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This third party square hood is my dream accessory, I looked for, but not found in Voigtlander orginally made. Such is quite common in FUJI X-Pro series lenses. It provides a modern and clean look, without much protruding parts on the lens front.
This hood (3d printing) is made of brass with black paint finish. It fits so well on the lens, that almost looks like original matching the lens design. You can see and feel the thickness of the hood in above photo. The glossy texture is good and match well with the lens, but see some imperfection around the edges, not sure about the robustness, need to observe .... but some brassing may be good ?
A perfect combo ! .... need to test it out
The lens can fit for using original Voigtlander hood - LH-12 and LH-4N
Mini Johan Santana, Carlos Beltran, Pedro Martinez, Willie Randolph, WFAN's Joe Benigno and Sid Rosenberg, Mini David Wright, Mini Francisco Rodriguez, Ceramic Whalers, Andy Roddick, NY Liberty's Teresa Weatherspoon, NY Liberty's Becky Hammon, NY Liberty coach Richie Adubato
(more pictures or information you can receive by going to the end of page!)
House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
Our July 2014 Holiday incl. DUB-LGW-DXB-BKK-DXB-LGW-DUB || Hilton London Gatwick x2|| Banyan Tree Bangkok || Four Seasons Hotel Bangkok || Novotel Suvarnabhumi Hotel BKK || Our fourth visit to Thailand, our third visit to Bangkok || From culture, architecture, food and drinks to hospitality and urban beauty, Bangkok is the City of Life || Highly recommended || JULY 2014
Two weeks after the second trip into Zambia we headed out again, this time for Mulobezi with 12th Class 204, recovered and ready with additional water and coal supplies.
This was the third attempt to reach Mulobezi in 1994.
Nine days later, we closed out the Just Love Festival with the third edition. The party stayed hot until the very end when Paramahamsa Vishwananda guided us through a gentle meditation and sang a sweet bhajan for us. Enjoy these highlights from the last edition of Just Love Festival.
justlovefestival.org
Fonte official FB Pallbearer page:
Pallbearer’s third album, Heartless, is an inspired collection of monumental rock music. The band offers a complex sonic architecture that weaves together the spacious exploratory elements of classic prog, the raw anthemics of 90’s alt-rock, and stretches of black-lit proto-metal. Lyrics about mortality, life, and love are set to sharp melodies and pristine three-part harmonies. Vocalist and guitarist Brett Campbell has always been a strong, assured singer, and on Heartless, his work’s especially stunning. This may in part be due to the immediacy of the lyrics. Written by Campbell and bassist/secondary vocalist Joseph D Rowland, the words have moved from the metaphysical to something more grounded. As the group explains: “Instead of staring into to the void—both above and within—Heartless concentrates its power on a grim reality. Our lives, our homes and our world are all plumbing the depths of utter darkness, as we seek to find any shred of hope we can."
Pallbearer emerged from Little Rock, Arkansas in 2012 with a stunning debut full-length, Sorrow and Extinction. The record, which played like a seamless 49-minute doom movement, melded pitch-perfect vintage sounds with a triumphant modern sensibility that made songs about death and loss feel joyfully ecstatic. Pallbearer possessed what many other newer metal groups didn't: perfect guitar tone, classic hooks, and a singer who could actually sing.
For their 2014 followup, Foundations of Burden, the band worked with legendary Bay Area producer Billy Anderson (Sleep, Swans, Neurosis) for an expansive album that was musically tighter and especially adventurous. Armed with a more technical drummer, Mark Lierly, Foundations feels like it was built for larger shared spaces—you could imagine these songs ringing off the walls of a stadium. It was a hint of things to come. While the debut earned the band a Best New Music nod from Pitchfork and rightly landed the band on year-end lists at places like SPIN and NPR, along with the usual metal publications, Foundations of Burden charted on the Billboard Top 100 and earned the band album of the year from Decibel and spots on year-end lists for NPR and Rolling Stone.
Returning to where it all began, the quartet recorded their third full-length, Heartless on their own in Arkansas, and it’s grander in scope, showcasing a natural progression that melds higher technicality and more ambitious structures with their most immediate hooks to date. The collection, which follows the 3-song Fear & Fury EP from earlier this year, was captured entirely on analog tape at Fellowship Hall Sound in Little Rock this past summer and then mixed by Joe Barresi (Queens of the Stone Age, Tool, Melvins, Soundgarden).
From the gloriously complex, sky-lit opener “I Saw the End” to the earth-shaking (and heartbreaking) 13-minute closer “A Plea for Understanding,” the entire group puts forth the full realization of their vision: More than a doom band, Pallbearer is a rock group with a singular songwriting talent and emotional capacity. Heartless finds the group putting forth their strongest individual efforts to date: Campbell and Rowland, along with guitarist/vocalist Devin Holt and drummer Mark Lierly, turn in peak marathon performances. Both Campbell and Rowland also handle synthesizers alongside their normal duties, and there are plenty of gently strummed acoustic guitars amid the crunchy electric ones, adding a moody, ethereal spareness to the towering metal. The almost 12-minute “Dancing in Madness” opens with dark post-rock ambience and moves toward emotional blues before exploding into a sludgy psychedelic anthem. A number of the seven songs feature a humid rock swagger.
By fusing their widest musical palette to date, Pallbearer make the kind of heavy rock (the heavy moments are *heavy*) that will appeal to diehards, but could also find the group crossing over into newer territories and fanbases. After having helped revitalize doom metal, it almost feels like they’ve gone and set their sights on rock and roll itself. Which doesn’t seem at all impossible on the back of a record like Heartless.
FROM Third Way's Commitment Campaign:
When asked in our poll why “couples like you” might want to get married, 58% said “to publicly acknowledge their love and commitment to each other.” Only 22% chose “for rights and benefits, like tax advantages, hospital visitation, or sharing a spouse’s pension.” But when asked why gay couples might want to get married, publicly acknowledging love and commitment lost 20 points, and respondents were split down the middle between commitment and rights (38% to 38%).
This disconnect was even more stark within certain key demographic groups: those who attend church once a week (26 point gap) or more than once a week (33 point gap), Midwesterners under the age of 50 (31 point gap), and white voters without a college degree (25 point gap), among others.
Otto Jaffe was born in Hamburg in 1846, the third son of Daniel Jaffe. He came to Belfast at the age of 6 and at 16 he entered the family business, Jaffe Brothers Linen Merchants, also known as Strand Spinning, which provided work for about 350 local people, rising to 650 in 1914 when the company expanded to make munitions. Otto was educated in Belfast, Hamburg, and Switzerland. After carrying on business in New York from 1865 to 1877, he became chief director of the Belfast firm.
He was elected a City Councillor for St Anne's Ward in 1894 and became the city's first Lord Mayor in 1899, being knighted in March of the following year. He served as High Sheriff and was re-elected Lord Mayor in 1904.
Sir Otto was well known throughout his public life in Belfast for his generosity of both time and money. During his first term as Lord Mayor he and the Lady Mayoress raised £10,000 for the dependants of soldiers and sailors serving in the Boer War. He contributed £1,000 to the original building fund for the Royal Victoria Hospital where he was Governor,
In 1905 Sir Otto gave £4,000 to the fund for better equipment for Queen's College (now university). He was an active member of the committee that got the Public Libraries Act extended to Belfast, leading to the first free library being established.
As President of the Belfast congregation he made a huge contribution to the consolidation of the province's Jewish population, providing most of the funds for the new synagogue in Annesley Street, Carlisle Circus, in 1904. He had a deep interest in education and funded the Jaffe Public Elementary School at the corner of Cliftonville and Antrim Road in 1907, which, by his stipulation, was not exclusively Jewish, either in its management, staffing or pupils. He was a justice of the peace, a member of the Harbour Board and the German Consul.
In 1915, after 25 years service in Belfast and despite his naturalisation as a British citizen in 1888, and the service of his son Daniel in the British army, Sir Otto was forced to move to England as a result of the intimidation of the family during the war due to their German roots. Sir Otto died and was cremated in London in April 1929. His wife dies in August of the same year.
The Third Bowl
“Once there was a woman who lived a long life making pottery for our village. She made the cups with which we toasted 'good health' to each other, the plates on which we ate together to celebrate or grieve, and the bowls in which we shared our food with the holy ones who helped nourish our souls. One day she realized her body was in its last days of service to her and she decided to make three more bowls. She made them beautiful, identical, and with love.
Three friends came to her side as she rested her final day in this world, already past the point of speaking. The bowls were next to her with a note: 'Please take one of these with you.' The symbols on the bowls meant, 'May this work continue to be of service after I am gone'. Now the story becomes three stories because each bowl served in a different way.
The friend who took the first bowl thought it was too pretty to use and set it high on a shelf with many other lovely things. It was seldom noticed and years later was broken as someone tried to clean the dust from it, ending its story.
The second visitor to the potter was a teacher who brought the bowl to school. The children enjoyed it, drew it, were inspired to make bowls like it -- a few even became potters. Their images and bowls served many people. This second bowl served its purpose and started many stories before it was broken as well.
I was the third visitor and a young man with no idea of what to do with the third bowl. I had no fancy shelf and no students, and did not need a bowl for myself. I resolved to find a good use for it. As a bowl can be used many ways, I asked friends and neighbors to write what they needed on slips of paper in the bowl.
To my surprise, some of the notes did not ask to use the bowl, but were offers of other things people had to give. At first, I matched up needs with offers one by one. In time the bowl overflowed; people learned how to ask for the help they needed and how to give when they had more than enough. So, we all began instead to meet once in a while to help each other however we could. This attitude has became a part of daily life, and now even meetings are not needed.
As I myself now have lived a long life it is time to send the bowl on its way. I decided to give the bowl to my next visitor to take it home and find its new purpose. The first bowl was never more than a vision; the second achieved everything a bowl can be; the third has changed us all. Thank you for your visit. It is you who will decide what happens now in the story of the third bowl.”
* * *
something I wrote, used in Ready Set Happy
All Rights Reserved
Ready Set Happy
16 Guidelines for a Happy Life
copyright March 2008,
Foundation for Developing Compassion and Wisdom
from the chapter on Service
with permission
and for a real-life example:
Released 1967
5-10191 (US Release)
Side 1:
A. Run, Run, Run
Side 2:
B. No Return
Record of the Day
11/6/18
Nashville, TN
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
From my third visit to the wonderful Russian furry convention outside of Moscow.
See more galleries here:
Highlights: www.flickr.com/photos/alexfvance/sets/72157650776657865/
Parties & Portraits: www.flickr.com/photos/alexfvance/sets/72157650357168700/
Fursuit Dance: www.flickr.com/photos/alexfvance/sets/72157650750764782/
Events: www.flickr.com/photos/alexfvance/sets/72157648429635514/
Fursuit Walk: www.flickr.com/photos/alexfvance/sets/72157650354411940/
Group Photo: www.flickr.com/photos/alexfvance/sets/72157650773590135/
This GE AC44C6M sits third in line on the motive power of this parked intermodal train. I was driving through the town of Greencastle PA when I saw these engines sitting idle, so I swung in to take a couple pictures before getting back on my way north.
The Third Silesian Uprising was the last and largest and longest of the three uprisings.
The Third Silesian Uprising began on May 2–3, 1921, with Polish destruction of German rail bridges in order to thwart immediate German measures to suppress the uprising. A particular concern was to prevent a recurrence of the many acts of violence that had been perpetrated against the populace by German paramilitary groups, the Freikorps, which had ostensibly been created to support the German border-protection police. The Freikorps comprised mostly volunteers and demobilised German soldiers.
After an initial success of the insurgents, taking over a large portion of the area of Upper Silesia, the German Grenzschutz several times resisted the attacks of Wojciech Korfanty's Polish troops, some cases in cooperation with British and Italian troops. An attempt on the part of the British troops to take steps against the Polish forces was prevented by General Jules Gratier, the French commander-in-chief of the Allied troops. Eventually, the insurgents kept most of territory they had won, including the local industrial district. They proved that they could mobilize large amounts local support, while the German forces based outside Silesia were barred from taking an active part in the conflict.
Twelve days after the outbreak of the insurrection Korfanty offered to take his troops behind a line of demarcation (the "Korfanty Line"), conditional upon the released territory not being re-occupied by German forces, but by Allied troops. It was not, however, until July 1 that the British troops arrived in Upper Silesia and began to advance in company with those of the other Allies towards the former frontier. Simultaneously with this advance the 'Inter-Allied Commission' pronounced a general amnesty for the illegal actions committed during the insurrection, with the exception of acts of revenge and cruelty. The German Grenzschutz was withdrawn and disbanded.
The third Carlyle bodied Dennis Dart delivered to Rossendale Transport Limited in August 1990, 103 (H103VFV), was painted in a special livery for the Irwell Valley Adventure, promoting tourism in the Irwell Valley. It was photographed at Rawtenstall working the 976 Irwell Valley Explorer service, that linked with the East Lancashire Railway at the newly re-opened Rawtenstall station, on 26 May 1991.