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The Unitarian Universalist Fellowship of Central Oregon sends children off to religious education classes with a tradition the growing congregation insists on keeping no matter how big it gets. This commitment to community amidst rapid change is part of why the Unitarian Universalist Association named the fellowship a Breakthrough Congregation.
See “Community Spirit" by Elaine McArdle, UU World (Summer 2016), pages 22–27. Photograph © 2016 Karen Cammack.
Built in 1796.
"Society Hill is a historic neighborhood in Center City Philadelphia, with a population of 6,215 as of the 2010 United States Census. Settled in the early 1680s, Society Hill is one of the oldest residential neighborhoods in Philadelphia. After urban decay developed between the late 19th and early 20th centuries, an urban renewal program began in the 1950s, restoring the area and its many historic buildings. Society Hill has since become one of the most expensive neighborhoods with the highest average income and second-highest real estate values in Philadelphia. Society Hill's historic colonial architecture, along with planning and restoration efforts, led the American Planning Association to designate it, in 2008, as one of the great American neighborhoods and a good example of sustainable urban living.
The neighborhood hosts one of the largest concentrations of original 18th- and early 19th-century buildings in the United States. Society Hill is noted for its Franklin street lamps, brick sidewalks, cobblestone and Belgian block streets bordered by two- to four-story brick rowhouses in Federal and Georgian architecture, and public buildings in Greek Revival architecture such as the Merchants' Exchange Building and the Old Pine Street Church.
Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.
Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.
During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.
With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.
Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.
With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.
Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
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I finished up my value quilt last night! I'm really happy with how it turned out. I'll have to take some better photos at some point, it was starting to get dark! :)
I just did some simple straight line quilting on both sides of the HST middle seam. :)
Shoreland Transport finances the Kenworth T680 with 76-inch sleeper powered by the PACCAR MX-13 engine through Bayview Kenworth and PACCAR Financial through a fair market value lease. The company also contracts its maintenance with Bayview Kenworth so that it can focus on its core business of producing and delivering quality salmon.
More tests today. I'm learning how to control very light values. But first I did a little ink test in the upper left to see if you get green when you mix yellow and black ink. Yes, you do if you are very fast and mix them while they are still wet. I used a yellow Micron pen and a black Zig pen.
My main test was to slowly build up dilute colors. I had burnt sienna in one Kuretake Mini waterbrush and cobalt in another. I applied a wash, waited for it to dry completely, and added another. I did this four times to create four increasingly darker values. You have to be very patient, but it works. I learned this method from a book called "The Wash Method of Handling Water Colour" by Frank Forrest Frederick published in 1908. I found it for free on Archive.org
archive.org/details/washmethodofhand00freduoft
Where you can download it as a PDF, ePub, or Kindle file.
Finally I tried to get the lightest value possible with a number of colors. I used a wet round brush to pick up a little dried tube paint. I then quickly dipped the brush in water, tapped the brush against the inside of my water container (to dislodge a little water) and then made a brush mark down the dry page. This deposits very little pigment and is a good way to make beautiful, light colors. I also tried lifting some color out with a thirsty brush (in the cadmium red/lemon yellow mix), and I tried adding a little more color on top of the wet first stroke (ultramarine and cobalt - bottom left).
Confucius (孔子; pinyin: Kǒngzǐ; lit. 'Master Kong'; c. 551 – c. 479 BCE), born Kong Qiu (孔丘), was a Chinese philosopher of the Spring and Autumn period who is traditionally considered the paragon of Chinese sages. Much of the shared cultural heritage of the Sinosphere originates in the philosophy and teachings of Confucius. His philosophical teachings, called Confucianism, emphasized personal and governmental morality, harmonious social relationships, righteousness, kindness, sincerity, and a ruler's responsibilities to lead by virtue.
Confucius considered himself a transmitter for the values of earlier periods which he claimed had been abandoned in his time. He advocated for filial piety, endorsing strong family loyalty, ancestor veneration, the respect of elders by their children and of husbands by their wives. Confucius recommended a robust family unit as the cornerstone for an ideal government. He championed the Silver Rule, or a negative form of the Golden Rule, advising, "Do not do unto others what you do not want done to yourself."
The time of Confucius's life saw a rich diversity of thought, and was a formative period in China's intellectual history. His ideas gained in prominence during the Warring States period, but experienced setback immediately following the Qin conquest. Under Emperor Wu of Han, Confucius's ideas received official sanction, with affiliated works becoming mandatory readings for career paths leading to officialdom. During the Tang and Song dynasties, Confucianism developed into a system known in the West as Neo-Confucianism, and later as New Confucianism. From ancient dynasties to the modern era, Confucianism has integrated into the Chinese social fabric and way of life.
Traditionally, Confucius is credited with having authored or edited many of the ancient texts including all of the Five Classics. However, modern scholars exercise caution in attributing specific assertions to Confucius himself, for at least some of the texts and philosophy associated with him were of a more ancient origin. Aphorisms concerning his teachings were compiled in the Analects, but not until many years after his death.
In the Analects, Confucius presents himself as a "transmitter who invented nothing". He puts the greatest emphasis on the importance of study, and it is the Chinese character for study (學) that opens the text. Far from trying to build a systematic or formalist theory, he wanted his disciples to master and internalize older classics, so that they can capture the ancient wisdoms that promotes "harmony and order", to aid their self-cultivation to become a perfect man. For example, the Annals would allow them to relate the moral problems of the present to past political events; the Book of Odes reflects the "mood and concerns" of the commoners and their view on government; while the Book of Changes encompasses the key theory and practice of divination.
Although some Chinese people follow Confucianism in a religious manner, many argue that its values are secular and that it is less a religion than a secular morality. Proponents of religious Confucianism argue that despite the secular nature of Confucianism's teachings, it is based on a worldview that is religious. Confucius was considered more of a humanist than a spiritualist, his discussions on afterlife and views concerning Heaven remained indeterminate, and he is largely unconcerned with spiritual matters often considered essential to religious thought, such as the nature of souls.
Value City (closed) [90,000 square feet]
837 J Clyde Morris Boulevard, Newport Square, Newport News, VA
This location opened on August 5th, 1993 and closed in November 2008; it was originally a Murphy's Mart, which opened on October 3rd, 1973 and became an Ames in early 1987, which closed in April 1993. The majority of the building became a Stratford University campus on May 21st, 2012, and the rest became part of a Waters Edge Church in November 2012.
9x12, oil. This is just the first step for this painting. After this value study is dry I will glaze over with color. More to come on this one. Fonzie is one of my favorite models.
Hornstrandir nature reserve was established in 1975. It covers around 58.000 ha of the northernmost part of the Westfjord peninsula, a diverse landscape with fjords, mountains and abandoned settlements.
The area was inhabited from the 9th century, when the first settlers arrived in Iceland and was originally valued for easily accessible fishbanks with abundant amounts of fish. Later, excursions were also made to the area from other parts of the country to collect some of the driftwood that characterizes the shores of Hornstrandir and to hunt for the seabirds that nest there in large colonies.
During the centuries the population of the area fluctuated according to climatic conditions and it seems that the traditional subsistence farming and fishing on small boats was on the verge of supporting the settlements. The farms were small, 5-10 sheep and a cow. Unimproved grassland and wetland was used for haymaking, a necessity in the harsh winter conditions.
The area was abandoned between the 1930's and 1952 when the last inhabitants decided to move from the area. It has since been one of the tourist attractions of Iceland, equally visited by Icelandic and foreign tourists. There are no roads in the area and it is only accessible by boat or by traditional trekking routes.
The vegetation of the area has changed dramatically during the last 50 years, grassland has turned into flower meadows or in some cases a monoculture of Angelica archangelica. Heavy snowcover during the winter and an intensive, if short, growing season with 24 hrs sunlight create special conditions for rare species and the absence of grazing ruminants gives a new perspective on the capacity of many common species in these harsh conditions.
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I returned to Iceland after five years for a 10-days hike in the abandoned, awesome and exceptional area of Hornstandir. This is a place where the toughest of mankind finally failed to permanently dominate the nature.
Fjords, mountains, lonely houses, lost graveyards; no villages, no roads, no shops, nothing. Just an unspoiled nature, beautiful flowers, arctic foxes giving good night and seals peacefully playing close to the coastline.
(For those who are interested – the itinerary was as follows: Fljótavík -> Hlöðuvík -> Hornvík -> Hornbjargsvíti -> Bolungarvík -> Reykjafjörður -> Hrafnfjörður -> Grunnavík.)
This is a shot taken during our 3rd day in the area - we camped in the peaceful Hornvík bay and continued hiking in the eastern direction, visiting spectacular Hornbjarg cliffs.
Image ©Philip Krayna, all rights reserved. This image is not in the public domain. Please contact me for permission to download, license, reproduce, or otherwise use this image, or to just say "hello". I value your input and comments.
No AI Training: Without in any way limiting the artist’s exclusive rights under copyright, any use of this photograph to “train” generative artificial intelligence (AI) technologies to produce images is expressly prohibited.
My loyalty remains with Flickr, however you can also see me more often on Instagram. Follow me: @dyslexsyk
Installed in the 1920s after a major renovation, the Jesus as the Good Shepherd window was created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him.
He stands benevolently with his shepherds' crook, clutching a lamb, whilst in the vignette below him at the bottom of the lancet window, Jesus is shown bringing his wayward flock safely into the safety of the barn. The sheep to his left looks wistfully up at him, whilst the lamb held in his arms in the main depiction is shown in the vignette draped over the crook of his arm.
The letters IHS appear intertwined in a monogram at the top of the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart
Image shot with Canon EF 85mm f1.2
See the same review but with more images here drewportfolioblog.blogspot.com/2011/06/testing-canon-ef-8...
I just got the chance to test out the Canon 85mm f1.2 and 50mm f1.2. I also tested out the new Sigma 85mm f1.4 which is another lens I have been very interested in and that has been getting a lot of great praise.
These are two Canon lenses that I have always wanted to add to my kit (not just because of the red ring). The price though is the reason I have not yet decided to jump at them. I have read a lot of different reviews online saying that the 85’s focus is slow, the 50 has some focussing issues and that the sigma gives the same image quality of the canon at £1000 less. The following is just a short review and my thoughts on these lenses. I am not going to focus on the technical specifications or any of that as I really couldn’t care less about charts and numbers, I want to look at the practical uses and if the lenses will work for me and in the situations that I personally shoot. Oh and the camera used was my Canon 5D mark 2.
Canon EF 85mm f1.2
When I tested the Canon 85 I was surprised to find the focus was actually pretty fast, considering the size of glass it has to move, I have used much slower autofocus lenses in the past. I also read that the manual focus is quite annoying to use but I personally really liked it. The manual focus ring is quite loose feeling but I prefer this to a stiff focus ring. I have previously owned the Canon 50mm f1.8, most people hate the manual focus ring on that but I loved it, it was loose and I could move it with one finger, I could always focus much more accurately and quickly, this goes against most people’s views but hey different strokes. I tend to trust my eye more than the autofocus on a machine so being comfortable with the focus ring is very important to me. I took a couple of portraits of my girlfriend at 1.2 and was blown away by the images, the sharpness, the DOF and overall feel was outstanding. The weight actually wasn’t too bad, don’t get me wrong it is pretty heavy but its a nice solid heavy. I think that if you shoot any kind of portraits and can reach the price of the 85 f1.2 then it is simply the best thing out there. It is not an all purpose lens but for portraits it is simply amazing! I still cant get over the sharpness at f1.2. I think I would use this lens for portraits and gigs, I have heard that the focus hunts too much in low light but I am very comfortable with manual focus and actually get more keeper shots using my own eye and hand rather than relying on the camera and mechanisms.
Now the price of this lens is insane at around £1700 but after using it I now know why. I truly believe that this lens is a great investment for your business, providing you shoot at this focal length a lot and are very serious about your images. I’m not just saying this for the amazing creamy background that it produces as I have seen many boring images made with this lens where the photographer has simply relied on the blurred background (Bokeh) to make the image interesting. I think that in the hands of a photographer who can make great images regardless of lens and then incorporate the power and beauty of this 85 into their images it will be a revelation.
Canon EF 50mm f1.2
Through my time with photography I have used the Canon 50mm f1.8 and now for the past year the Canon 50mm f1.4. The 1.8 for the money (I got mine at around £90) is a great lens and an amazing introduction for people wanting to get into prime lenses or low light photography. I used this to shoot a lot of bands and most of my early portraits as I loved the shallow depth of field created at 1.8. The problem with this lens is the construction, when I was a kid I had toys that were made better than this. It really does feel like crap and if you drop it, it will probably break, but then it is only around £100 so you can’t expect the best. The image quality was really nice so I couldn’t really complain. The autofocus was virtually unusable, I shot mostly in low light and it could never find focus so I was on Manual 100% of the time. After a year the autofocus just stopped responding all together and I decided to upgrade to the Canon 50mm f1.4.
The 50 f1.4 was a great upgrade, the ability to shoot at 1.4, the reliable and fast autofocus and the colour was just superior in my experience to the 1.8. It helped so much with shooting bands and shooting in low light in general. My images started to get better and the lens would just respond and render images the way I needed. The build was far superior and I didn’t feel like I had to baby it as much, it just worked and worked very well. The 1.4 is still my workhorse lens and I use it about 70% of the time but I have recently been thinking about upgrading to the 50 f1.2. My reason is that there are a few times I have found the f1.4 not fast enough(aperture) for some lowlight situations in pubs, venues and other places where I had no artificial lighting available. I know that the difference between 1.4 and 1.2 is not much but if you have been in the situation where you could use that little bit of extra light then you know that it would be invaluable. Also for portraits that background at f1.2 would be nice.
When I put the 50mm f1.2 on my camera it felt awesome. It was light, not as light as the other 50’s though, it felt solid and to be honest just looked damn good. The autofocus was quick and accurate, the manual focus ring was nice to use and the construction is really nice. I tested this after the 85 1.2 and I instantly liked the wider view (I am used to the 50 view so thats probably why). Again I shot my girlfriend and the images were incredible. The sharpness on the eye, the background blur (Bokeh), the focus accuracy and the colour. I was amazed at the colour straight out of the camera. This was by far superior to my 50 f1.4 in all aspects. It wasn’t as sharp as the 85 f1.2 but this isn’t a problem for me as they have very different uses. This 50 in my opinion would be a great documentary, wide/group portrait and band/gig lens.
I really wasn’t expectimg this lens to perform as well as it did, so many people online were bashing it but I can say that for me anyway this is the best Canon 50 out there. This lens does cost a lot at around £1250 compared to the £299 of the 50 f1.4 so I think you really have to know you need it before purchasing. Like I said about the 85 I really think that investing in this lens will give you a return as the images will stand out so much more if used correctly and to its full potential.
Sigma 85 f1.4
The last lens I tested was the Sigma 85 f1.4 which is a lens I have seriously been looking at as it is about £1000 less than the Canon 85 f1.2 and people have been saying that it rivals the quality of Canon. I thought I would test it for myself.
The lens felt nice and was quite heavy, It has some big glass in it, I liked the shape and it looked good when mounted to the camera. One thing I instantly noticed is that the AF/Manual switch sticks out quite a lot and could easily be knocked accidentally and looks…..well….quite crap, but I’m looking for image quality and can deal with these niggles if it delivers in the final images. The focus was very fast, I would say faster than the Canon 85 and it was also very accurate. I have heard a lot of focusing problems with the sigma lens line but this one was dead on. The sharpness was good, not as good as the Canon but pretty good and the colours were good. The background blur at 1.4 was also very nice. One big problem for me was the manual focus ring which was very stiff and just didn’t feel good when moved which is kind of a deal breaker for me as I manual focus a lot. I only tested one lens so i’m not sure if this is the same on all or just this one but something did not feel right with the manual focus ring.
The thing I found with this lens is that it was good, not great but good. Well apart from that damn manual focus ring, really disappointed with this but other people may like it. The images came out nice but not as good as the Canon 85, the bokeh was good but again not as nice as the Canon’s and also the colour straight out of camera wasn’t quite as nice as the Canon’s. I have to take into account that there is a £1000 price difference here too which is massive. If there is no way you can afford the Canon then the Sigma would be a great alternative but Canon also do a 85 f1.8 which is highly regarded by many pro’s and is around £320 which is a lot less than the Sigma. You could save the money and buy the Canon 85 f1.8 then save up for the Canon 85 f1.2. I think If I couldn’t get the Canon 85 f1.2 I would go that route as the Sigma is a little pricey for a stop gap lens, I would have to want the Sigma and want to use it for a good few years instead of the Canon 85 f1.2 which just isn’t the case.
I would like to test another copy of the Sigma as I have heard that qaulity can vary from lens to lens and I would like to try the manual focussing ring again to see if it was just that copy that was really stiff. So Sigma if your reading, feel free to send me a copy of the 85 f1.4 and I’ll do another review.
Conclusion
I really enjoyed testing out these three lenses which I have been very interested in buying. I feel it is much better to get your hands on the items and test them for yourself, you might find that one just feels right.
I was secretly hoping that the Sigma was going to blow me away and match the Canon’s quality and at £1000 less but i’m afraid it didn’t. The extra money on the Canon 85 f1.2 in my eye’s at least does give you that something more, that something special in the images. £1000 is a lot of money but sometimes the difference between good and great is very small and the Canon just has that little something extra that I feel is very important It will last you a long time and it’s resale value will stay high if you ever decided to get rid of it for whatever reason.
A surprise though was that the lens I liked best out of all three was the 50mm f1.2. I originally wasn’t going to test this one as I was looking for a 85mm focal length, I just decided on a whim to give it a go. It’s not as sharp as the 85 f1.2, it’s probably on par if not better than the Sigma. I really liked the colours it rendered and the ability to shoot at f1.2 for low light and would be great for 3/4 portraits on location.
I am not stinking rich and can only choose one lens out of the three, I think I will try and get the Canon 85 f1.2 as I need a portrait focal length more than any other at the moment for my business. I already have the Canon 50mm f1.4 which is a great lens and I am happy with its results so buying the 50 1.2 would be more of a luxury than a needed purchase. Although if you are looking for a 50 and are considering the canon 1.2 I say go for it and never look back.
UPDATE!
Since doing these tests and this review I decided to give the Sigma another chance and tried a second copy. True it is not quite as sharp as the Canon 1.2, nearly but not quite, the Sigma does not have 1.2 which would be nice but 1.4 would be fine for most low light situations and for this price you cannot complain. The thing i loved this time round is the focus speed which is very fast, I would say about twice as fast as the Canon 1.2. the focus on this copy is very accurate even in low light. The lens is nice and weighty and looks good on the camera, it looks like a nice Nikon lens to be honest. The manual focus ring is still too stiff for my liking and can be a pain to use but with auto focus this decent I might not need to revert to it nearly as often. Most importantly images that it produces are really really nice. I am very impressed with this lens after spending a bit more time with it. I did a test by putting a few images taken with the Canon 85 1.2 and the Sigma 85 1.4, I processed them as I usually process my images (white balance and contrast adjustments) and put them into a slideshow, I got a few people (including myself) just to watch these images loop around in the slideshow and the results were very interesting. They could not tell any difference in the images, this is after about ten minutes staring at them. When I looked at them closely I also could not see any difference, now that is amazing considering the Sigma is £1000 cheaper. Now I really was going to go for the Canon 85 1.2 but after spending more time with the Sigma I have changed my mind. I would like the Canon purely because of its image quality, good looks and the 1.2 but if I (and a good few others, who are also quality freaks) cannot tell the difference in the images between the Canon and the Sigma, the Sigma has much better autofocus, it is a bit lighter and costs around £1000 less then Its a no brainer in my opinion. I actually now think that overall the Sigma is the better lens, that was not easy to say. I actually liked the Sigma so much that today I purchased one and have been shooting with it all day. and with £1000 extra still in the bank to spend on another lens, maybe the Canon 135 f2. In the end the quality of the images I deliver to clients is the most important thing and you can't go wrong with either the Sigma or the Canon.
I hope this helps anyone that is in the same position as I am at the moment.
andrew@drewportfolio.com
U.S. Secretary of State Rex Tillerson delivers remarks on the Value of Respect to employees at the U.S. Department of State in Washington, D.C. on January 12, 2018. [State Department Photo/ Public Domain]