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The watermill Lippholthausen (Schloßmühle Lippholthausen) in the Lippholthausen district of Lünen is a grain mill built in 1760 near the river Lippe. The watermill of the former Buddenburg noble house is a late Baroque half-timbered building, not far from the former Buddenburg Castle.
From the 14th century until 1902, the Buddenburg house was owned by the Frydag family of Buddenburg. The Frydags belong to the very old Westphalian nobles. The family is mentioned for the first time in 1198.
Around 1535, the noble family built a watermill south of Brunnenstraße and opposite Schlossallee. At the former river Henebecke a large millpond was excavated.
Afterwards, the runs of the creek Henebecke, Sadbecke, Wilbecke and Seltenbecke were diverted so that they flowed directly into the new millpond and fed it with water.
After the mill had been completed and put into operation, the farmers in the area of the thirlage "Buddenburg Mahlzwang" had to come to the castle mill to have their grain ground.
Nothing remains of the mill built at the beginning of the 16th century. However, the current mill building already has a considerable number of years on the hump: It was built in 1760 by Wessel Giesbert von Frydag.
In 1903, Haus Buddenburg and the mill were inherited by the Rüxleben family. The latter finally sold the property to the city of Lünen in 1913. Until 1930 grain was ground in the castle mill.
The old mill pond above the castle mill is no longer present, it was filled in 1938 during the construction of the Lippewerk. A loss for trippers, they could sail around on the pond with paddle boats.
Until the end of the 1970s, the House of Buddenburg, which also included the castle mill, stood in the district of Lippholthausen, now part of Lünen.
The Mühlenfreunde Lippholthausen e. V. restored and maintains the mill, which currently serves as an excursion restaurant and can also be used for weddings. It was placed under monument protection in 1985.
Alte Küchengeräte:
Auswahlfoto:
Für“Crazy Tuesday“ am 15.02.2022.
Thema:“Vintage Technology“.
Thanks for views,faves and comments:-)
Der Klatschmohn ist seit der Jungsteinzeit bei uns zuhause
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Wenn sich die zarten Blütenblätter des Klatschmohns aus der Knospenhülle entfalten, scheinen sie wie aus hauchdünnem, knittrigen Papier. Die einzelne Blüte hält nur zwei bis drei Tage, bevor sie verwelkt.
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Der Artname rhoeas des Klatschmohns stammt vom griechischen „rhoia“ für „fließen“ und deutet ebenfalls auf dem austretenden Milchsaft. Mohn war der griechischen Fruchtbarkeitsgöttin Demeter geweiht und Brautpaare wurden deshalb mit Mohnblüten überschüttet.
In der christlichen Bildsprache wiederum steht Klatschmohn zusammen mit reifen Getreideähren für das Blut und den Leib Christi. Der deutsche Name Klatschmohn schließlich soll vom Aneinanderklatschen der Blüten bei Wind und Regen kommen – aber welche Blüten tun das nicht?
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am Abend
ISO 320
F1.5
via Food Mode,
shallow DOF
top notch
fabelhaft
“Photography is the power of observation, not the application of technology.”
Ken Rockwell.
There's some irony here, I think, in the way this sign is crumbling and littering the small patch of nature below it...
...taken at the site of a college that focuses its curriculum on environmental sustainability.
The biggest security risk in any system is the user.
"Hundreds of Westminster insiders were added to - and then deleted from - a WhatsApp group set up by shadow justice secretary Robert Jenrick to promote his London Marathon run".
In this day and age there should be minimum level of competence with technology to gain access to any position of power or trust, (especially after the U.S "signal app" fiasco).
(As we old techies used to say the problem is "BTKAC" between the keyboard and chair).
The BBC has been told Jenrick is not referring himself to the Information Commissioner's Office (ICO), which investigates data breaches. (What a surprise!).
I last photographed the Thames Barrier a little over a year ago, but became inspired to revisit the location after coming across an article about the 1953 North Sea Flood, which overwhelmed British sea defences in the Thames Estuary and led to the deaths of more than 300 people across several counties. It was remarkable to read that the gates protect not only the immediate East London borough against tidal surges, but also the infratructure, underground network and power supplies stretching beyond the O2 Arena, the Docklands and Tower Bridge and all the way to Westminster. In addition to this, the barrier now also needs to contend with the impact of climate change and rising sea levels.
With all of this in mind, my aim with this image was a darker, moodier and altogether more sinister alternative to my last take on the location, capturing the formidable size and scale of the barrier's piers at dusk, but also contrasting the peaceful flow of the Thames and the reassuring glow of the piers' evening lights with the foreboding tones of the evening sky.
The final image is a blend of a dozen exposures captured over two hours, starting with a 90-second exposure as the sun was setting and continuing into the evening, at which point the shutter speed had extended to 12 minutes. My intention all along had been to weight the emphasis on the later exposures, but I knew I would also be using the earlier and brighter exposures to enhance the lighting across the roof of the piers and the tones along the Thames. Having created Pen Tool selections in Photoshop for the barrier's piers, the sky and the river, I blended in portions of each of these exposures using a combination of Soft Light, Lighten, Luminosity, Linear Dodge, Colour Dodge and Screen blend modes. The goal at this stage was to bring out the reflective finish and dimensionality along the tip of the piers, to emphasise the glow of the lights inside the barrier, to produce a clean finish in the concrete at the base of each pier, and to brighten the water and darken the sky. After blending the exposures,
I applied a gentle radial blur to the sky and used Silver Efex Pro to lower its midtone structure and soften its texture, creating a subtle contrast between the piers and their surroundings. I then used Colour Efex Pro to add some minor tonal contrast adjustments, with a gentle Detail Extractor to bring out the gritty nuance in the piers. The final touches were a combination of a Gradient Map to emphasise the chilly evening tones and a Colour Lookup set to Bleach Bypass to desaturate the tip of the piers, which helped to bring out their metallic texture and to add some definition to their background.
The end result involved more planning and attention to detail at both the shooting and editing stages than my previous take, but it hopefully brings out the immense feat of engineering behind the barrier's design, as well as the rock-steady industrial strength of the barrier against a sometimes menacing force of nature, which was the aspect that inspired me to revisit the location in the first place.
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Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
From last evening at Bixby Creek Bridge, aka Bixby Bridge, near Big Sur. No, not the waterbed store.
I joined Clint on a photo adventure that included more gas station visits(3) than photo stops(2), but in the end, a good time was had by both.
Here is a pano after sunset from the steep ledge on the north side of the bridge. This panorama is a combination of 62 separate images combining 2 levels of exposure, 2 focus planes, and enough left to right overlap to accommodate the wide angle distortion of the 35mm(~28mm FF equivalent. Each of the 62 individual frames was painstakingly and meticulously stitched and blended using content aware technology, feathered brushes and pen tools...not really, I just loaded them into Photoshop and walked away, lol. The full sized image is 20,986 x 8252 px, so ready for a large print.
Thanks to the nice 10-12 CHP officers at the Hwy 1 roadblock who let us through to go take a picture, on the condition we promised not to go any further south of the bridge. The temptation was just too great and we did anyway, but we still appreciate you looking out for our safety. The Pfeiffer Canyon Bridge just before McWay Falls is about to collapse any moment.
Lens is the D FA 35mm f/3.5 on the 645Z.
Crazy Tuesday - Vintage Technology
A set of heavy metal scales (I borrowed) and imperial weights ranging from 2lb down to 1/4oz !!
Keine Photoshop montage
no Photoshop montage
strobist, camera, and setup info: www.flickr.com/photos/jack-bloom/4940884717/
Hi folks, thanks for all the comment.
Im study "Environmental Engineering/Renewable Energies" at the HTW-Berlin in Germany an this Photo is a little homage of my study and work.
For more Information about " Environmental Engineering/Renewable Energies" at the HTW www.f1.htw-berlin.de/studiengang/ut/englisch/index.html
yes i know the english side is very small ^^