, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Matthew Cavenaile)
This is not the sharpest image as the shot was taken from the side of the highway and the tree was well into the bush. Also, aiming up is not the best for stability.
The young osprey are now flying. There are three of them and the parents.
As I was taking the photos they each took off and perched much farther away, until none were at the nest. The pair come back every year and raise their young. Just over the other side of the trees, is Lake Huron, so plenty of fishing opportunities.
An Apache attack helicopter pilot of 4 REGT AAC inspects his aircraft while he awaits tasking.
British airborne forces are training alongside NATO counterparts to develop their ability to work together to deliver a Swift Response to international crises.
16 Air Assault Brigade is on Exercise Swift Response, which brings together more than 5,000 personnel from 10 nations and takes place in Poland and Germany between May 27-June 26, 2016.. .Under the command of Headquarters 16 Air Assault Brigade some 2,000 troops took part, the largest British contingent to deploy on a NATO exercise in 2016. ..The joint force included 3 PARA Battlegroup, including engineer, artillery, logistics, signals, medical, provost and ISTAR support; Apache attack helicopters from 4 Regiment Army Air Corps; and RAF Chinook and Puma support helicopters and C-130 Hercules transport aircraft...The training involved mass parachute jumps and air assault operations as part of a simulated mission to restore stability to a troubled region. It is key to developing interoperability with 82nd Airborne Division and 11e Brigade Parachutiste, the Brigade’s key partners in the US and French armies respectively, as well as wider allies.
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© Crown Copyright 2014
Photographer: Cpl Rob Travis RAF
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BAY OF BENGAL (Oct. 16, 2021) U.S. Navy Nimitz-class aircraft carrier USS Carl Vinson (CVN 70) conducts a fueling-at-sea with Royal Australian Navy Anzac-class frigate HMAS Ballarat (FFH 155) as part of Maritime Partnership Exercise (MPX) 2021. MPX is a multilateral maritime exercise between the Royal Australian Navy, Japan Maritime Self-Defense Force, U.K. Royal Navy, and U.S. maritime forces; focused on naval cooperation, interoperability, and regional security and stability in the Indo-Pacific and is an example of the enduring partnership between Australian, Japanese, U.K., and U.S. maritime forces who routinely operate together in the Indo-Pacific, fostering a cooperative approach toward regional security and stability. (U.S. Navy photo by Mass Communication Specialist 3rd Class Nicholas R. Carter)
The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.
I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.
The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.
The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.
All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.
Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.
The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.
The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.
Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.
One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.
Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).
The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.
I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.
The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.
Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.
The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.
The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.
Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.
The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.
There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.
In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
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The Covered Walkway leads to the Marble Boat, a symbol of stability of the rule of the Qing Dynasty. The Marble boat was first built in 1750, but in 1860, the Allied Anglo-French Force burnt down the Chinese style wooden super-structure on the top part of the boat together with many other buildings in the Summer Palace.
Empress Dowager Ci'xi had the boat restored, adding a French style superstructure and two wheels, one on each side.
The two storied superstructure was made of wood, but painted to look like marble, while the two wheels were made of marble. It is believed that the body of the boat was carved out of one whole block. Each floor has a large mirror.
The Marble Boat at the Summer PalaceThe Marble Boat is 36 metres long, with 4 dragon heads on the body of the boat, whenever it rains, you may see water pouring out from the four dragon mouths. The view is surely impressive!
Also noteworthy is that this boat was actually a place for the Empress Dowager to sit at a table in front of the mirror, dining on delicacies and enjoying the beautiful scenery, hence the name the Boat for Pure Banquets.
The Marble Boat was built for the 50th birthday celebration of Empress Dowager Ci'xi.
Highest Explore Position #183 ~ On April 1st 2009.
Update ~ Now #76 on April 2nd 2009.
Meerkat - Wingham Wildlife Park, Kent, England - Sunday March 29th 2009.
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You know what it's like...10 pints and a Kebab..and you just gotta go...lol..:)
You can visit this lil guys cousin here ~ twitter.com/Aleksandr_Orlov ~ Simplezzz....:))
There's a new TV show that started here in England last Saturday...called "A Walk on the Wild side"...which is basically lots of animals being voiced by comedians...in it, they had some Meerkats like my buddy above...only then there were about 5 in a row and they were all standing like this...with the voice over saying they were all trying to answer natures call...well, it made me laugh anyway..lol....:)))
Then the following day I went to the wildlife park in Kent...and I saw this lil guy doing the same thing...which doesn't happen often..well, when I am there anyway..so the caption wrote itself...lol...:)
Anyhoo...enough of my ramblings...I hope everybody is having a wonderful Tuesday..:)
COLONIA, Yap, Federated States of Micronesia (March 20, 2018) Mutinational service members aboard USNS Brunswick (T-EPF 6) man the rails as the expeditionary fast transport ship arrives for the first mission stop of Pacific Partnership 2018 (PP18). PP18’s mission is to work collectively with host and partner nations to enhance regional interoperability and disaster response capabilities, increase stability and security in the region, and foster new and enduring friendships across the Indo-Pacific region. Pacific Partnership, now in its 13th iteration, is the largest annual multinational humanitarian assistance and disaster relief preparedness mission conducted in the Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist Seaman Caledon Rabbipal/Released)
This statue is in memory of men from Morgan County, Georgia, who fought in WW I. "This stone Doughboy is located in front of Morgan County Courthouse, across the intersection of Hancock and East Jefferson Streets. A memorial brick walk between the Doughboy and the Courthouse steps, sponsored by the local American Legion post, contains bricks with names of individuals and the wars in which they served. A section is devoted to those who died. The Doughboy was dedicated Sunday, May 4, 1930. This, and the Viquesney Doughboys in Parsons, Kansas and Madison, West Virginia, are made of stone. The primary visible differences between the stone and metal Doughboys are that the two tree stumps on the bases of the metal Doughboys are replaced on the stone Doughboys by the one large tree trunk that joins the statue at the left hip to help provide stability, and the rifle on the stone Doughboy is made of zinc. The stone Doughboy is also a little shorter. There are only three known stone Viquesney Doughboys in the country." doughboysearcher.weebly.com/madison-georgia.html.
PHILIPPINE SEA (Feb. 8, 2021) Aviation Boatswain’s Mate (Handling) 3rd Class Alexandra Graham, from Kingston, Jamaica, assigned to amphibious assault ship USS America (LHA 6), signals a CH-53E helicopter from the 31st Marine Expeditionary Unit (MEU) to land on the flight deck. America, lead ship of Amphibious Ready Group, along with the 31st MEU, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jonathan D. Berlier)
The Bay area had some much welcome rain recently. A couple of weeks ago, encouraged by the clearing of the storm and the high cloud ceiling, I decided to go to one of my favorite beaches - the Davenport beach about 10 mi north of Santa Cruz. The turnout was sparse and there was just one other photographer around. As I stood on the rocky shelf to compose my shot, the tide appeared to get stronger. Every two or three cycles, a bigger wave would arrive and come up to my waist level. I would press the legs of my tripod deep into the sand for stability, fire away a few shots to capture some wave motion and then a stronger wave would shore up and jolt both me and the tripod off balance. The energy of the ocean was palpable and despite the slight risk, I was enjoying my time. Before I knew it, an hour passed by and I had stacked up nearly 150 shots. The color show was brief but the wave-power-show went on for quite some time. Here's one of the shots I managed during a quick show of color. Thanks for looking!
The origins of the idea:
The core of this model consists of three rings which can independently rotate around three perpendicular axes. These pivoted rings are called gimbals. Gimbals have been used in a wide variety of engineering applications since ancient times till modern days. Gimbal suspension is used to provide stability to objects inside unstable environment, e.g. compasses on ships and gyroscopes on planes.
Furthermore, the simplicity and effectiveness of gimbals often attracted artists' attention. In science fiction and fantasy, gimbals have been used to represent complex contraptions capable of creating new physical effects and even manipulating the very fabric of reality. Some of the examples include the machine from the 1997 movie Contact, the gravity drive from the movie Event Horizon, mass relays from the video game series Mass Effect and even the Time-Turner from the movie Harry Potter and the Prisoner of Azkaban.
LEGO implementation:
The idea of this model is to set gimbals in motion. Complex transmission allows each of the three motors to independently operate one of the three rings. Therefore the contraption is very easy to control.
The rings and the frame are perfectly rigid and secure. The design of the model is intentionally minimalistic so that it could be used as a part of larger models.
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→ Watch the demonstration video on Youtube.
→ More photos in this album.
... en équilibre ...!!!
... my wild river reflection…!!!
... an impressionnist photo safari concentrated mainly on a daily basis (or almost) on my small piece of planet of 55 000 square feet…!!!
... a Thoreau "waldennienne" approach…!!!
... reflet de ma rivière sauvage…!!!
... un safari photo impressioniste au quotidien concentré essentiellement (ou presque) sur un petit morceau de planète de 55 000 pieds carrés…!!!
... une démarche "waldennienne" à la Thoreau …!!!
“In truth, it was not so much his opinions as his audacity in thinking that condemned him.” (on the Bruno case — Arthur Schopenhauer)
GIORDANO BRUNO—Giordano Bruno (Nola, 1548 – Rome, 17 February 1600) was a philosopher, Dominican friar, writer, poet, and one of the most radical and free minds in European history. His name does not stand only for a victim of the Inquisition: it stands for a rupture. Bruno broke the mental architecture of the medieval and dogmatic world—not through superficial rebellion, but through immense intellectual work and a rare moral force: the refusal to kneel.
Bruno was not killed for a single sentence. He was killed because he was too great, too free, too dangerous: because he made a new human being possible—a human being who thinks without a master.
Origins and formation
He was born in Nola, in the Kingdom of Naples, in 1548. His birth name was Filippo Bruno; he took the name Giordano when he entered the Dominican Order. Very young, he moved to Naples, into a vibrant cultural environment where philosophy, literature, and theology coexisted in constant tension. He was brilliant, hungry for knowledge, and profoundly allergic to every form of dogma.
He entered the convent of San Domenico Maggiore in Naples. There he studied Aristotle, Thomas Aquinas, and the classics, but also texts outside orthodoxy. Bruno was an “impossible” friar: not made for obedience. His mind was made for research and contradiction. Accusations of heresy began early: Bruno read, debated, doubted, attacked superstition, and refused mechanical devotion.
Flight from Italy and European exile
When he understood that the inquisitorial machine was closing in, Bruno fled. Thus began a wandering European life that lasted for years: Geneva, Toulouse, Paris, London, Oxford, Wittenberg, Prague, Helmstedt, Frankfurt… Bruno became a European intellectual before Europe existed as a modern idea.
This was not a peaceful exile: wherever he went, he caused scandal. Because Bruno was not accommodating. He did not seek protection. He sought truth. He challenged professors, theologians, academies. He exposed cultural hypocrisy. He defended freedom of thought with an energy that made him beloved by a few and hated by many.
Major works: what he left behind
Bruno left a vast body of philosophical and literary work. Among the most important:
La cena de le Ceneri (1584): a dialogue in which he discusses cosmology and attacks closed, authoritarian mentalities.
De la causa, principio et uno (1584): a philosophical work on the deep principle of reality and the structure of being.
De l’infinito, universo e mondi (1584): perhaps his most revolutionary text; it proclaims an infinite universe and multiple worlds, rejecting the closed and hierarchical medieval cosmos.
Lo spaccio de la bestia trionfante (1584): a satirical and philosophical attack on moral vices and spiritual degradation.
De gli eroici furori (1585): a high work that fuses philosophy and poetry, presenting the desire for the infinite as the heroic drive of the soul.
Another crucial line of his work concerns the art of memory (mnemonics), but not as a scholastic exercise: as the strengthening of the mind, as the construction of thought itself.
To say “Bruno was a philosopher” is not enough. Bruno was an architect of consciousness.
His most explosive idea: the infinite
Bruno broke the idea of a closed, finite universe with a single center, governed by metaphysical hierarchies in which human beings must obey.
He imagined a cosmos without center, without limits, filled with worlds. An infinite universe means one terrible thing for power: if the universe is infinite, then no authority can claim to be “the center.”
This was not only a scientific issue; it was a political and religious one. It undermined the mental scaffolding through which souls were controlled.
Why he truly disturbed power
Bruno disturbed power on several fronts—each deadly in his time:
1) Radical freedom of thought: Bruno did not negotiate—he thought. In a system built on dogma, a man like that becomes contagion.
2) Infinite cosmology and plurality of worlds: not just astronomy, but an assault on hierarchy, on the “center” of authority.
3) Ferocious critique of superstition and hypocrisy: Bruno did not whisper—he exposed and ridiculed lies.
4) A new idea of the human being: not born to obey, but to know. A bomb.
Return to Italy: the trap
After years of exile, Bruno returned to Italy. It was a tragic passage: perhaps he hoped for stability, perhaps he underestimated the danger. He was denounced, arrested, and handed to the Inquisition.
Trial and imprisonment
Bruno spent years in prison. The Inquisition did not only seek to condemn him: it sought to break him. Interrogations, pressure, demands to retract.
Their obsession was not to punish a man, but to destroy an example.
But Bruno did not yield. He did not step back into the enclosure. He did not kneel. He did not “correct” his ideas to save himself.
Death: the stake at Campo de’ Fiori
On 17 February 1600, Giordano Bruno was condemned and burned alive at Campo de’ Fiori in Rome.
That death was not simply an execution. It was a declaration of power: “whoever thinks outside the enclosure burns.”
And Bruno became the opposite of what they wanted: eternal.
Legacy
Giordano Bruno remains a symbol of freedom of thought, but also something deeper: proof that intelligence and conscience can be considered more dangerous than weapons.
Bruno is not only a martyr—he is a threshold. After him, European thought can no longer pretend the world is closed.
And it can no longer pretend human beings must obey in order to live.
Bruno left a tragic and luminous certainty: you can burn a body, but you cannot burn the infinite.
La obra de mi hermano menor: Formas de vida小弟的作品：活著的型態My younger brother's work: Forms of Living
Formas de Vida
(Poema y letra del Dr. Waisees)
Mientras aún sostengas
una piedra tuya
en tu mano,
esa piedra
eres tú.
No te apresures
a mirar atrás a las olas;
las olas se dispersan.
No te apresures
a seguir las huellas de otros;
el viento las alisa.
Cuando caigas,
no te levantaré
de inmediato.
Quiero que
toques el suelo tú mismo,
que sientas el peso del mundo
en tus palmas,
y luego te levantes
y rías,
diciendo:
así que el suelo
es suave
después de todo.
Así que déjame quedarme a tu lado,
en silencio.
Toma este poema
como una cuerda:
tira cuando lo necesites,
suelta cuando quieras.
No me voy.
Escrito para ti
en un gesto,
en un latido,
a la luz de la luna
antes de las cinco de la mañana.
Cuando mires hacia arriba,
la luna
seguirá ahí. Los poetas no enseñan a escapar.
Enseñan
cómo permanecer
más profundamente
en el mundo.
A aceptar las preguntas,
a vivir
días
sin respuestas.
A ver,
en la luz
y las briznas de hierba,
lo cotidiano
como un milagro.
Y la tierra viva
siempre nos ha enseñado
cómo vivir.
Una semilla de baniano
cayendo en grietas de piedra,
juntas de torres,
esquinas de muros—
aún enraizando,
lentamente
atrayendo toda la torre
hacia su interior.
Lenteja de agua,
sin tierra,
llevándose agua a agua,
pero nunca negándose
a crecer,
viva
en la incertidumbre.
Un árbol alto
a través de años de tormenta,
rayos,
nieve—
endureciendo su madera,
profundizando sus raíces,
aprendiendo
a soportar vientos más fuertes.
La vida nunca
ha tenido una sola forma.
Algunas arraigan.
Algunas derivan.
Algunas se elevan rectas.
Algunas se entrelazan.
Algunas son lentas.
Algunas vagan. Sin embargo, todos
completan la misma obra:
convertirse
en
sí mismos.
Una vida con sentido
nunca ha tenido
un modelo único,
una estabilidad inmutable.
Algunos son banianos,
expandiéndose en la adversidad.
Algunos son lentejas de agua,
existiendo a la deriva.
Algunos son grandes árboles,
creciendo con fuerza
en el clima.
La sensibilidad del poeta,
la misericordia del sanador,
la resistencia del peregrino,
pueden vivir
dentro de una persona.
No son perfectos,
pero son reales.
No son invencibles,
pero son inquebrantables.
No son fijos,
pero están vivos.
Quizás el significado
sea solo esto:
ensancharse como el baniano,
permanecer como la lenteja de agua,
perdurar como los árboles;
sostenerse
en las propias manos,
guardar la luz de la luna
en el corazón,
y entre multitudes
y tormentas
seguir
viviendo
con suavidad,
con firmeza. Como la hierba, que no puede
convertirse en árbol, pero vive
fácilmente
como la hierba.
活著的型態
只要手裡還握著
一塊自己的石頭，
那石頭
就是你。
別急著回頭看浪花
浪花會散。
別急著跟著別人的腳印走
腳印會被風吹平。
當你跌倒，
我不會立刻扶你。
我想讓你自己摸到地面，
用掌心感覺世界的重量，
然後站起來，
笑著說：
原來這地板
也挺軟。
所以，
讓我陪你就好
不說話。
把這首詩
當成一條繩子：
你想拽就拽，
想鬆就鬆。
我不會離開。
寫給你
用手勢，
用心跳，
用凌晨五點的月光。
等你抬頭，
月光
還在。
詩人教我們的
不是逃離世界，
而是更深地
留在世界裡。
允許問題存在，
在沒有答案的日子
仍然生活；
在光與草葉之間，
把平凡
看成奇蹟。
而自然
早已把活著的方式
寫給我們看。
榕樹的種子
落進石縫、塔間、牆角，
仍慢慢生根，
一寸一寸
把整座塔
納入身體。
浮萍沒有泥土，
漂流於水，
卻從不放棄生長，
在無定之中
依然活著。
參天的大樹
經年風雨、雷電、霜雪，
讓木質更硬，
讓根系更深，
學會承受更大的風。
生命從來
不只有一種形態。
有的紮根，
有的漂流；
有的直立，
有的纏繞；
有的緩慢，
有的遷徙。
但它們都在完成
同一件事：
成為自己。
有意義的生活
也沒有唯一的模型，
沒有唯一的穩定。
有的人像榕樹，
在困境中擴展；
有的人像浮萍，
在漂泊中存在；
有的人像巨木，
在風暴裡
長出力量。
詩人的感受力，
醫者的慈悲，
行者的堅定，
可以在同一個人身上
同時發生。
不必完美，
卻真實；
不必強大，
卻不屈；
不必固定，
卻活著。
所謂讓生活有意義，
也許只是
像榕樹一樣擴展，
像浮萍一樣存在，
像大樹一樣承受風；
手裡握著自己，
心裡留著月光，
在人群與風雨之間
仍願意
溫柔而堅定地活。
就像小草
不能成為大樹，
卻可以
輕輕鬆鬆地
活成小草。
詩歌：德威博士 Dr. Waisees
詞曲：德威博士 Dr. Waisees
監製：楊放導演 Directed by Yang Fang
Forms of Living
(Poem and Lyrics by Dr. Waisees)
As long as you still hold
one stone of your own
in your hand,
that stone
is you.
Do not hurry
to look back at the waves—
waves scatter.
Do not rush
to follow another’s footprints—
wind smooths them away.
When you fall,
I will not lift you
at once.
I want you
to touch the ground yourself,
to feel the weight of the world
in your palms,
then rise
and laugh,
saying:
so the floor
is soft
after all.
So let me stay beside you—
quiet.
Take this poem
as a rope:
pull when you need,
loosen when you wish.
I am not leaving.
Written for you
in gesture,
in heartbeat,
in the moonlight
before five a.m.
When you look up,
the moon
will still be there.
Poets do not teach escape.
They teach
how to remain
more deeply
in the world.
To allow questions,
to live
through days
without answers.
To see,
in light
and blades of grass,
the ordinary
as miracle.
And the living earth
has always shown us
how to live.
A banyan seed
falling into stone cracks,
tower seams,
wall corners—
still rooting,
slowly
drawing the whole tower
into its body.
Duckweed,
without soil,
drifting water to water,
yet never refusing
to grow,
alive
in uncertainty.
A tall tree
through years of storm,
lightning,
snow—
hardening its wood,
deepening its roots,
learning
to bear greater wind.
Life has never
had only one form.
Some root.
Some drift.
Some rise straight.
Some entwine.
Some are slow.
Some wander.
Yet all
complete the same work:
becoming
themselves.
A meaningful life
has never held
one model,
one fixed stability.
Some are banyan—
expanding in hardship.
Some are duckweed—
existing in drift.
Some are great trees—
growing strength
inside weather.
The poet’s sensitivity,
the healer’s mercy,
the pilgrim’s endurance—
can live
within one person.
Not perfect,
yet real.
Not invincible,
yet unbroken.
Not fixed,
yet alive.
Perhaps meaning
is only this:
to widen like banyan,
to remain like duckweed,
to endure like trees;
to hold oneself
in one’s own hands,
to keep moonlight
in the heart,
and among crowds
and storms
to continue
living
gently,
steadily.
Like grass—
which cannot
become a tree,
yet lives
easily
as grass.
NAVAL BASE GUAM (March 16, 2018) Military Sealift Command expeditionary fast transport ship USNS Brunswick (T-EPF 6) moors in Guam in support of Pacific Partnership 2018 (PP18). PP18’s mission is to work collectively with host and partner nations to enhance regional interoperability and disaster response capabilities, increase stability and security in the region, and foster new and enduring friendships across the Indo-Pacific Region. Pacific Partnership, now in its 13th iteration, is the largest annual multinational humanitarian assistance and disaster relief preparedness mission conducted in the Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 1st Class Byron C. Linder/Released)
The priory at Lindesfarne has a long and chequered history, originally founded around 634 by the Irish monk Aidan, who had been sent from Iona off the west coast of Scotland to Northumbria at the request of King Oswald.
In 793 Lindesfarne was attack in a violent raid by the Vikings, many more vicious raids would follow causing the monks to eventually leave the island and establish a new monastery in Durham, which eventually become Durham Cathedral.
Once the region had been restored to political and military stability under the government of William the Conqueror, the prospects for the rebuilding of the island's monastery began to improve and a new smaller Priory was built around 1093.
This new Benedictine priory was then able to continue in relative peace under the new Norman monarchy and its successor royal houses for the next four centuries until its final dissolution in 1536 as a result of Henry VIII's dissolution of the English church's ties to Rome, and his subsequent closing of the monasteries.
Today the priory site is a grand ruin attracting many tourists, the priory ruins under the care of English Heritage.
Speeding on a long tail boat on the Chao Phraya River whilst the monarchy is watching. The magical reign of King Bhumibol ended on October 13, 2016. The king served as the symbol of Thai unity and stability and his departure has left a gigantic hole in the Thai political landscape. To the Thai people, the king meant everything. After his passing away the entire nation fell into a state of endless mourning and Thais were told to wear black for a year. His succesor Rama X does not enjoy the same love and respect from the public that his father commanded. He lacks moral authority and charisma; he has shown little to no enthusiasm for working with democratic institutions or being a democratic advocate and his eccentric and lavish lifestyle is legendary. Will the new king stir up a greater sense of anti-monarchy? If he trys to forge the same kind of mutually beneficial alliance with the military like his father that may very well be the case and his reign may not survive. On the other hand, if he decides to start working with the democratic government, placing the monarchical institution strictly within the constitutional framework, the chance of the monarchy becoming a viable institution is bright. Net-net, Thailand is standing at an important crossroad. Let’s hope for the best for this beautiful country and its friendly and generous people – Bangkok, Tailand.
SOUTH CHINA SEA (March 13, 2020) Amphibious assault ship USS America (LHA 6) sails alongside littoral combat ship USS Gabrielle Giffords (LCS 10). America, flagship of the America Expeditionary Strike Group, 31st Marine Expeditionary Unit team, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Apprentice Theodore C. Lee)
*Working Towards a Better World
I have been thinking long and hard about why our present day psyche has changed so drastically and have come to the conclusion that we are bringing up our children to focus on the ego, rather than the community. It seems to me that we put too much emphasis on material things and not enough on the spiritual or the whole. Yes, we need to teach our children to succeed and do their best but not at any cost without caring about others. We seem to encourage greed rather than sharing, perhaps we need to concentrate more on cherishing each other, our climate and the environment. When we work as a team we produce more through the sharing of ideas and creativity.
We need to coexist better, be more understanding, less critical, more open, less closed. Together we can achieve a great deal more than alone.
I have chosen the colours black and green because of their meaning found on the Color Pro: Color Meaning website:
www.color-wheel-pro.com/color-meaning.html
"Green
Green is the color of nature. It symbolizes growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money.
Green
"Green has great healing power. It is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Sometimes green denotes lack of experience; for example, a 'greenhorn' is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.
Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote 'green' products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.
Dark green is associated with ambition, greed, and jealousy.
Yellow-green can indicate sickness, cowardice, discord, and jealousy.
Aqua is associated with emotional healing and protection.
Olive green is the traditional color of peace".
Black
"Black is associated with power, elegance, formality, death, evil, and mystery.
Black is a mysterious color associated with fear and the unknown (black holes). It usually has a negative connotation (blacklist, black humor, 'black death'). Black denotes strength and authority; it is considered to be a very formal, elegant, and prestigious color (black tie, black Mercedes). In heraldry, black is the symbol of grief".
Black gives the feeling of perspective and depth, but a black background diminishes readability. A black suit or dress can make you look thinner. When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors. Combined with red or orange – other very powerful colors – black gives a very aggressive color scheme.
Interestingly I have followed a few articles written by the New York Times columnist, David Brooks, who has written recently 3 interesting articles about this subject, On April 7th he wrote an article entitled
"What Candidates Need",
www.nytimes.com/2015/04/07/opinion/david-brooks-what-cand...
then on April 11th he wrote an article entitled
"The Moral Bucket List"
www.nytimes.com/2015/04/12/opinion/sunday/david-brooks-th...
and finally today he wrote an article entitled
"When Cultures Shift"
www.nytimes.com/2015/04/17/opinion/david-brooks-when-cult...
I find that David addresses many of my concerns quite well in these articles so decided to share them with you.
Thank you for your kind visit. Have a wonderful and beautiful day! xo❤️
PACIFIC OCEAN (Sept. 2, 2020) Japan Maritime Self-Defense Force (JMSDF) ship JS Ise (DDH 182) leads a multinational formation in the Pacific Ocean following Exercise Rim of the Pacific 2020. Group sails between the JMSDF, ADF, and U.S. Navy support shared goals of peace and stability while enhancing regional security and the right of all nations to trade, communicate, and choose their destiny in a free and open Indo-Pacific region. (JMSDF courtesy photo)
Star Citizen Vanguard Warden
Here is my last chalk project.
This ship is much more complex than the Brutus I built, because of the huge engine modules it was very difficult to achieve stability and tilt backwards. So I couldn't build an interior. All wings are foldable and the turret can be rotated 360 degrees. You could even fold the undercarriage, but since the model is very heavy, it is a little difficult. There are three possible versions: Harbinger, Sentinel and Warden . I chose the Warden because I like it best. Since there are many differently rendered ship versions, I have built a compromise on several of these versions
I tried to make this model look as realistic as possible.
More pictures will follow.
After a few years of stability, the Cardiff Bus fleet is now seeing a number of interesting changes, with the first batch out of a total of 36 electric Yutongs soon due as replacements for the remaining Transbus and Alexander Dennis Darts, and the remining Scania OmniCity artics.
The first sign of the fleet changes came earlier this year with the acquisition of a dozen Mercedes Citaros from Bus Vannin (numbered 141-52) to see off a number of the Darts and some of the 10 original shape Alexander Dennis Enviro300s. The withdrawal programme has been hastrened by the arrival of four Alexander Dennis E20D MMCs on hire from Mistral (numbered 271-4) and five Wright Solar-bodied Scania L94UBs and K230UBs (numbered 768-72) from Go South Coast's Swindon depot.
My photograph focuses on the latter and shows Scania K230UB 772 cruising down Westgate Street in the City Centre in October 2021. She is distinctive in carrying an all-over blue livery, whilst others retain blue and green.
The Bronto-Skylift ALP being demonstrated at the Brigade headquarters, Lambeth SE1. This combination of a hydraulic platform and ladder was so heavy that it was restricted only to certain fire stations with sufficiently strong floor loadings. The picture shows the ALP with its stability telescopic jacks deployed.
1990
PHILIPPINE SEA (Sept. 11, 2020) A cake is presented on the mess decks of the amphibious dock landing ship USS Germantown (LSD 42) during an event held in remembrance of the 9/11 attacks 19 years ago. Germantown, part of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor DiMartino)
"The new 911 GT2 RS is simply the most powerful 911 ever built by Porsche - with the performance level of a super sports car.
Its design combines the aerodynamic requirements of optimum downforce and maximum air supply. Its consistent lightweight construction makes it a pure athlete. Its racing chassis with excellent cornering stability gives the new 911 GT2 RS those crucial additional seconds. And its 3.8-litre, six-cylinder, twin-turbo engine producing 515 kW (700 hp) lends it sufficient authority to lead the field..."
Source: Porsche
Photographed at TT Circuit Assen during 402automotive Supercar Sunday.
____________________________________________________
Música (abrir en nueva pestaña) / Music (Open link in new tab): La Musgaña - Ofertorio.
(English text at the bottom).
La torre de la Iglesia Arciprestal de Santa María del Salvador (Chinchilla de Montearagón, Albacete) tiene sus orígenes en el Siglo XIV, época en la que fue construida en ladrillo y de planta octogonal, decorada con tracerías según la tradición gótico mudéjar. A finales del Siglo XV, a la vez que se acomete la primera ampliación del edificio, se aprovecha también para recubrir todo el cuerpo de ladrillo de la torre mudéjar con grandes sillares, a fin de dotarla de la estabilidad suficiente como para poder colocar el cuerpo del campanario gótico, el cual, mediado el Siglo XVIII, sería sustituido por el actual, con el número de puestos aumentado a ocho (dos en cada uno de sus lados), tal y como luce en la fotografía.
-English:
The tower of Santa María del Salvador Church (Chinchilla de Montearagón, Albacete, Spain) has its origin in the 14th Century, when it was built with bricks and an octogonal plant floor, being decorated with tracery as Mudejar Gothic tradition. At the end of the 15th century, the entire brick gothic tower was covered with large ashlars in order to give it enough stability to place the bell tower structure on it, which mediated the 18th century, was replaced by the current one, with the number of openings increased to eight (two on each of its sides) as the picture shows.
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We had almost two weeks in the hospital with AJ. But we are home and he is feeling better. He had pneumonia. So we will keep Imagining past the very stars in the sky. I started this image be for we had to take this time off from doing art. Got it finished to day. I think it is always best to dream as big as we can. Life has no time to do pity parties we must enjoy even things that seem hard to. Not all gifts come in nice packages. Every great story has highs and lows twists and turns. It is the real Adventure.
Mike
I begin my photographic creative journeys with my son AJ at my side because he adds inspiration into the visual experience. I attach several objects to a mobile in our living room and turn up some music. Then I basically dance with my camera in hand, hoping to catch the wonderful flickers of beautiful colors, shapes and movements from the spinning and dancing motion that takes place. Then I use my Macintosh computer with Photoshop to enhance several images and combine them into the final composite prints. Some of the images are not composites but are always enhanced in some way that I feel might be beautifully aesthetically pleasing images to enjoy. These images can really feel and look as if they have been painted by a magic brush. I feel a rush of great joy in seeing one printed and hung on the wall. I feel like they sing, dance and play for my eyes and consider the finished works to be fine art photography. What intrigues me most about all photography are the colors, shapes, and patterns which give me mini vacations and provide great rest and relaxation. My great hope is that I can also offer this same joy to everyone who see my photographs. When it comes to making lasting images and having a great investment in photographic art, the best prints possible are now found to be on aluminum. The colors are vibrant and the luminescence is breathtaking. The detail and resolution are incredible. So you will get from my abstracts just fantastic eye popping art . Paper based prints will last about 20 years. The Aluminum prints are about 150 years for the true color stability. This makes it possible for even your grandchildren to enjoy them. But the best part is this can be a great investment for your love of photographic art. Some of my prints are in limited editions. If you would like to make an investment in my art prints for yourself, please let me know.
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
This shows how we do the Camera work:
www.youtube.com/watch?v=fmjVVGraUVw
AJ'S blog:
15111-N-ZZ999-100 WATERS SOUTH OF JAPAN (Nov. 13, 2015) An F/A-18E of the "Royal Maces" Strike Fighter Squadron (VFA) 27 trains with two Japan Air Self-Defense Force F-15s during an Integrated Defensive Counter-Air training event. VFA-27 is part of Carrier Air Wing (CVW) 5 embarked on board Nimitz-class aircraft carrier USS Ronald Reagan (CVN 76) which is on patrol in the 7th Fleet area of operation supporting security and stability in the Indo-Asia-Pacific. (U.S. Navy photo/Released)
3/52 weeks
stability
I have been going through all million of the shots i took in July of anything and everything...debated about a few different ones for week 3. It is still very tough sometimes to get in front of the camera...with a 20 sec timer you can start giggling about things that make you laugh.
it has been a tough month for me, probably more emotional than most...but I don't hold onto it for long. I could go a year, maybe 2 without shedding a tear. Even to me it sounds cold as i type it...but so not true at all. I have a real hard time crying and a real hard time letting people see me cry or know about it...maybe that is why i have laughed harder this month than most. One of my biggest things is I believe to a degree in attracting what energy you give, i believe that if I stay with a sad thought....more will follow. I have to dump it out one way or another, and it is usually through art. Photography is such gratifying art when it comes to this. I would be painting for 1000 years the pictures I would need to paint for the thoughts that dance in my mind.
ohhh you are so going to get this thrown at you again...but Picasso is my main man for quotes
and
"Art washes away from the soul the dust of everyday life"
The de Havilland Chipmunk is a two-seat, single-engine training aircraft used by air forces around the world. It was designed in the 1940s and served as a primary trainer for the Royal Air Force and other military organizations. The Chipmunk is known for its stability, ease of handling, and long service life.
PHILIPPINE SEA (Jan. 14, 2021) An MV-22B Osprey assigned to the 31st Marine Expeditionary Unit lands on the flight deck of the forward-deployed amphibious assault ship USS America (LHA 6). America, lead ship of the America Amphibious Ready Group, along with the 31st MEU, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Matthew Cavenaile)
EAST CHINA SEA (Jan. 17, 2020) An F-35B Lightning II assigned to the 31st Marine Expeditionary Unit (MEU), Marine Medium Tiltrotor Squadron (VMM) 265 (Reinforced) lands on the flight deck of amphibious assault ship USS America (LHA 6). America, flagship of the America Expeditionary Strike Group, 31st MEU team, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Jonathan Berlier)
Must attribute with link to: www.ptpioneer.com
Image of a girl working out Outside doing stability ball Crunches outdoors in a park
After an Eddie Izzard show.
To continue some thoughts from the previous photo...
Yes, I've found a modicum of happiness. Stability, anyway. Fewer violent mood swings.
So, what am I doing back here? I don't know. I just don't know.
Na de sloop van het Oudevrouwenhuis in 1904 is deze poort verplaatst naar de kopgevel van Hof no.13. Hier heeft de poort tot 1970 gestaan. Vervolgens is de poort opgeslagen geweest, totdat ze in ca. 1998 haar huidige plaats kreeg tussen de Berckepoort en de Statenschool. De poort wordt in de huidige situatie aan de achterzijde constructief ondersteund door een stalen constructie bevestigd op een betonfundering i.v.m. de stabiliteit.
Bron: beeldbank.regionaalarchiefdordrecht.nl/search/detail/id/B...
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After the demolition of the Old Women's House in 1904, this gate was moved to the gable of Court no.13. The gate stood here until 1970. The gate was then stored until it was given its current location between the Berckepoort and the Statenschool in approximately 1998. In the current situation, the gate is structurally supported at the rear by a steel construction attached to a concrete foundation. the stability.
2028…B-Land is chosen for the summer Olympic Game. The athletes have been replaced by machines… The sprinter from the Octan team is one of them…
This giant MECH is powered by 2 thermo-nuclear engines seating in the chest just below the mechanic/driver, 4 stability panels insure the balance (2 on the shoulders and 2 on the upper legs), the rest of the limbs are very slim for light weight purpose. The MECH is also coloured by its sponsors and not by its country flag… in 2028 Olympic Games are definitively a business!!!
en.wikipedia.org/wiki/Luce_Memorial_Chapel
The Luce Memorial Chapel is a Christian chapel on the campus of Tunghai University, Taichung, Taiwan. It was designed by the architect and artist Chen Chi-Kwan in collaboration with the firm of noted architect I. M. Pei, and named in honor of the Rev. Henry W. Luce, an American missionary in China in the late 19th century and father of publisher Henry Luce.
The project was originally planned in April 1954 but put on hold until July 1960. Construction took place from September 1962 until November 1963. Construction costs were USD $125,000.
The chapel occupies a 12,000 square metre site on campus and is set on an irregular hexagonal base, providing 477 m² of gross floor area, including a 245 m² nave (500 seats), 81 m² chancel, and 44 m² robing rooms. The church itself is a curved, tent-like structure rising as a hyperbolic paraboloid to 19.2 m high and establishing a central focal landmark on the campus.
The chapel was executed in reinforced concrete with its form providing earthquake stability. Construction involved elaborate formwork by local craftsmen. Ribs reinforce the curved surfaces and thicken as they descend, preventing buckling while expressing structural forces. The exterior is covered by glazed diamond-shaped tiles, and on the interior, thicker diamond-shaped concrete coffers at the bottom gradually diminish in size as they near the top since stresses are concentrated near the ground.
路思義教堂（英語：Luce Memorial Chapel）是一座位於台灣台中市西屯區東海大學的基督教禮拜堂，為東海大學的校園象徵，位於整個校園的中心，西接教學區，東接宿舍區。東海大學早期樹木尚未繁密之前，校園內任何一處地方都可看到路思義教堂。路思義教堂為著名美國華裔建築師貝聿銘與台灣建築師陳其寬之作，建於1962年9月至1963年11月。
PHILIPPINE SEA (June 18, 2016) The Nimitz-class aircraft carriers USS John C. Stennis (CVN 74) and USS Ronald Reagan (CVN 76) conduct dual aircraft carrier strike group operations in the U.S. 7th Fleet area of operations in support of security and stability in the Indo-Asia-Pacific. The operations mark the U.S. Navy’s continued presence throughout the area of responsibility. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jake Greenberg / Released)
EL LABRADOR RETRIEVER, o simplemente perro labrador, es un perro de tamaño mediano, con cuerpo musculoso, fuerte y compacto. Una de las características más notables es su carácter. Debido a su apariencia amigable y su carácter excepcionalmente sociable, esta raza canina ha sido la más popular del mundo por más de una década. Además, la estabilidad de carácter de estos perros los ha convertido en grandes socios de la humanidad, colaborando como perros de rescate, perros de terapia, perros de asistencia y mucho más. El labrador retriever es sociable, amigable, leal, inteligente y amante de la diversión. Esta raza es fácil de entrenar, por lo que resulta una buena compañía si se cuenta con el tiempo y el espacio suficiente.
En la foto mis dos labradores Coffe y Blondy inseparables ; ))
The labrador retriever, or just labrador is a medium sized dog, with muscular, strong and compact body. One of the most notable features is its character. Because of their friendly appearance and exceptionally sociable character, this breed has been the most popular in the world for over a decade. Moreover, the stability of character of these dogs has become major partners of humanity, working as rescue dogs, therapy dogs, service dogs and more. The Labrador Retriever is sociable, friendly, loyal, intelligent and fun loving. This breed is easy to train, so it is a good company if you have the time and enough space.
Pictured my two Labrador Coffe and inseparable Blondy ; ))