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6973. It would have been a perfect result for the island locals to see a destroyer named TASMANIA take out Tolley Challenge Cup for 22ft Montague Whalers in 1924. We can't find a record for this event today, but it may continue. We're thinking it may have been part of the three-day Royal Hobart Regatta carnival which was started in 1838, and is conducted each year in February. An interesting sidelight to this photo is that it shows very clearly the slightly concave foredeck of the 'S' and 'T' class destroyers, which would have drained well in a seaway, and no doubt contributed to their reputation as excellent seaboats. Photo: RAN Archives, it appears on the RAN Seapower Centre's histro webpage for HMAS TASMANIA, which can be found here: www.navy.gov.au/hmas-tasmania
Fonte TDWP official webpage:
The Devil Wears Prada is the musical embodiment of a generational shift. Built on a diverse array of heavy, dark, melodic and genre-defying music; hardened and sharpened by putting in road work together since the days when they had to skip class to tour: The Devil Wears Prada is at the forefront of a movement that bridges the gap between Rockstar Mayhem and the Vans Warped Tour.
The passionately inspired band’s album for Roadrunner Records, cryptically titled 8:18, embodies an unflinching, uncompromising authenticity born from revelatory introspection and obsessive workmanship. The dichotomies are refreshing, invigorating and boundless. There’s an oppressive, suffocating darkness to their heavy music, counterbalanced by the hope within their collective faith. The most brutal of crowd-moving breakdowns ignite with friction, bristling against soaring melodies, progressive yet catchy riffing and keyboard soaked atmospheric esotericism. To put it simply: The Devil Wears Prada have developed the chops, the cred and the audience of a true-blue thinking person’s heavy metal band, while simultaneously welcoming fist-pumping hellraisers and youthful moshers alike. 8:18 continues the war against humanity’s dark urges, pointing the finger inward and outward through a medium that is itself both bleak and grand.
"Much of the heavy music around us suffers from a total lack of emotion. It's sort of losing an audible sense of sincerity," observes vocalist Mike Hranica. "The guitars, the drums, the songs themselves create that sorrow that I want the lyrics to tell on 8:18. And I made sure that my vocals created emotions that I have heard in post-hardcore, but that I rarely hear in breakdown-heavy metal bands like us."
The overriding theme on 8:18 is misery, exploring that mental and emotional state through its various guises, manifestations and interpretations. Tracks like Gloom, War, Black & Blue and Home for Grave spring forth from that foundation, exploiting concepts like mediocrity, existential angst and life's bigger questions under an atmosphere of musical dread, hostility and darkness.
Mike Hranica is blessed with a commanding roar, but infuses the proceedings with a literary sensibility, a commitment to self-evaluation and a painstaking modesty that levels the playing field between performer and listener beneath the surface.
Rhythm guitarist Jeremy DePoyster contributes the hook-laden underbelly to Prada’s brutal musical beast, handling the “clean” singing with a fine-tuned abandon to rival the pop stars dominating the charts. He grew up listening to Rob Zombie and Korn, but his iPod these days is packed with just about everything one can name. His singing vocals shine particularly on 'Care More,' a heavily electronics infused song with a dark mood. "There's so much of this crappy auto-tuned singing thing happening right now. It's disappointing to me because I've been singing since I was a kid," DePoyster says. "We all know what auto-tune is and we all use it to get things to work a little better, but when I hear things that are using it just as a crutch, that is extremely disappointing to me. Mike does a lot of passionate, raw, vibey screaming on this record, too. It's great."
Andy Trick has a Minor Threat-inspired tattoo that exhibits his early inclinations toward hardcore punk, an ethos and a mindset that still courses through the bass player’s veins even as he takes the stage playing guitar-driven metal music around the world. His bass playing anchors the theatrics and fluid, tasteful beats of Daniel Williams. Prada’s drummer carries the class and finesse of the indie crowd, while pummeling the drums with the power of metal's finest. "Since the beginning, we have liked breakdowns, we have liked heavy sounds, we have liked melodic singing, we have liked heavy metal in general," notes Hranica. "Those are the most basic fundamentals of what this band has been about."
The overseeing hand of executive producer and Killswitch Engage axeman Adam Dutkiewicz (August Burns Red, Shadows Fall, Parkway Drive) and producer Matt Goldman (Underoath, The Chariot, As Cities Burn) resulted in a sonic time capsule representing not only this present moment for TDWP, but a crossroads for heavy music itself. Progressive strains of experimental trailblazers Converge, Botch and Underoath seep beneath The Devil Wears Prada’s unique reverse-engineering of modern metal. 8:18 convincingly detours into Nine Inch Nails-isms, then comes full circle with some killer throwbacks to TDWP's earliest work.
"We love a lot of the records Matt has made and obviously we love Adam and he's a great friend," DePoyster points out. "Adam was very involved in doing the vocal stuff with Mike and I and had given us ideas when we were making demos. Both of those guys were great with us and were able to make contributions and make us think about things in different ways without making us uncomfortable.
With 8:18, The Devil Wears Prada cement their status as a band who have not only weathered the pressures of early, youthful popularity, but grown into masters of their craft. From album packaging to merchandising, from video production to stage lighting, The Devil Wears Prada are hands-on and pay excruciating attention to detail to ensure they always deliver their best, that their overwhelming passion will endure. They push themselves to create a lasting work that inspires, empowers and challenges, in equal measure.
"We're not kids who just want to hit the road and see where this goes," adds DePoyster. "We're making a conscious choice to do this because we love it."
The Devil Wears Prada are unwavering in their commitment to each other, their fans, their art, their higher calling toward truth and to their desire to engage. The emotion remains sincere, the musicianship supreme.
A little preview to the "vertoramic" view I´m going to upload these days.
© Andy Brandl / PhotonMix (2012)
Don´t redistribute / use on webpages, blogs or any other media. See my profile page for information regarding licensing of this image for commercial use.
My Webpage | My Personal Facebook | BMP on Facebook | My Blog | My Pinterest | Twitter
Strobist Data:
SB900, SB910, and SB600 bounced off Westcott 60" with optical white CR.
Fired by PW MiniTT1, AC3, and FlexTT5.
Kapiʻolani Community College celebrated their graduates with a socially distanced, walk-through commencement celebration on on May 14, 2021. The campus also has a virtual commencement video (www.kapiolani.hawaii.edu/congratulations-graduates-2/) and a graduate webpage (commencement.hawaii.edu/kapiolani/2021/).
Photo credit: Cliff Kimura
Webpage in English
www.pnqueluz.imc-ip.pt/en-GB/Default.aspx
English
en.wikipedia.org/wiki/Queluz_National_Palace
The Queluz National Palace (Portuguese: Palácio Nacional de Queluz) is a Portuguese 18th-century palace located at Queluz, a freguesia of the modern-day Sintra Municipality, in the Lisbon District. One of the last great Rococo buildings to be designed in Europe, the palace was conceived as a summer retreat for Dom Pedro of Braganza, later to become husband and then king consort to his own niece, Queen Maria I. It served as a discreet place of incarceration for Queen Maria as her descent into madness continued in the years following Dom Pedro's death in 1786. Following the destruction by fire of the Ajuda Palace in 1794, Queluz Palace became the official residence of the Portuguese prince regent, John VI, and his family and remained so until the Royal Family fled to Brazil in 1807 following the French invasion of Portugal.
Work on the palace began in 1747 under the architect Mateus Vicente de Oliveira. Despite being far smaller, the palace is often referred to as the Portuguese Versailles. From 1826, the palace slowly fell from favour with the Portuguese sovereigns. In 1908, it became the property of the state. Following a serious fire in 1934, which gutted the interior, the palace was extensively restored, and today is open to the public as a major tourist attraction.
One wing of the palace, the Pavilion of Dona Maria, built between 1785 and 1792 by the architect Manuel Caetano de Sousa, is now a guest house allocated to foreign heads of state visiting Portugal.
Português
Página do Palácio
pt.wikipedia.org/wiki/Pal%C3%A1cio_Real_de_Queluz
O Palácio Real de Queluz (também chamado de Palácio Nacional) é um palácio do século XVIII localizado na cidade de Queluz no concelho de Sintra, distrito de Lisboa. Um dos últimos grandes edifícios em estilo rococó erguidos na Europa, o palácio foi construído como um recanto de verão para D. Pedro de Bragança, que viria a ser mais tarde marido e rei consorte de sua sobrinha, a rainha D. Maria I de Portugal.
Serviu como um discreto lugar de encarceramento para a rainha Maria I enquanto sua loucura continuou a piorar após a morte de D. Pedro em 1786. Após o incêndio que atingiu o Palácio da Ajuda em 1794, o Palácio de Queluz tornou-se a residência oficial do príncipe regente português, o futuro D. João VI, e de sua família. Permaneceu assim até a fuga da família real para o Brasil em 1807, devido à invasão francesa em Portugal.
A construção do Palácio iniciou-se em 1747, tendo como arquiteto Mateus Vicente de Oliveira. Apesar de ser muito menor, é chamado frequentemente de "o Versalhes português". A partir de 1826, o palácio lentamente deixou de ser o predileto pelos soberanos portugueses. Em 1908, tornou-se propriedade do Estado. Após um grave incêndio em 1934, o qual destruiu o seu interior, o Palácio foi extensivamente restaurado e, hoje, está aberto ao público como um ponto turístico.
Uma das alas do Palácio de Queluz, o Pavilhão de Dona Maria, construído entre 1785 e 1792 pelo arquiteto Manuel Caetano de Sousa, é hoje um quarto de hóspedes exclusivo para chefes de Estado estrangeiros em visita a Portugal.
Foi classificado como Monumento Nacional em 1910.
Fonte TDWP official webpage:
The Devil Wears Prada is the musical embodiment of a generational shift. Built on a diverse array of heavy, dark, melodic and genre-defying music; hardened and sharpened by putting in road work together since the days when they had to skip class to tour: The Devil Wears Prada is at the forefront of a movement that bridges the gap between Rockstar Mayhem and the Vans Warped Tour.
The passionately inspired band’s album for Roadrunner Records, cryptically titled 8:18, embodies an unflinching, uncompromising authenticity born from revelatory introspection and obsessive workmanship. The dichotomies are refreshing, invigorating and boundless. There’s an oppressive, suffocating darkness to their heavy music, counterbalanced by the hope within their collective faith. The most brutal of crowd-moving breakdowns ignite with friction, bristling against soaring melodies, progressive yet catchy riffing and keyboard soaked atmospheric esotericism. To put it simply: The Devil Wears Prada have developed the chops, the cred and the audience of a true-blue thinking person’s heavy metal band, while simultaneously welcoming fist-pumping hellraisers and youthful moshers alike. 8:18 continues the war against humanity’s dark urges, pointing the finger inward and outward through a medium that is itself both bleak and grand.
"Much of the heavy music around us suffers from a total lack of emotion. It's sort of losing an audible sense of sincerity," observes vocalist Mike Hranica. "The guitars, the drums, the songs themselves create that sorrow that I want the lyrics to tell on 8:18. And I made sure that my vocals created emotions that I have heard in post-hardcore, but that I rarely hear in breakdown-heavy metal bands like us."
The overriding theme on 8:18 is misery, exploring that mental and emotional state through its various guises, manifestations and interpretations. Tracks like Gloom, War, Black & Blue and Home for Grave spring forth from that foundation, exploiting concepts like mediocrity, existential angst and life's bigger questions under an atmosphere of musical dread, hostility and darkness.
Mike Hranica is blessed with a commanding roar, but infuses the proceedings with a literary sensibility, a commitment to self-evaluation and a painstaking modesty that levels the playing field between performer and listener beneath the surface.
Rhythm guitarist Jeremy DePoyster contributes the hook-laden underbelly to Prada’s brutal musical beast, handling the “clean” singing with a fine-tuned abandon to rival the pop stars dominating the charts. He grew up listening to Rob Zombie and Korn, but his iPod these days is packed with just about everything one can name. His singing vocals shine particularly on 'Care More,' a heavily electronics infused song with a dark mood. "There's so much of this crappy auto-tuned singing thing happening right now. It's disappointing to me because I've been singing since I was a kid," DePoyster says. "We all know what auto-tune is and we all use it to get things to work a little better, but when I hear things that are using it just as a crutch, that is extremely disappointing to me. Mike does a lot of passionate, raw, vibey screaming on this record, too. It's great."
Andy Trick has a Minor Threat-inspired tattoo that exhibits his early inclinations toward hardcore punk, an ethos and a mindset that still courses through the bass player’s veins even as he takes the stage playing guitar-driven metal music around the world. His bass playing anchors the theatrics and fluid, tasteful beats of Daniel Williams. Prada’s drummer carries the class and finesse of the indie crowd, while pummeling the drums with the power of metal's finest. "Since the beginning, we have liked breakdowns, we have liked heavy sounds, we have liked melodic singing, we have liked heavy metal in general," notes Hranica. "Those are the most basic fundamentals of what this band has been about."
The overseeing hand of executive producer and Killswitch Engage axeman Adam Dutkiewicz (August Burns Red, Shadows Fall, Parkway Drive) and producer Matt Goldman (Underoath, The Chariot, As Cities Burn) resulted in a sonic time capsule representing not only this present moment for TDWP, but a crossroads for heavy music itself. Progressive strains of experimental trailblazers Converge, Botch and Underoath seep beneath The Devil Wears Prada’s unique reverse-engineering of modern metal. 8:18 convincingly detours into Nine Inch Nails-isms, then comes full circle with some killer throwbacks to TDWP's earliest work.
"We love a lot of the records Matt has made and obviously we love Adam and he's a great friend," DePoyster points out. "Adam was very involved in doing the vocal stuff with Mike and I and had given us ideas when we were making demos. Both of those guys were great with us and were able to make contributions and make us think about things in different ways without making us uncomfortable.
With 8:18, The Devil Wears Prada cement their status as a band who have not only weathered the pressures of early, youthful popularity, but grown into masters of their craft. From album packaging to merchandising, from video production to stage lighting, The Devil Wears Prada are hands-on and pay excruciating attention to detail to ensure they always deliver their best, that their overwhelming passion will endure. They push themselves to create a lasting work that inspires, empowers and challenges, in equal measure.
"We're not kids who just want to hit the road and see where this goes," adds DePoyster. "We're making a conscious choice to do this because we love it."
The Devil Wears Prada are unwavering in their commitment to each other, their fans, their art, their higher calling toward truth and to their desire to engage. The emotion remains sincere, the musicianship supreme.
check out full image here
www.mtv.com/shared/downloads/assets/hat_template/mtv-hats...
source:
more info:
We have seen this house before in Orléans. Its fame dates from the 15th century when Jeanne D'Arc stayed here in 1429. Orléans has lots of medieval architecture and is a fascinating city.
See below from this webpage
www.tourisme-orleans.com/en/orleans-jeanne-d-arc/12-orlea...
Throughout the world and in all languages, Joan of Arc appears in all cultures. One spring in the 15th century, her unusual story gave Orléans extraordinary influence. After the defeat of Agincourt in 1415, France was in a pitiful state and was disputed by the Armagnac party and the Burgundian party.
At that time there were "three Frances": Normandy, Picardie, Ile de France and Aquitaine under the English domination of the House of Lancaster; Burgundy, Champagne and Flanders under the domination of Burgundy and, finally, the kingdom of Bourges belonging to the heir apparent Charles who had been refused succession in 1420.
After the death of Henri V Plantagenêt, the Duke of Bedford, who married the sister of the Duke of Burgundy, became the kingdom's regent. He wanted to extend his territory and laid siege and occupied the towns of the Loire. This was how Joan of Arc intervened in the history of France and of Orléans.
29 April 1429: at nightfall, without English resistance, Joan arrived in Orléans. She stayed at the home of Jacques Boucher, the treasurer of the Duke of Orléans.
30 April: council of war. A warning to the English. On her return, Joan received nothing but insults.
4 May: Joan's presence fired the French armies. Bastille Saint-Loup was taken!
7 May: attack on Boulevard des Tourelles. The attack was difficult. Joan took part but she received a wound to her shoulder. She was carried away and the retreat was sounded. Refusing to withdraw, Joan took up her weapon again: the boulevard was taken, then the fort. Joan entered Orléans over the bridge as she had said she would that morning.
8 May: the two armies were present. Joan of Arc ordered a mass to be said at the site. Once it was over, the English departed: the siege was lifted. Since 1430, apart from on a few rare occasions, Orléans has always fervently celebrated its heroine every year.
15th Annual Emerald Society & Pipeband March . March . E between 3rd and 4th Streets, NW, Washington DC . Thursday afternoon, 14 May 2009 . Elvert Xavier Barnes Photography
Visit my 15th Emerald Society Pipeband March 2009 webpage at elvertbarnes.com/15thEmeraldSocietyPipebandMarch2009.html
Kodak Kodachrome Film: Right before it was discontinued, I knew that it would become a piece of history, so I grabbed the webpage display of Kodachrome film for sale on Kodak's site. I plan to post this on flickr's various pools that are slide and/or Kodachrome related. It was possible to process Ektachrome at home. I processed many rolls of Anscochrome GAF [if you remember that one] at home. It took many more steps than B&W film. I believe all together it was about 12 counting the rinses. It also took a "reversal exposure" before the second developer. I am not going to get into it too deeply here. Kodachrome on the other hand took many hundreds of thousands of dollars of equipment if not a million in some high-volume labs. The three layers of filtered B&W had to be individually infused with RBG dyes. There are still a few labs around that will process Kodachrome film and movie film at a premium price. I have 16mm film for the late 1940s and the color has held up wonderfully because of the stability of the dies. The wizard of Oz was shot in "Technicolor" which is the Hollywood presentation name given to using this type of film. Other slide film have displayed tendencies to extreme color shifts as many people can attest to. Kodachrome required much greater amounts of silver which were needed during WW2 so cheaper films were developed such as Ektachrome.
Kodachrome vs Ektachrome:
www.stevehoffman.tv/forums/archive/index.php/t-22434.html
Addendum: That's strange for Kodak to continue to make Kodachrome Slide Film KR-64, where only one lab in the world is processing it!!!
This is a photograph from the BHAA K-Club 10KM Road Race and Fun Run 2014 was held at the K-Club Golf and Hotel Resort, Straffan, Co. Kildare, Ireland on Saturday 12th of April 2013 at 11:00. The race, an annual event, has become famous for it's very fast and flat course which starts and finishes within the grounds of the K-Club. While the weather was dry there was a tough breeze in places which made running conditions a little harder than expected. The road race has gained fame through it's PB potential but the spread of refreshments and catering afterwards are now legendary and are of the highest standard imaginable. Race director Gerry Byrne and a very large team of volunteers, K-Club staff, and local Gardai must be given the highest of compliments for the staging of the event. Well done everyone.
We have an extensive set of photographs on our Flickr Photostream: www.flickr.com/photos/peterm7/sets/72157643843402565/
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
All profits from the event are donated to charity with the chosen charity for the race being the Parkinsons Association of Ireland. With stiff competition from a number of Parkruns and other races in the North Leinster area the K-Club 10KM stood out for it's flawless organisation, large field, and epic spread of refreshments afterwards.
Who are the BHAA? The BHAA (Business Houses Athletic Association) is a work place athletic organisation who's aim is to facilitate colleagues to run together in a series of races. They organise a series of properly managed cross country, trail and road races over the year. To learn more about membership, fixtures, etc you can visit their website bhaa.ie/. You do not need to be a member of a company or BHAA organisation to take part in any of their races.
Some useful Internet links
A Garmin GPS Route Trace of the 10KM Route: connect.garmin.com/activity/170211546
Boards.ie Athletics Forum - Thread for the K-Club 10KM 2014 starts here [www.boards.ie/vbulletin/showthread.php?t=2057127743&p...]
BHAA Webpage of the K-Club 10KM 2014: bhaa.ie/events/k-club-2014/
The official website of the K-Club Resort: www.kclub.ie/
The K-Club on Wikipedia: en.wikipedia.org/wiki/K_Club
Google Satellite Maps View of Start Finish area and parking at the Palmer Smurfitt Course: maps.google.ie/?ll=53.304845,-6.618029&spn=0.005578,0...
Our set of photographs on Flickr from the BHAA 10KM K-Club 2013 race: www.flickr.com/photos/peterm7/sets/72157633288746810/
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Yippey the Website is LIVE
I was Flickr Mailed by Professor Kobre - the inventor of the Lightscoop at the beginning of the year for paid usage of my photo for the Re-design of his Website - This was the FIRST offer I've ever gotten like this so I was elated and agreed to do it !
I'm so thrilled to be a part of this -
The Lightscoop is a product that I HIGHLY recommend & use
Its a miracle worker for the Pop-up flash and so convient & easy to use
Webpage in English
www.pnqueluz.imc-ip.pt/en-GB/Default.aspx
English
en.wikipedia.org/wiki/Queluz_National_Palace
The Queluz National Palace (Portuguese: Palácio Nacional de Queluz) is a Portuguese 18th-century palace located at Queluz, a freguesia of the modern-day Sintra Municipality, in the Lisbon District. One of the last great Rococo buildings to be designed in Europe, the palace was conceived as a summer retreat for Dom Pedro of Braganza, later to become husband and then king consort to his own niece, Queen Maria I. It served as a discreet place of incarceration for Queen Maria as her descent into madness continued in the years following Dom Pedro's death in 1786. Following the destruction by fire of the Ajuda Palace in 1794, Queluz Palace became the official residence of the Portuguese prince regent, John VI, and his family and remained so until the Royal Family fled to Brazil in 1807 following the French invasion of Portugal.
Work on the palace began in 1747 under the architect Mateus Vicente de Oliveira. Despite being far smaller, the palace is often referred to as the Portuguese Versailles. From 1826, the palace slowly fell from favour with the Portuguese sovereigns. In 1908, it became the property of the state. Following a serious fire in 1934, which gutted the interior, the palace was extensively restored, and today is open to the public as a major tourist attraction.
One wing of the palace, the Pavilion of Dona Maria, built between 1785 and 1792 by the architect Manuel Caetano de Sousa, is now a guest house allocated to foreign heads of state visiting Portugal.
Português
Página do Palácio
pt.wikipedia.org/wiki/Pal%C3%A1cio_Real_de_Queluz
O Palácio Real de Queluz (também chamado de Palácio Nacional) é um palácio do século XVIII localizado na cidade de Queluz no concelho de Sintra, distrito de Lisboa. Um dos últimos grandes edifícios em estilo rococó erguidos na Europa, o palácio foi construído como um recanto de verão para D. Pedro de Bragança, que viria a ser mais tarde marido e rei consorte de sua sobrinha, a rainha D. Maria I de Portugal.
Serviu como um discreto lugar de encarceramento para a rainha Maria I enquanto sua loucura continuou a piorar após a morte de D. Pedro em 1786. Após o incêndio que atingiu o Palácio da Ajuda em 1794, o Palácio de Queluz tornou-se a residência oficial do príncipe regente português, o futuro D. João VI, e de sua família. Permaneceu assim até a fuga da família real para o Brasil em 1807, devido à invasão francesa em Portugal.
A construção do Palácio iniciou-se em 1747, tendo como arquiteto Mateus Vicente de Oliveira. Apesar de ser muito menor, é chamado frequentemente de "o Versalhes português". A partir de 1826, o palácio lentamente deixou de ser o predileto pelos soberanos portugueses. Em 1908, tornou-se propriedade do Estado. Após um grave incêndio em 1934, o qual destruiu o seu interior, o Palácio foi extensivamente restaurado e, hoje, está aberto ao público como um ponto turístico.
Uma das alas do Palácio de Queluz, o Pavilhão de Dona Maria, construído entre 1785 e 1792 pelo arquiteto Manuel Caetano de Sousa, é hoje um quarto de hóspedes exclusivo para chefes de Estado estrangeiros em visita a Portugal.
Foi classificado como Monumento Nacional em 1910.
This is me I work on the web even on the way to work on the bus each morning, you can't see the MBP on my lap or the HSDPA wireless modem that keeps me connected. So I can get emails. twitters and feeds before work.
I starting working in the web in 1997, because work need somebody who knew something about the web and I was the only volunteer. At that time I have been writing reviews and taking photos for a local music "webzine" (today it would be called a blog) for 2 years, providing support for work's online app (REVS online started in 1996) and even creating the odd personal webpage using HTML. I got the job of a temporary basis and never really left. Except to visit the State Library on loan for 3 months, that was 15 months ago and I am still there.
I consider myself a front end developer, HTML, CSS and a little javascript is my forte Over the last 10 years I have done a lot of different things, design, backend development, sys admin. Literally anything involved in the web I have done, though not necessarily well.
I am active in the local web community, Port80, BarCamp and others. I will get up and talk on various subjects including HTML forms, Accessibility or mobile web. Which for some reason has got me known as the Perth expert on mobile websites (though I have not built a real one yet)