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Looking towards Parsons from Waitpinga, South Australia.
f29
1/125
Toyo 45A Field Camera
Schneider 210mm APO-Symmar
Fomapan 100
Minolta Spotmeter F
Tray developed
Ilford LC29 - 7.5 Minutes @ 20c
Epson 4870 Scanner
This is my first attempt of using the HAIDA filter. I'm using the HAIDA Pro-Circular Polariser and HAIDA 10 Stop ND Filter.
Details:
Camera: Canon 6D
Lens: Canon 16-35 f2.8 Mark II
Filter used: HAIDA 100mm CPL, HAIDA 10-stop HD Filter
Exposure: 85sec (1min 25sec)
Aperture: f22
Walking home from the train station this was the image just in front of me. I wonder if other people saw it the way I did. Good thing I could capture it just as I saw it.
Project 365
253/365
2013/01/17
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The back of the new V&A Museum in Dundee on a very stormy day.
The new V&A museum in Dundee finally opened its doors to the public a few days ago, 4 years later than planned and nearly £40 million over budget. Anyway, there has been a huge hubbub about this building and there was a 3 day festival to celebrate it's opening with bands, fireworks, light shows, the full monty. The media have whipped people up into a delirious frenzy proclaiming it Dundee's saviour, a figurehead for the new Dundee, and suchlike. Reviews have been gushingly positive with hardly a negative word said against it. So,full of enthusiasm, I went for a visit on the third day it was open to the general public.
The weather was a storm with howling winds so I figured it might be a bit quieter than the previous days when people were queuing to get in. So the first thing was a walk around the outside of the building and I have to say it is pretty cool. The sheer scale of the building is quite awesome and twists and curves of the concrete striations lead your eye around it and make you want to explore around it more. It really is far better to view up close than it from distance where it looks a tad underwhelming. This exterior area has been really well thought out and certainly heightens the anticipation for what lies inside.
Unfortunately, getting in wasn't so easy. The design of the exterior seems to channel the prevalent wind right towards the entrance. I admit it was a very windy day but I was still able to walk around in the wind. However, the closer I got to the main entrance, the more intense the wind became, to the stage I could barely move in it, and that's not an exaggeration.
So after battling the winds I eventually got inside and the first thing I am greeted with is this amazing foyer area, a huge area of space that is quite breathtaking. Circling around this is the staircase which invites you to the upper level to where the exhibit rooms are. But what have they plonked in this remarkable foyer area, a coffee shop and a gift shop. Here you have this amazing space which is just prime ripe for exhibit pieces, pieces which could have been viewed not just from floor level but from the staircase and upper level balconies. However, not to be, it's a coffee shop instead. Moreover, this area of space is just asking to be explored, and although there is some scope for this, the area seems cluttered, and areas where people are sitting eating / drinking feels like protected space so you don't want to go barging around them just to get a better view.
So anyway, up the stairs to exhibit area. In the upper foyer you get some modern art on the wall, there are some paper sculptures and some pencil things in wood, all of which nobody seemed that interested in probably because they weren't that interesting. And unfortunately, that really sets the tone for the rest of the stuff on display there. As you go towards the Scottish Desing exhibit, there is this Jaguar car slung in a corner which shows something to do with the stages of it's development. Again, pretty uninteresting. The car itself looks like a boring little town runaround so nothing much to excite or enthrall.
Into the Scottish Design exhibit (the free exhibit) and it's just the same, a few pieces which I found moderately interesting but most of it was pretty unstimulating. In addition, this area was actually quite small and the pieces seemed shoehorned in with not a great deal of continuity between them. However, I appreciate it is a small space and the exhibit has quite broad scope. The main headline grabber in this exhibit is the reconstructed tearoom designed by Charles Rennie McIntosh. When inside, the design and build is quite interesting but the space is so small and feels so barren as there is no furniture, it again didn't hold my interest very long.
And that's the problem with the exhibits in here, there is nothing awesome, nothing with that wow factor, nothing that draws your attention in deeply. Everyone's taste is different and some may be enthralled by the exhibits here but they weren't to my taste and not to the taste of my friend I was with who seemed similarly disillusioned.
There is a second exhibition room on Cruise Liners which you have to pony up £10-£12 to get in. I didn't visit it as time was wearing on but I would hope for that money it would be more impressive than the other exhibit room. Supposedly, the temporary exhibit space (which the cruise liner exhibit is in) is huge. However, surely charging for entry to get into the larger, more impressive gallery space goes against the inclusivity that the museum is trying to promote.
Anyway, that was enough for me. I was going to look out from another of the balcony / viewing areas but that sat at the back of another coffee shop / restaurant and again it felt like a protected space and I didn't want to go barging by people who were dining just to get a different view. So I came away feeling slightly underwhelmed.
It really is an amazing building. It is fantastic to walk around inside and out, and it is great for a small city like Dundee to have attracted such an iconic building with such a prestigious name. However the use of the internal space seems slightly thoughtless and with so much space given over to eating / drinking areas and a gift shop, coupled with lacklustre exhibit pieces, it feels like this buildings primary public function is as a coffee shop rather than a museum, much like the DCA in Dundee. I appreciate running costs must be high and they have to claw that back somehow but when I go to a museum, I first and foremost go to view interesting exhibit pieces, not drink coffee.
I know this all sounds a bit negative, but it really is great to have this iconic building in the city. For me however, the use of the internal space needs rejigged and they need more interesting exhibit pieces in the free exhibit space to make it really live up to it's billing of being a figurehead museum for everyone.
www.youtube.com/watch?v=paijBJiRokE
"Till, when the ties loosen, All but the ties eternal, Time and Space, Nor darkness, gravitation, sense, nor any bounds, bound us."
A brief and largely unfruitful trip out, mainly due to getting caught in a hailstorm 10 minutes after leaving the car (thank you Abigail!). Return journey home provided this though.
This image is protected by copyright, no use of this image shall be granted without the written permission from Csaba Desvari.
en.wikipedia.org/wiki/Tiergarten_(park)
The Tiergarten (formal German name: Großer Tiergarten), is an urban public park of Germany located in the middle of Berlin, completely in the district of same name. The park is of 210 hectares (520 acres); and among urban gardens of Germany, only the Englischer Garten of Munich (417 ha or 1,030 acres) is larger.[1]
16th century
The beginnings of the Tiergarten can be traced back to 1527. It was founded as a hunting area for the king, and was situated to the west of the Coelln city wall, which was the sister town of Old Berlin. It also sat in the same vicinity as the Berlin Stadtschloss. In 1530 the expansion began; acres of land were purchased and the garden began to expand towards the north and west. The total area extended beyond the current Tiergarten, and the forests were perfect for hunting deer and other wild animals. The king had wild animals placed within the Tiergarten, which was fenced off from the outside to prevent the creatures from escaping, and was the main hunting ground for the electors of Brandenburg. This king’s hobby, however, began to fade away as the city of Berlin began to expand and the hunting area shrank to accommodate the growth.
17th–18th centuries
Frederick I, Elector of Brandenburg from 1688 until 1713, feeling the need to bring change to the hunting grounds, built many structures that are still visible today. As the King was expanding Unter den Linden, a roadway that connected the Berlin Stadtschloss and the Tiergarten, he had a swath of forest removed in order to connect his castle to the newly built Charlottenburg Palace. "Der Grosse Stern", the central square of the Tiergarten, and the "Kurfuerstenplatz", the electoral plaza, were added, with seven and eight boulevards, respectively. This is seen as the beginning of a transformation in the Tiergarten, a movement from the king’s personal hunting territory to a forest park designed for the people.
Frederick II did not appreciate the hunt as his predecessors did, and in 1742 he instructed the architect Georg Wenzeslaus von Knobelsdorff to tear down the fences that surrounded the territory and to turn the park into a "Lustgarten", or, loosely translated, a "pleasure garden", one that would be open to the people of Berlin. In the baroque style popular at the time he added flowerbeds, borders and espaliers in geometrical layouts, along with mazes, water basins and ornamental ponds; he also commissioned sculptures to add cultural significance. Unique to the time period, areas of congregation called "salons" were established along the many different walkways in the park. These salons were blocked off from the walking path by hedges or trees and often furnished with seating, fountains and vases, offering guests a change of pace and a place to discuss intellectual matters in private. Such freedom was common under the rule of Frederick II; there were even residents allowed to live within the Tiergarten. Refuges, Huguenots in hiding from the French, were allowed to erect tents and sell refreshments to the pedestrians walking through the park. A pheasant house was erected, which would later become the core of the Zoologischer Tiergarten, a zoo founded in 1844 that lies within the greater Tiergarten. During the year of the revolution, 1848, the park hosted another significant event, as the first assembly demanded the abolishment of the national censors.
19th century
At the end of the eighteenth century, Knobeldorff’s late-baroque form had been all but replaced by ideas for a new, scenic garden ideal. The castle park Bellevue and Rousseau Island were laid out by court gardener Justus Ehrenreich Sello in the late 1700s. It was then in 1818 that the king commissioned the help of Peter Joseph Lenné, a young man who was at the time the gardener’s assistant at Sanssouci in Potsdam. His plans involved the creation of a rural "Volkspark", or peoples park, that would also serve as a sort of Prussian national park that would help lift the spirits of those who visited. However, the King Frederick William III rejected Lenné’s plan. Against the opposition of a hesitant bureaucracy, Lenné submitted a modified version of his concept. This plan was accepted and realized between 1833 and 1840. The park was modeled after English gardens, but Lenné made sure to pay attention to Knobelsdorff’s structures and layouts. By draining forests areas he allowed for more footpaths, roadways, and bridal paths to be laid down. Several features became characteristic components of the Tiergarten. Wide-open grass lawns traversed by streams and clusters of trees, lakes with small islands, countless bridges like the Löwenbrücke, and a multitude of pathways became distinguishing features of the new garden.
Up until 1881, the Tiergarten was owned by the monarchy, and came under the direct control of the king. Soon after the king abolished his rights to the forest, he added the boundaries to the district of Berlin, so that the people may use and uphold it. However, until the middle of the twentieth century, the Tiergarten remained in the style that Lenné had left it in. The biggest changes came in the form of nationalistic memorials that began construction in 1849. These monuments were seen as patriotic contributions to the culture of the Tiergarten. The Siegesallee, or "Victory Avenue", could be considered the most famous addition. Built under the orders of Kaiser William II, It was lined with statues of former Prussian royal figures of varying historical importance. "Prachtboulevard", or the magnificence boulevard, was added in 1895 and became the area known as the Königsplatz, which would later become Platz der Republik.
The park is covered in statues commemorating those famous to the Prussians and the activities they enjoyed doing. Animal statues are to be found throughout the park, playing the counterpart to the stone hunters that also inhabit the area. Built by famous sculptor Friedrich Drake, a statue to Queen Louise, beloved queen of the Prussians, is also to be found here alongside her husband, Friedrich Wilhelm III. Statues of Johann Wolfgang von Goethe, Gotthold Ephraim Lessing, Heinrich Theodor Fontane, Wilhelm Richard Wagner and Gustav Albert Lortzing were also erected. The "Komponistendenkmal", or the Beethoven-Haydn-Mozart memorial, is another example of how the Germans wanted to respect and honor the men and women who gave them a unique culture.
20th century
Under Nazi control
The Nazi party took control in 1933, causing a dramatic change of idealism. This change was not just social; in fact, Hitler had planned the complete innovation of the city of Berlin. "Welthauptstadt Germania", or World Capital Germania, was the idea the Nazis wanted to bring to fruition. The Tiergarten was to be a central location in the new city. The Charlottenburger Chaussee, today known as the Straße des 17. Juni, was to be the central line between the east and west, and was widened from 27 to 53 meters, the same width as the current street. The Berlin victory column was also moved to the Grosser Stern, where it remains to this day.
The Second World War caused significant damage to the Tiergarten and its various cultural elements. Many statues were destroyed or damaged; some of the statues still need minor repair. After the war, the Tiergarten underwent a sudden, violent change. Much of the wooded area was felled and turned to firewood due to the shortage of coal, and the now empty fields were turned into temporary farmland by order of the British occupational troops in the region; there were around 2,550 plots of land available for growing potatoes and vegetables. However, these two factors caused the once great forest to nearly disappear; only 700 trees survived out of over 200,000 that once lined the parkway, the bodies of water turned silty, every bridge was destroyed, the monuments lie on their sides, badly damaged. Plans to fill the waterways with debris from the war were also suggested, but were prevented by the head of the Berlin Central Office of Environmental Planning, Reinhold Lingner.
In 1945, almost directly after the fall of Berlin, the Soviets erected a monument for the fallen soldiers of the Red Army on the north side of the current Straße des 17. Juni. Situated less than a mile away from the Reichstag, It was built in such short notice that it sat in West Berlin, which belonged to the British, Americans and French. When the wall went up around East Berlin, the monument became inaccessible to the people for whom it was built.
According to testimony reported in the 1995 documentary film On the Desperate Edge of Now, statues of historical military figures from the park were buried by Berlin citizens in the grounds of the nearby Bellevue Palace in order to prevent their destruction by the occupying American forces. They were not recovered until 1993.
Restoration
On June 2, 1945, the Berlin Magistrate decided they would restore the Greater Tiergarten. The first suggestions came in 1946/47. Reinhold Lingner and Georg Pniower, Professor of Garden Design at Berlin University, were the first to offer plans, but both were rejected during the division of Berlin by the Allied powers. Instead, they decided to follow the plans of the Tiergarten Director Willi Alverdes, whose plan seemed to be a more pragmatic approach; instead of rebuilding the park in a new fashion, Alverdes plans depended on the existing design of the park. He wanted to establish a tranquil, spacious park where one could relax and recover. Being called a crisis, the Tiergarten was reforested between 1949 and 1959. On March 17, 1949, the Lord Mayor Ernst Reuter planted the first tree, a linden, to signify the beginning of the restoration. West Germany took over the operation and sponsorship; about 250,000 young trees were delivered to the former capital from all over the Bundesrepublik, even being delivered via plane during the Berlin Blockade. Alverdes’ concept did away with the pre-existing baroque-styled structures in the park, claiming the style was not in keeping with the period. The combination of baroque and regional art was tossed out. Being a very natural park landscape, the Tiergarten was a very important area for rest and relaxation for the West Berliners, who were separated from their homeland by the Berlin Wall.
Several buildings have been added to the area surrounding the park, many of which were constructed by foreign architects. The Kongresshalle is a prime example. It began construction in 1956 under the initiative of Eleanor Dulles as an American contribution to the Interbau, an International Architecture Exhibition employed to exhibit new social, cultural, and ecological ideas in architecture.
Today
The Tiergarten’s culture began to stagnate until the fall of the Berlin Wall and the GDR in 1989. After the reunification of East and West Berlin in 1990, many of the outskirts of the park changed drastically. For instance, along the streets that border the southern boundary of the park, dilapidated embassy buildings that had stood for decades were reoccupied and others were rebuilt from the ground up, such as the Nordic embassies. On the northern border the new German Chancellery was built, along with office buildings for the everyday work of the delegates. The Reichstag was refurbished with a new, glass dome that has become a popular tourist attraction. Several overgrown areas that had been used for picnics and soccer were replaced with open spaces and grassy lawns that have added to the prestige of the park. Due to its status as a garden memorial of the city of Berlin, encroachment onto the Tiergarten from businesses and residents has been illegal since 1991.
A large tunnel has been built under the Tiergarten, allowing easy movement from north to south for motor vehicles, streetcars, and, more recently, subway trains. The original proposal for the tunnel was met with great opposition from environmentalists, who believed the vegetation would be damaged due to shifts in ground-water levels; in fact, the first plans for construction were denied by a court order.
In the northerly neighbouring quarter of Moabit a much smaller park bears the same name, thus both are differentiated as Großer and Kleiner Tiergarten.
Tiergarten has around 210 Hectares and after Tempelhofer Freiheit, it is the second biggest parkland in Berlin and the third biggest inner-city parkland in Germany.
Geography
The park is located on the northern and central side of Tiergarten Ortsteil and is bordered, on the northern side, by the river Spree. The little quarter Hansaviertel borders on it at the north-western side and the Zoological Garden is situated on the south-western side. The principal road is the Straße des 17. Juni which ends, in the east, at the Brandenburg Gate. Other main roads are the Altonaer Straße, Spreeweg and Hofjägerallee. In the middle of the park is the square named Großer Stern ("Great Star") with the Siegessäule (Victory column) located in its centre. In addition to the Brandenburg Gate, other notable buildings and structures located close to the park are the Soviet War Memorial, the Reichstag, the Bundestag (all in the eastern borders), the new central railway station (in the north) and, on the southeastern borders, the Memorial to the Murdered Jews of Europe, the Memorial to the Sinti and Roma victims of National Socialism and the central square of Potsdamer Platz.
Transport
The park is principally served by the S-Bahn at the rail stops of Berlin Tiergarten (situated at the western entrance on the Straße des 17. Juni) and Berlin Bellevue.
Eastbound CN intermodal train Q116 is about to pass under Highway 11 and then cross the Fraser River into Mission, BC on the CP Page Sub. Leading the train is a former Citirail(CREX) GEVO. Riverside, BC 12/9/2023
From near Rhyd Ddu looking south towards the peaks of (from left) Moel Hebog (2569 feet), Moel yr Ogof (2149 feet) and Moel Lefn (2093 feet) all near Beddgelert. Moel is Welsh for a bare, treeless mountain.
This is one end of one of the longest pedestrian bridge in Europe. Its name is Sölvesborgsbron and here it lies in the beautiful sunlight.
QJ 3487 crosses the river bridge at Wei Zi Gou, not far from its destination at Tumen on the border with North Korea.
1. Mind-Boggling, 2. a box of autumn colour, 3. Doors... , 4. file, 5. in space and in time, 6. Untitled, 7. Untitled, 8. things found, 9. vintage oil can collection, 10. Untitled, 11. Ferm Living, 12. ., 13. to the lake, 14. Untitled, 15. vakantie, 16. Conversations
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The three telecommunication masts on Cleeve Common above Cheltenham, Gloucestershire.
It was very windy and the stars are slightly out of focus but I liked the overall effets 🌌☁
View across Grasmere towards Loughrigg taken from the landing stages just outside the village of Grasmere.
365-192
This shot is a practice run for this weeks SSC challenge, which is "Joiners" i.e an image that has several photos stitched together to create the final image. This is a view looking towards Halstead and is 9 images stitched together.
Hair - Magika [03] Stumble
- Magika [01] Drastic
Underwear - Zaara : Chanchal Lingerie
- VA Creations - Swimsuits