Polonnaruwa Archaeological Ruins Kings ruled the central plains of Sri Lanka from Polonnaruwa 800 years ago, when it was a thriving commercial and religious centre. The glories of that age can be found in the archaeological treasures that still give a pretty good idea of how the city looked in its heyday. The archaeological park is interesting to explore, with hundreds of ancient structures – tombs and temples, statues and stupas – in a compact core. The Quadrangle alone is worth the trip. The ruins of Polonnaruwa are scattered over an extensive area of gently undulating woodland about 4km from north to south. You can see everything at Polonnaruwa in a single long day, but you’ll have to start early to do the city justice. Polonnaruwa was originally enclosed by three concentric walls and filled with parks and gardens. At the heart of the city lies the royal palace complex, while immediately to the north are the city’s most important cluster of religious buildings, the so-called Quadrangle, containing the finest group of remains in the city – and, indeed, Sri Lanka. The group of beautiful Buddha images that probably marks the high point of Sinhalese rock carving. They are part of Parakramabahu I’s northern monastery. The Gal Vihara consists of four separate images, all cut from one long slab of granite. At one time each was enshrined within a separate enclosure. The standing Buddha is 7m tall and is said to be the finest of the series. The reclining Buddha depicted entering parinirvana (nirvana-after-death) is 14m long. Notice the subtle depression in the pillow under the head and the lotus symbol on the pillow end and on the soles of Buddha's feet. The other two images are both of the seated Buddha. The carvings make superb use of the natural marbling in the rock. The one in the small rock cavity is smaller and of inferior quality. Although Polonnaruwa doesn’t have the huge religious significance of Anuradhapura, the city’s religious remains are still held sacred and signs outside many of the ruins ask you to remove your shoes as a token of respect – quite painful, unless you’re accustomed to walking barefoot over sharp gravel, while the ruins’ stone floors can often reach oven-like temperatures in the midday sun.

Polonnaruwa Archaeological Ruins Kings ruled the central plains of Sri Lanka from Polonnaruwa 800 years ago, when it was a thriving commercial and religious centre. The glories of that age can be found in the archaeological treasures that still give a pretty good idea of how the city looked in its heyday. The archaeological park is interesting to explore, with hundreds of ancient structures – tombs and temples, statues and stupas – in a compact core. The Quadrangle alone is worth the trip. The ruins of Polonnaruwa are scattered over an extensive area of gently undulating woodland about 4km from north to south. You can see everything at Polonnaruwa in a single long day, but you’ll have to start early to do the city justice. Polonnaruwa was originally enclosed by three concentric walls and filled with parks and gardens. At the heart of the city lies the royal palace complex, while immediately to the north are the city’s most important cluster of religious buildings, the so-called Quadrangle, containing the finest group of remains in the city – and, indeed, Sri Lanka. The group of beautiful Buddha images that probably marks the high point of Sinhalese rock carving. They are part of Parakramabahu I’s northern monastery. The Gal Vihara consists of four separate images, all cut from one long slab of granite. At one time each was enshrined within a separate enclosure. The standing Buddha is 7m tall and is said to be the finest of the series. The reclining Buddha depicted entering parinirvana (nirvana-after-death) is 14m long. Notice the subtle depression in the pillow under the head and the lotus symbol on the pillow end and on the soles of Buddha's feet. The other two images are both of the seated Buddha. The carvings make superb use of the natural marbling in the rock. The one in the small rock cavity is smaller and of inferior quality. Although Polonnaruwa doesn’t have the huge religious significance of Anuradhapura, the city’s religious remains are still held sacred and signs outside many of the ruins ask you to remove your shoes as a token of respect – quite painful, unless you’re accustomed to walking barefoot over sharp gravel, while the ruins’ stone floors can often reach oven-like temperatures in the midday sun.

The Gal Vihara also known as Gal Viharaya, is a rock temple of the Buddha situated in the ancient city of Polonnaruwa in north-central Sri Lanka. It was constructed in the 12th century by Parakramabahu I. The central feature of the shrine are four images of the Buddha, which have been carved into the face of a large granite rock. The images consist of a large seated figure, another, smaller seated figure inside an artificial cavern, and standing figure and a reclining figure. These are considered to be some of the best examples of ancient Sinhalese sculpting and carving arts, and have made the Gal Vihara one of the most visited monuments in Polonnaruwa.

Dambulla cave temple, also known as the Rock Temple of Dambulla, dates back to 1st century BC, situated in the central part of the country, is a world heritage site (1991) in Sri Lanka. The temple is composed of five caves under a vast overhanging rock, which have been converted into shrine rooms. The caves, built at the base of a 150m high rock during the Anuradhapura (1st Century BC to 993 AD) and Polonnaruwa times (1073 to 1250), are by far the most impressive of the many cave temples found in Sri Lanka. Inside the Cave temple complex at Dambulla, Sri Lanka. (1st Century B.C.) The Gal Vihara (Sinhala: ගල් විහාරය), also known as Gal Viharaya, is a rock temple of the Buddha situated in the ancient city of Polonnaruwa in north-central Sri Lanka. It was constructed in the 12th century by Parakramabahu I. 世界文化遺產古蹟位於丹布拉 (Dambulla) 波羅那露瓦 (Polonnaruwa) 的岩石廟宇-迦爾寺院 (Gal Vihara) 。 Dambulla, Sri Lanka 斯里蘭卡 2014/7/5 f30961L

Dambulla cave temple, also known as the Rock Temple of Dambulla, dates back to 1st century BC, situated in the central part of the country, is a world heritage site (1991) in Sri Lanka. The temple is composed of five caves under a vast overhanging rock, which have been converted into shrine rooms. The caves, built at the base of a 150m high rock during the Anuradhapura (1st Century BC to 993 AD) and Polonnaruwa times (1073 to 1250), are by far the most impressive of the many cave temples found in Sri Lanka. Inside the Cave temple complex at Dambulla, Sri Lanka. (1st Century B.C.) The Gal Vihara (Sinhala: ගල් විහාරය), also known as Gal Viharaya, is a rock temple of the Buddha situated in the ancient city of Polonnaruwa in north-central Sri Lanka. It was constructed in the 12th century by Parakramabahu I. 世界文化遺產古蹟位於丹布拉 (Dambulla) 波羅那露瓦 (Polonnaruwa) 的岩石廟宇-迦爾寺院 (Gal Vihara) 。 Dambulla, Sri Lanka 斯里蘭卡 2014/7/5 f30960L

Brooklyn War Memorial, Cadman Plaza Park, Brooklyn, New York (Eggers and Higgins with sculptures by Charles Keck: 1951) Warrior Figure Detail From the NY Parks and Recreation Department's Historical Signs Project: "Brooklyn War Memorial This granite and limestone memorial in Brooklyn’s Cadman Plaza is dedicated to the 300,000 American men and women who served in World War II. The memorial was designed by Stuart Constable, Gilmore D. Clarke, and W. Earle Andrews, who worked in concert with the architectural firm of Eggers and Higgins. The two larger-than-life sized high relief figures by sculptor Charles Keck (1875–1951) depict a male warrior on the left and a female with a child to the right, and serve as symbols of victory and family. The idea for a large-scale borough monument was based on Parks Commissioner Robert Moses’s (1888–1981) desire to create unified World War II monuments for each borough in the hope to avoid the situation that arose after World War I when many scattered small-scale pieces were erected throughout the city. In the end, Brooklyn was the only borough to build such a monument. On June 6, 1944, the day U.S. forces stormed the beaches of Normandy, France (D-Day), Brooklyn Eagle publisher Frank D. Schroth formed a committee of distinguished Brooklynites to judge a design competition. The Eagle announced the competition in June, soliciting proposals from a wide array of people. When the contest closed on April 1, 1945 -- before VE (Victory in Europe) Day -- over 243 entries were received. The winning plan featured a central auditorium flanked by two wings built entirely of granite. Construction of the memorial began just after Japan surrendered in August 1945. The memorial was dedicated November 12, 1951 at an elaborate ceremony attended by elected officials and veterans groups. Due to lack of funding, the full plan was never built. The scaled-back version of the memorial consists of a memorial hall with an honor roll listing the names of those who died serving during the war. The memorial was intended to be part of a larger plan to revitalize this area of Brooklyn, which included the Brooklyn Civic Center building, new municipal facilities, and expanded housing opportunities. Sculptor Keck is known for his statue of Father Francis P. Duffy (1936) in Manhattan’s Duffy Square, the Governor Alfred E. Smith Memorial (1946) in Manhattan, and the Sixty-first District Memorial (1922) in Brooklyn’s Greenwood Playground. The Brooklyn War Memorial was restored in 1977 and today serves as a community facility for veterans’ groups and arts organizations as well as a memorial to those who defended the principle of freedom during the war. "

Brooklyn War Memorial, Cadman Plaza Park, Brooklyn, New York (Eggers and Higgins with sculptures by Charles Keck: 1951) Warrior Figure Detail From the NY Parks and Recreation Department's Historical Signs Project: "Brooklyn War Memorial This granite and limestone memorial in Brooklyn’s Cadman Plaza is dedicated to the 300,000 American men and women who served in World War II. The memorial was designed by Stuart Constable, Gilmore D. Clarke, and W. Earle Andrews, who worked in concert with the architectural firm of Eggers and Higgins. The two larger-than-life sized high relief figures by sculptor Charles Keck (1875–1951) depict a male warrior on the left and a female with a child to the right, and serve as symbols of victory and family. The idea for a large-scale borough monument was based on Parks Commissioner Robert Moses’s (1888–1981) desire to create unified World War II monuments for each borough in the hope to avoid the situation that arose after World War I when many scattered small-scale pieces were erected throughout the city. In the end, Brooklyn was the only borough to build such a monument. On June 6, 1944, the day U.S. forces stormed the beaches of Normandy, France (D-Day), Brooklyn Eagle publisher Frank D. Schroth formed a committee of distinguished Brooklynites to judge a design competition. The Eagle announced the competition in June, soliciting proposals from a wide array of people. When the contest closed on April 1, 1945 -- before VE (Victory in Europe) Day -- over 243 entries were received. The winning plan featured a central auditorium flanked by two wings built entirely of granite. Construction of the memorial began just after Japan surrendered in August 1945. The memorial was dedicated November 12, 1951 at an elaborate ceremony attended by elected officials and veterans groups. Due to lack of funding, the full plan was never built. The scaled-back version of the memorial consists of a memorial hall with an honor roll listing the names of those who died serving during the war. The memorial was intended to be part of a larger plan to revitalize this area of Brooklyn, which included the Brooklyn Civic Center building, new municipal facilities, and expanded housing opportunities. Sculptor Keck is known for his statue of Father Francis P. Duffy (1936) in Manhattan’s Duffy Square, the Governor Alfred E. Smith Memorial (1946) in Manhattan, and the Sixty-first District Memorial (1922) in Brooklyn’s Greenwood Playground. The Brooklyn War Memorial was restored in 1977 and today serves as a community facility for veterans’ groups and arts organizations as well as a memorial to those who defended the principle of freedom during the war. "

www.flickr.com/photos/izumiflowers/13938108415/ the above linked image is the same buddha image shot with my Nikon D800E in 2014 www.flickr.com/photos/izumiflowers/13938109895/in/photost... the above linked image is the same buddha image shot with my Canon 6D in 2014 Now amazing Capture One 9 pro is out, and for Sony users the express version is free. The Capture One 8.3 before it was simply outstanding RAWC, much better than anything from Adobe or Raw Therapy. Unfortunately, the free version of C1 does not handle Canon, Nikon or Olympus RAW, only Sony or DNG(Pentax and Leica). So I guess It is another big reason for many of us to choose Sony over anything else. If you use Sony, you can get a full copy of Capture One 9 pro for just 50 USD. AS far as I am concerned, this is an incredible deal, great Christmas gift for us from Phase One. I think both Capture One 9 and DXO 10 produce a bit better color than LR CC or ACR9X for Sony or Nikon. I suspect that Adobe programs are optimized for Canon. Seriously C1 pro for just 50 US is an amazing deal. nothing beats it for that price. Capture One 9 is a much better more serious program than the LR crapware, and the biggest deal here is not need to deal with the Adobe subscription stuff. Many many Adobe users used the license and repaid it to re-activate it, it is really terribly unstable. I had one time could not use it when I was editing my images on site in a mountain area and they say my account is just trial although I paid it for full CC version. So after coming back from the mountain, I decided to cancel all Adobe CC crap, and I just got Capture One express 8.32 for Sony free,then later in the same month (last April)I ungraded it to the pro version. I could not be happier. Now, also DXO is offering me a copy FULL copy of DXO 10 Elite version for just 99 USD. I will get that too. Honestly, there are still times we need Photoshop but I do have full copy of CS6, so I do not need CC anymore, and I've found life without Adobe CC crap is really much more relaxing and easier. So in the long run, may Sony E mount be the most expensive system out side of the Leica SL and MFDBs arena? Well it seems like that considering terribly expensive Sony service charge and repair price, and of course their lens prices. As far as lenses are concerned, I can only compare the lenses that have been tested scientifically. Now please keep in mind that these tests were done with the A7R not version 2, but when Nikon introduces their higher resolution camera this will increase the final numbers for Nikon system as well, and Canon already have even higher resolution camera than both Nikon and Sony, but oddly enough DXO and most of others refuse to use the high resolution Canon body for testing their new gen lenses. Sony 35 2.8, Nikon 35 1.8, Canon 35 2.0 tested with A7R, D810, 5DIII, oddly DXO refuses to test Canon lenses on the 5DS. Anyway though,the Sony Costs $800, Nikon Costs $600, despite the Sony having less resolving power and a full stop slower than the Nikon. So we see how expensive Sony system actually is already here at the very first comparison below. www.dxomark.com/Lenses/Compare/Side-by-side/Nikon-AF-S-NI... To be fair to Sony, there is also the Loxia 35 mm f2,which I recently sold off for some new macro lens for my Olympus. The Loxia 35 is a fairly good lens but not an amazing lens, not exceptionally sharp, not extremely well corrected either. It has a bit of serious coma issue at f2 and on, though it is still a better lens than the Sony 35 mm f2.8 in the areas of center resolution and longitudinal CA and Vignetting. But the Loxia is worse than the Sony 35 mm f2.8 in some significant areas such as coma, edge/corner sharpness and focus accuracy at infinity. So in Sony 35 mm Full frame world , there is no value 35 mm prime at all. Now move on to value 28 mm primes: Sony 28 2.0, Nikon 28 1.8, Canon 28 2.8, they are close enough to say the difference is irrelevant in real life use. www.dxomark.com/Lenses/Compare/Side-by-side/Sony-FE-28mm-... So move on to 70-200 mm f4: Of Sony 70-200 f4, Nikon 70-200 f4, Canon 70-200 f4, the Sony again is the most expensive despite the Nikon having more resolving power if we are to trust DXO lens rating. I personally do not trust their lens tests although I trust their sensor tests and I think their sensor test results pretty much mirror my own findings quite often. But in case of the 70-200 mm f4 lenses, many other sites like SLRgear, lenstip tested and came to the same or identical conclusion to the DXO comparison. I also tested them at my work place with my own copy of DXO analyzer and got the same results. If I have to pick the winner here, I would pick the Nikon for its obviously better resolution at 200 mm f4 setting. But it is more complicated than just optical quality, since the latest generation body IS of Sony is much more effective than most of in-lens VR or IS I tested. So, while the Nikon is a bit better lens optically, I doubt that in real life handheld photography we see the better resolving power of the Nikon. The Sony 70-200 mm f4 comes with an excellent tripod collar that would cost 120 US if we buy it separately. Canon and Nikon do not include a tripod collar in their respective 70-200 mm f4 shipping package. So maybe, is the pricing of the Sony actually reasonable? www.dxomark.com/Lenses/Compare/Side-by-side/Sony-FE-70-20... Now move on to 35 mm f1.4 lenses comparison:Sony 35 1.4, Nikon 35 1.4. Interestingly in this test the Sony did a little better in resolution to the Nikon although its 22mm longer and 30 grams heavier than the Nikon and 26mm longer and 50 grams heavier than the Canon, so not so compact for a compact system any more. What this fact tells us about is if you ask ultimate resolution in any current FF system, regardless of your camera body size, your lens must be big and heavy, thus your system won't be small or cheap or light at all. www.dxomark.com/Lenses/Compare/Side-by-side/Sony-FE-Carl-... But in case of this 35 mm f1.4, we have to consider the extremely bad copy to copy sample variation issue of the Sony. The biggest issue of the DXO and the other typical online lens test sites is that they test only one copy supplied by the company. But there is a great man testing literally 10-100 of copies of each lens and reporting his results most of times. www.lensrentals.com/blog/2015/10/sony-e-mount-lens-sharpn... Personally, I take Roger's opinion much more seriously than any other lens test site's so-called review. I work at a mall which also sell cameras and I have tested many returned lenses before sending them back to the respective manufactures, we found that the copy to copy variation is much more significant than many people online think, it is sometimes even more pronounced than lens A to lens B difference. So testing one copy of each lens is not enough, definitely in the case of any super complex modern optics such as this FE 35 mm f1.4. I know the best copies of it is a fantastic lens, but about 75 percent of times you get a bad one or just an ok kind of one. It is really really deplorable, sad. But no one so-called review site besides Roger's report it, and I smell something very fishy here. Now move on to 50 mm -55 mm value primes: the Sony 55 1.8 vs the Nikon 50 1.8 vs the Canon 50 1.8 STM The Sony beats out the Nikon and obviously the Canon because of the limited megapixels, but the interesting thing is when you compare pricing...$1000 for the Sony, $219 for the Nikon. Weight was another thing with the Sony coming in at almost 100 grams heavier than the Nikon and the Canon. In terms of Absolute resolution, the Sony is quite a bit better, though if you care about the money, then the cheap Nikon gets you about 90 percent of the expensive Sony performance at 1/ 5th of the Sony price. www.dxomark.com/Lenses/Compare/Side-by-side/Sony-FE-Carl-... now finally move on to 90-105 mm macro lens: The Sony 90 mm macro is reported to be a better lens by likes of DXOmark, but according to Roger Cicala's extensive optics bench testing with many many copies of it, it is not as good as we all once thought it must be because of the DXO result for it below. www.dxomark.com/Lenses/Compare/Side-by-side/Sony-FE-90mm-... But it is obvious if you get a good copy of the Sony FE 90 mm f2.8 G lens, it is sharper than anything else in the market, actually it even beats the over-sized over priced not much useful awkward brand lenses like the Zess Otus 85 mm f1.4 APO or the Zeiss 135 mm f2 APO Sonnar,which I sold as soon as I found it useless in real life application ,especially for travel photography and street work. I loved it for studio work, but for that use I do not need to actually own any lens, just rent it from my boss's studio. Anyway, my point here is if you get a decent Sony Fe 90 or 55 mm then it even beats the super-heavy ,awkward no compromise in design kind of d-SLR lens that priced about 4 times more than the Sony lenses. The 90 macro is a cheap lens for what it is, there is no comparison to that lens in that relatively modest range of it. So while I agree that Sony has made some very positive moves in recent years,it has come at a cost in pricing, f/stop and in the compactness to the system.Even then, the Sony lenses are not necessarily the best, especially when you take the fact that the Nikon/Canon Lenses often out resolved the Sony equivalents with faster f/stops for less money into serious consideration. The Canon lenses were at a deficit due to megapixels, and even with the obvious sensor resolution disadvantage, quite a few Canon lenses actually still out-resolve Sony Nikon equivalents, it was,to me,quite amazing. So, I think if you need the ultimate best for now or the absolute best, most promising tech into foreseeable future, then the Sony system makes real sense here, but if you just need 90 percent of what the A7RM2 can do at the 1/4 of the Sony system price, then Nikon still makes better sense(value). In my area it is even more glaringly clear, the A7RM2 body alone costs about 378000 yen, the Nikon D810 kit with the AF-S24-120 mm f4 VR costs 321000 yen,the Sony does not seem to be a great value although it may well be the absolute best camera in current camera market. And most of people just go with the almost 95 percent as good as the absolute best kind of system that costs much less than the absolute best. I chose the Zeiss Batis 85 over the Zeiss Otus 85 although I knew the Otus would beat the Batis in resolution(at a lab)..........but for me the much more manageable size and the weight saving, and more importantly the better overall practicality/usability of the Batis beat the absolute tripod resolution of the Otus. I think the same logic applies for choosing the right camera system. Although, IMO, Canon still has the edge in lens line, flash,etc, and as a company most stable and profitable with a lot of key-core patents in this ILC technology, I personally never consider any of current Canon cameras seriously. The 5DS is just simply too overpriced, the 6D is just too long in the tooth, the 5D3 is about to be replaced, so no current Canon cameras make great value. The 5DS-R costs 2 times more than the D810 and I think it is just too crazy, and that makes it absolutely the worst value camera for me. The 5DS at least a bit cheaper than the A7R2 to really justify its market position since it does not have the IBIS of the Sony, the 4k capability of the Sony, the high ISO performance of the Sony. In the end, after comparing the prices of the lenses I need for the 3 systems carefully, I kind of realize that it is most logical to just stay with my current Sony system, just because I already have it. I guess I will hold on to my A7, A7M2, A7R for as long as I can, and see if Canon, Fuji or Samsung will answer to the a7R2. The above logic just works for me, but I think for more budget minded people the Nikon may still hold the value king title with the D750.. The D750 is really attractive for event photography on a tight budget, and it is very very cheap now in the many many areas of the world, especially in my area.The Nikon D750 or D810 based system is at least 30 percent cheaper than the A7M2 or the A7RM2 based system with a few primes and a couple of zooms. But if you are a kind of person always wanting to shoot with a Otus or similar IQ lens and always carefully manually focus it, then Sony would suddenly become a much more logical choice for you. The FE 55 mm f1.8 is sharper than the Otus 55 mm f1.4 at 1/4 of the Otus weight. I do not have problem paying the Otus price for a great lens but the weight is. The Sony FE 90 mm f2.8 G (assuming you get a decent copy) beats the both Otus and Batis in resolution and a few more areas. I know the greater resolution alone does not make it a better lens than the Otus since Otus beats in the areas of CA, distortion and coma at wide open,etc. But to me the better resolution of the Sony at 1/3 or the weight of Otus is very attractive. The Batis 85 mm f1.8 is a great lens, honestly it is a bit different kind of lens than the Otus is with a bit more CA, a bit more distortion,etc, but it has the unique Zeiss look as with the other great Zeiss primes, and it is definitely sharp enough for its obvious intended use. For landscape type of corner to corner sharpness, it may not be able to match the best primes in that focal range such as the FE90 mm f2.8 G , the Otus 85 mm f1.4 and the Leica 90 mm f3.5 APO, but still it handily beats all zooms and most of primes ever made in that specific focal range. Many people compare the Batis 85 mm to the Nikon AF-S85 mm f1.8 G just because they both share f1.8 f numbers, but are they really comparable in quality? Actually, in terms of sheer resolution and optical quality the cheap plastic Nikon may be comparable to the Batis. But it is weaker in a few key areas compared to the Batis. The Nikon has much worse Lo-CA, much worse weaker flare resistance, a bit more distorted. But the Nikon is smaller, lighter comes with 62 mm filter thread rather than the big 67 mm one on the Batis, it has a bit lower distortion and seems to have a bit lower amount of light fall off. So it is actually closer match than we once thought it would be, and I see many many people mostly shooting all AF prefer the Nikon over the Zeiss in this case. But unfortunately for me, the Batis is a better looking lens for my type of shooting since I am a manual focus kind of person, seldom use AF and having good MF ring is very important to me. So as my old man always said when I was a kid, it is always horses for courses, there is no one absolutely better camera system for all of us. Finally as a side note, many many people guessing a lot of the technology inside the Leica SL seems to be from Panasonic. I think Leica/Panasonic are testing the waters, with their first FF CSC with modern design more sophisticated UI than that of the Sony A7X. I wouldn't be surprised, if less than a year from now, Panasonic makes a shot directly at Sony A7 series with a cheaper and more practical version of the Leica SL. If Canon and Nikon don't come up with competitors in the meantime, Sony-Panasonic will be pushing this market very hard very far so that the old leaders will find themselves 7 laps behind all of a sudden. It may be easy for Canon to come up with something similar since they have all the tech needed to make something similar to the Leica SL, but is Nikon still safe, some how able to manage it to survive? I know many Japanese Mega camera dealers that think in a matter of a several years Nikon won't be around in this market. If they are correct, I wonder if the new Tokyo Nikon camera museum was actually built by Nikon as their own camera indoor cemetery? UPDATE: At the CP + show in Yokohama, I asked a few A mount related questions to a couple of Sony guys, and I got interesting answers to my questions. Basically, Sony said the A7RMK2 is the ' the E mount' flagship, but not the real flagship for the Alpha system. The 2 different lines of Alpha systems will be merged but not the E takes over the A kind of merging. Sony says it will be very interesting to many and technologically shocking to the public. But it is really difficult to do that right, and Sony needs to improve or waiting for a few key techs for that. This is why Sony has had to cancel out the planned announcement of the A99VMK2 or whatever called(Sony guys said at least 2 times they canceled it). A few new techs not available at the time of the planned announcement became available right after that and Sony thought that would surely improve it further. Sony thinks we should wait to see it before making any firm decision on buying into any existing camera system because it will be Sony's first true pro-grade, grand-breaking true game changer. I hope it will be true, but how long will we have to wait? Why not just release a temporal stop gap solution camera with current best technology available? This company is really odd. Update 2 : now, we have detected 5 new Nikon FF mirrorless patents here in Japan and 2 of which use Nikon's legendary but very venerable F mount, it is interesting. But the rest 3 are all use new different mount designs with about 18 mm - 24 mm flange back distance. The mount diameter is a bit wider than the F and the E but not as wide as the EF. I tried the SL last week at a local event, I actually love it wish I could buy it there. Now I will have to wait a long year to get it or I may just get the Leica Q? UPDATE 3: The biggest problem with buying too many FE A7 glass is that we can never re-use it if or when we ditch our Sony FE mount bodies. Buying Nikon or Canon lenses are safer because, even if, we ditch their camera bodies, we will always able to re-use their lenses on our Sony or m43 or Fuji or Samsung. Also, there are no third party native mount lenses for the FE system besides the overpriced Batis and Loxia line Zeiss. It is a huge issue for some one actually needs a good set of really PRACTICAL f1.8 or f2 compact primes or f2.8 zooms at reasonable prices..With Canon and Nikon we have the luxury to choose some reasonably priced third party lenses such as the Tamron 35 mm f1.8 VC, the 45 mm f1.8 VC, the 24-70 mm f2.8 VC, the 15-35 mm f2.8 , the 90 mm f2.8 VC macro and the 70-200 mm f2.8 VC. But in the Sony FE mount there is no such a choice, just overpriced, overly pompous so-called Zeiss inanely named Batis that actually made by Tamron and selling for 3 times more than the usual Tamron prices. Now, I think it is really wise to hold off all new Sony Zeiss lens purchase plans, at least until we are sure about Sony is actually winning the FF war over Canon and Nikon. But hey, we've got be honest Sony is not winning anything over anyone, their market share has been the same 11 .2 percent since 2009. That is clearly shown in the recent Flickr report of their users' preferred devices. Mirrorless cameras seem to account for just 3 percent and DSLR cameras seem to account for 33 percent of Flickr uploads in 2015 and 2016 Q1. This was shocking to me. I wonder if Mirrorless ,especially the Sony A7 line is as successful in this business as many many forum fanatics say it is, then why is mirrorless so unpopular at Flickr? Maybe the current form of tiny mirrorless cameras are really doomed? Maybe most of people actually do not care about the tiny form factor of the current poorly designed mirrorless systems from minor camera brands, but just sheer functionality? I ,for one, much prefer a 6D or a D750 sized mirrorless with EF or F mount to anything Sony is now offering with the relatively poor Sony FE lens line, especially for a zoom lover. I am sure I was one of the earliest mirrorless adapters with more than 23 mirrorless cameras(mostly Sony and Panasonic cameras), but now I really doubt any of the current form of mirrorless system actually replacing the EF and the F systems. I honestly think Sony, Olympus , Panasonic Fuji,etc are actually barking up the wrong tree with the"mirrorless must be tiny" kind of silly design concept, and IMO, they will all fail in this business. A few days ago I was trying out the Fuji XT10 for casual walk and I was really strongly re-convinced that it would not be for me, it is just simply too awkward to hold and the ergonomics and UI are horrible. The XT10 was not just much smaller than my D750 but much much smaller than my A7M2 and A7R2 ,which I have considered the best mirrorless body design in terms of ergonomics. Every time I think about the Fuji option and try it out for a short walk for a day, I end up hating it more. Now,I actually suspect emerging trend of the Samsung Nikon rumor thing is something to do with Sony. Like our detectors used to say, we should think who will get that money coming from this move behind the thick curtain ? Asians are all about keeping their faces, so it is impossible Nikon or Samsung intentionally leaks it out to silly rumor sites like mirrorlessrumors. I think I respect Photorumors and Nikon rumors, but not the mirrorlessrumors or SAR.Their hit rate is very low and thus almost no credibility. The guy made so many silly mistakes, in fact, he almost never got it right. UPDATE4: Looks like Sony has actually done something right this year. Sony was the only one of those 3 camera companies to break even this time, and was actually profitable for the year in Imaging, though it’s difficult to say how much of that is contributed by pro video gear. The Imaging Products group at Sony posted slightly lower sales (-1.7%) but a very healthy profit (up 30.4b yen and hitting about 10% of sales). In terms of unit volume, digital cameras at Sony dropped from 8.5m units to 6.1m units year-to-year. That’s mostly compact camera sales that dried up. Sony won’t say exactly how that shift is working other than to say “improvement in the product mix of digital cameras.” In other words, they suggest that by getting rid of compact camera volume and focusing all its effort on high priced ILC units they are getting a better profit margin. The other two camera companies still making some money out of their camera business are Fuji and Canon. We do not know Canon's result in detail yet. I think it is fair to say Fujifilm has a hobby camera business as their Digital cameras are about 2.5% of the company’s overall revenue stream. That they give us any insight into how that business is working is actually a bit surprising. Sales for digital cameras were down 8.2% year-to-year, yet it is still quite profitable.Fujifilm Japan says the imaging business earned 9 percent more profit to them and it was the best of the last 9 years. To me, the most surprising finding is that Casio's camera division is still profitable and they sell only compact cameras. But how do they make any serious money out of that compact camera sells is a big mystery to me.

Victory Monument (Thai: อนุสาวรีย์ชัยสมรภูมิ, Anusawari Chai Samoraphum) is a large military monument in Bangkok, Thailand. The monument is located in Ratchathewi District, northeast of central Bangkok, at the center of a traffic circle at the intersection of Phahonyothin Road, Phaya Thai Road, and Ratchawithi Road. The monument is entirely western in its design: in this it is in sharp contrast with another prominent monument of Bangkok, the Democracy Monument, which uses indigenous Thai forms and symbols. The central obelisk, although originally Egyptian, has been frequently used in Europe and America for national and military memorials - its shape suggesting both a sword and an outstanding mark that holds in a territory, here it is designed in the shape of five bayonets clasped together. The five statues, representing the army, navy, air force, police and militia, are in a standard western "heroic" style, familiar in the 1940s in both fascist and communist states, and were executed by the Italian sculptor Corrado Feroci, who worked under the Thai name Silpa Bhirasi. The sculptor did not like the combination of his work with the obelisk, and referred to the monument as "the victory of embarrassment." The monument was erected in June 1941 to commemorate the Thai victory in the Franco-Thai War, a brief conflict waged against the French colonial authorities in Indo-China, which resulted in Thailand annexing some territories in western Cambodia and northern and southern Laos. These were among the territories which the Kingdom of Siam had been forced to cede to France in 1893 and 1904, and patriotic Thais considered them rightfully to belong to Thailand. In fact the fighting between the Thais and the French in December 1940 and January 1941 had been brief and inconclusive. Only 59 Thai troops were killed, and the final territorial settlement was imposed on both parties by Japan, which did not want to see a prolonged war between two regional allies at a time when it was preparing to launch a war of conquest in South East Asia. Thailand's gains were less than it hoped for, although more than the French wished to concede. Nevertheless the Thai regime of Field Marshal Plaek Phibunsongkhram decided to celebrate the war as a great victory, and the monument was commissioned, designed and erected within a few months. The monument became an embarrassment in a more political sense in 1945 when the Allied victory in the Pacific War forced Thailand to evacuate the territories it had gained in 1941 and return them to France. Many Thais regard the monument as an inappropriate symbol of militarism and a relic of what they now see as a discredited regime. Nevertheless the monument remains one of Bangkok's most familiar landmarks. From Wikipedia

[Description] On March 11, 2011, a 9.0 magnitude earthquake struck Japan. The following tsunami devastasted the north eastern coast and damaged nuclear power plants. Radiation in the air and sea is threatening the world environment right now. This artwork is dedicated to all the victims. BUDS shows two persons with buds on their heads using the Japanese 8-bit graphics style. It is meant to talk about new beginnings and possibilities and instill hope for the future. Destruction and the loss of life can make us despair. However, every end is also a beginning. New buds grow. Even in the most difficult circumstances, it is possible to find hope and a positive outlook for the future. This is the message of this artwork. Thank you. [Credits] Artist: Mikati Slade (Japan) Title and Special Thanks: Emily Lang (Greece) [Information] This is an art-object in online virtual world Second Life. It exhibited at PiRats Art Network Gallery (April 11 - May 5, 2011).

Statue of Liberty @Odaiba, Tokyo

Statue of Liberty got new job: selling ice-cream @ japan by Dhotography

Statue of Liberty, Paris, France

Australasian Gaming Expo report from Sydney; Australia - Day 2 Today was the 2nd day for the most high profile and successful gaming expo in Australia - the Australasian Gaming Expo, which is being hosted by the Sydney Convention Centre at Darling Harbour. It's a key time for the gaming industry in Australia with all the regulation elements, responsible gambling initiatives and such, and most of the big boys of the industry were on hand to show off their wares, with some exhibitors demonstrating significant creative flair to help showoff their latest and greatest wares. Our friends at Human Statue Bodyart had a couple of body models made up in bodypaint (Anastasia as a butterfly and Victoria as a panda) - complete with wings, for leading gaming brand Paltronics and its latest game 'Jungle Madness'. The expo centre itself is huge - 15,000 square metres (about the size of an Aussie Rules football oval) and this provided more than ample opportunity for over 750 slot games aka "pokies" to strut their stuff. The Australasian Gaming Expo is by far the largest event of its type in Australia and one of the world’s biggest. We learned through the grapevine that a trip for 2 to Las Vegas will be won by a lucky visitor on each of the 3 days of the Expo, and this is compliments of the Gaming Technologies Association which owns the event. We understand that over 16,000 people have walked through the games thus far, with those in the business being the majority, and no doubt a few punters, checked through the gates (but note that the games on display do not accept coins or notes). News... Human Statue Bodyart helps make Paltronics... Gaming firm Paltronics was once again looking for their fair share of attention by having a few body models made up in forest like bodypaint attire to compliment their selection of games, including the very popular 'Jungle Madness'. There's little doubt that folks Paltronics knew that competitors of sorts, IGT, were going all out with an Elvis promotion (including imitator), and may have also noted their 'Sex In The City' promotional stand from last years show. It's always good to see Australian companies such as Paltronics take on international giants such as IGT and promotional models are just one of the weapons that gaming companies will continue to employ in the high stakes world of electronic gaming, and the folks from the Human Statue Bodyart creative arts agency certainly helped Paltronics make a positive splash today. We hear that more bodypainted models are on the cards tomorrow (the 3rd and final day of the expo) so be sure to check the stands, with 11am to 2pm News... Shuffle Master promotes The Flintstones Slot... "We are thrilled to be able to offer such an iconic brand as The Flintstones and we feel confident that it will take center stage at the show," said Adrian Halpenny, President of Shuffle Master Australasia. "Our game development team worked very hard to deliver a final product that demonstrated meticulous attention to detail in order to maintain the high quality and authenticity of the television series. As a result, The Flintstones is a breakthrough product that is not only highly enjoyable to play as a traditional gaming machine, but also brings the much-loved characters to life with entertaining and engaging features." Since debuting on American television, The Flintstones has endured as one of the most recognized cartoon TV shows of all time and is still shown on TV around the world. The beloved characters of The Flintstones have been a part of our childhoods for decades, and this new game allows us to play and interact with them in new and exciting ways. Preston Kevin Lewis, Managing Director of Warner Bros. Consumer Products ANZ, said, "It is testament to the enduring nature of The Flintstones brand that the likes of Fred, Barney, Wilma and Betty continue to reach new audiences in diverse areas. Shuffle Master is one of the world's leading gaming suppliers and we're sure these fantastic machines will provide consumers with yet another opportunity to fall in love with The Flintstones." Designed to make a big impact on the gaming floor with its broad appeal, The Flintstones is a three-level standalone progressive, low-denomination product with a suite of exciting base games and attractive jackpot prizes. It also introduces Shuffle Master's patented new "mini-reel" feature trigger that ignites the player's anticipation during game play. The game offers three interactive bonus features that provide players with the chance to win jackpots and credit prizes. Each bonus feature evokes classic scenes from the original TV show, such as the ten-pin challenge at Bedrock Bowl, the family night out at The Drive-In and the antics of Fred Flintstone's lovable pet dinosaur in Dino's Dig. Every element has been carefully crafted to captivate players. The Flintstones will feature themed door trims with matching halo lighting, a unique character marquee with a built-in LCD top box, and re-mastered music and sound effects from the original TV show. The three launch games - Lioness, Peacock Garden and Tiger Power - will be supplemented with more games from Shuffle Master on an ongoing basis to keep the installations fresh and exciting. Press Release... IGT Highlights Innovative 3D Gaming Technology and a Star-studded Gaming Lineup at the Australasian Gaming Expo... LAS VEGAS, Aug. 20, 2012 -- International Game Technology (NYSE:IGT), a global leader in casino gaming entertainment and systems technology, announced today it will deliver new industry firsts for Australia's gaming enthusiasts at the Australasian Gaming Expo (AGE) Aug. 21 – 23 at the Sydney Convention & Exhibition Centre in Sydney, Australia. IGT will launch the 3D gaming technology MLD™ (Multi-Layer Display™), paired with the unveiling of one of the world's most iconic pop culture brands, Elvis The King®. This new title is now available in Australia exclusively on the IGT bluechip Neo® Tower Top cabinet after successful launches in other global markets, along with many new games and products. "IGT continues to provide our customers with strong game performance, the widest variety of games, the latest in systems innovation and world-class service, all of which will be on display at AGE," said Eric Tom, IGT executive vice president of Global Sales. "Our research indicates that many players are entertainment seekers who are attracted to iconic brands and IGT delivers this with our pop culture hit Elvis The King®. This game has been adapted to suit the Australasian players' playing style. The 3D capabilities of MLD with Elvis The King® also provides venues with a strong differentiator as they look to broaden gaming's appeal and provide something special for players," said Tom. "Elvis The King® is packed with multiple features and number one hits." IGT's 3D MLD™ screens take gaming to another dimension in play. The 3D effect is simulated because the content exists on two separate LCD panels; one in front of the other which gives a depth of field, with game elements appearing and moving between the front and back screens. This allows for new game play options and heightened entertainment. The line-up of over fifty games at AGE reflects IGT's re-invigorated game design strategy with the legendary performance of games such as Siberian Storm® and Dangerous Beauty®. Additional games debuting at AGE include: Black Widow® – a low denomination game with a 'web capture' feature during free games for the chance to accumulate additional credits. Dakota Thunder® - featuring the 'Thunder Shudder'. A global leader in casino gaming entertainment and systems technology, IGT provides a holistic solution to the industry and its strength in gaming management systems and new interactive technologies will also be showcased at AGE. The IGT Advantage Club® System will be demonstrated with new technologies such as Service Window, a small window that appears on the left hand side of the screen. The Service Window can be used for personalized player messaging and for service requests, adding a unique level of service for venues with the IGT system. The IGT Advantage Club® system is proving to be a winner with clubs in New South Wales. IGT will again be playing host to industry experts who will present a range of topics including game floor design, customer service and systems. For more details on the free business seminar sessions visit www.igt.com.au/AGE12. About IGT International Game Technology (NYSE: IGT) is a global leader in casino gaming entertainment and continues to transform the industry by translating casino player experiences to social, mobile and interactive environments for regulated markets around the world. IGT's recent acquisition of Double Down Interactive provides engaging casino style entertainment to more than 5 million players monthly. More information about IGT is available at www.IGT.com or connect with IGT at @IGTNews or www.facebook.com/IGT. © EPE, Reg. U.S. Pat & TM O_. Dangerous Beauty and Black Widow were created by High 5 Games. For more information on High 5 Games, go to www.High5games.com Pure Depth™, MLD®, Multi-Layer Display® and Actual Depth™ are trademarks or registered trademarks of Pure Depth, Inc. All other trademarks are registered trademarks or the property of their respective owners without the intent to infringe. www.puredepth.com. All trademarks or registered trademarks are owned by IGT (Australia) Pty. Limited or its related entities. All information is subject to change without notice. Game type availability is subject to jurisdictional approval. Websites Australasian Gaming Expo www.austgamingexpo.com Gaming Technologies Association www.gamingta.com PALtronics Australasia www.paltronics.com.au Sydney Convention and Exhibition Centre www.scec.com.au Human Statue Bodyart www.humanstatuebodyart.com.au Human Statue Bodyart Flickr www.flickr.com/photos/humanstatuebodyart Eva Rinaldi Photography Flickr www.flickr.com/evarinaldiphotography

Australasian Gaming Expo report from Sydney; Australia - Day 2 Today was the 2nd day for the most high profile and successful gaming expo in Australia - the Australasian Gaming Expo, which is being hosted by the Sydney Convention Centre at Darling Harbour. It's a key time for the gaming industry in Australia with all the regulation elements, responsible gambling initiatives and such, and most of the big boys of the industry were on hand to show off their wares, with some exhibitors demonstrating significant creative flair to help showoff their latest and greatest wares. Our friends at Human Statue Bodyart had a couple of body models made up in bodypaint (Anastasia as a butterfly and Victoria as a panda) - complete with wings, for leading gaming brand Paltronics and its latest game 'Jungle Madness'. The expo centre itself is huge - 15,000 square metres (about the size of an Aussie Rules football oval) and this provided more than ample opportunity for over 750 slot games aka "pokies" to strut their stuff. The Australasian Gaming Expo is by far the largest event of its type in Australia and one of the world’s biggest. We learned through the grapevine that a trip for 2 to Las Vegas will be won by a lucky visitor on each of the 3 days of the Expo, and this is compliments of the Gaming Technologies Association which owns the event. We understand that over 16,000 people have walked through the games thus far, with those in the business being the majority, and no doubt a few punters, checked through the gates (but note that the games on display do not accept coins or notes). News... Human Statue Bodyart helps make Paltronics... Gaming firm Paltronics was once again looking for their fair share of attention by having a few body models made up in forest like bodypaint attire to compliment their selection of games, including the very popular 'Jungle Madness'. There's little doubt that folks Paltronics knew that competitors of sorts, IGT, were going all out with an Elvis promotion (including imitator), and may have also noted their 'Sex In The City' promotional stand from last years show. It's always good to see Australian companies such as Paltronics take on international giants such as IGT and promotional models are just one of the weapons that gaming companies will continue to employ in the high stakes world of electronic gaming, and the folks from the Human Statue Bodyart creative arts agency certainly helped Paltronics make a positive splash today. We hear that more bodypainted models are on the cards tomorrow (the 3rd and final day of the expo) so be sure to check the stands, with 11am to 2pm News... Shuffle Master promotes The Flintstones Slot... "We are thrilled to be able to offer such an iconic brand as The Flintstones and we feel confident that it will take center stage at the show," said Adrian Halpenny, President of Shuffle Master Australasia. "Our game development team worked very hard to deliver a final product that demonstrated meticulous attention to detail in order to maintain the high quality and authenticity of the television series. As a result, The Flintstones is a breakthrough product that is not only highly enjoyable to play as a traditional gaming machine, but also brings the much-loved characters to life with entertaining and engaging features." Since debuting on American television, The Flintstones has endured as one of the most recognized cartoon TV shows of all time and is still shown on TV around the world. The beloved characters of The Flintstones have been a part of our childhoods for decades, and this new game allows us to play and interact with them in new and exciting ways. Preston Kevin Lewis, Managing Director of Warner Bros. Consumer Products ANZ, said, "It is testament to the enduring nature of The Flintstones brand that the likes of Fred, Barney, Wilma and Betty continue to reach new audiences in diverse areas. Shuffle Master is one of the world's leading gaming suppliers and we're sure these fantastic machines will provide consumers with yet another opportunity to fall in love with The Flintstones." Designed to make a big impact on the gaming floor with its broad appeal, The Flintstones is a three-level standalone progressive, low-denomination product with a suite of exciting base games and attractive jackpot prizes. It also introduces Shuffle Master's patented new "mini-reel" feature trigger that ignites the player's anticipation during game play. The game offers three interactive bonus features that provide players with the chance to win jackpots and credit prizes. Each bonus feature evokes classic scenes from the original TV show, such as the ten-pin challenge at Bedrock Bowl, the family night out at The Drive-In and the antics of Fred Flintstone's lovable pet dinosaur in Dino's Dig. Every element has been carefully crafted to captivate players. The Flintstones will feature themed door trims with matching halo lighting, a unique character marquee with a built-in LCD top box, and re-mastered music and sound effects from the original TV show. The three launch games - Lioness, Peacock Garden and Tiger Power - will be supplemented with more games from Shuffle Master on an ongoing basis to keep the installations fresh and exciting. Press Release... IGT Highlights Innovative 3D Gaming Technology and a Star-studded Gaming Lineup at the Australasian Gaming Expo... LAS VEGAS, Aug. 20, 2012 -- International Game Technology (NYSE:IGT), a global leader in casino gaming entertainment and systems technology, announced today it will deliver new industry firsts for Australia's gaming enthusiasts at the Australasian Gaming Expo (AGE) Aug. 21 – 23 at the Sydney Convention & Exhibition Centre in Sydney, Australia. IGT will launch the 3D gaming technology MLD™ (Multi-Layer Display™), paired with the unveiling of one of the world's most iconic pop culture brands, Elvis The King®. This new title is now available in Australia exclusively on the IGT bluechip Neo® Tower Top cabinet after successful launches in other global markets, along with many new games and products. "IGT continues to provide our customers with strong game performance, the widest variety of games, the latest in systems innovation and world-class service, all of which will be on display at AGE," said Eric Tom, IGT executive vice president of Global Sales. "Our research indicates that many players are entertainment seekers who are attracted to iconic brands and IGT delivers this with our pop culture hit Elvis The King®. This game has been adapted to suit the Australasian players' playing style. The 3D capabilities of MLD with Elvis The King® also provides venues with a strong differentiator as they look to broaden gaming's appeal and provide something special for players," said Tom. "Elvis The King® is packed with multiple features and number one hits." IGT's 3D MLD™ screens take gaming to another dimension in play. The 3D effect is simulated because the content exists on two separate LCD panels; one in front of the other which gives a depth of field, with game elements appearing and moving between the front and back screens. This allows for new game play options and heightened entertainment. The line-up of over fifty games at AGE reflects IGT's re-invigorated game design strategy with the legendary performance of games such as Siberian Storm® and Dangerous Beauty®. Additional games debuting at AGE include: Black Widow® – a low denomination game with a 'web capture' feature during free games for the chance to accumulate additional credits. Dakota Thunder® - featuring the 'Thunder Shudder'. A global leader in casino gaming entertainment and systems technology, IGT provides a holistic solution to the industry and its strength in gaming management systems and new interactive technologies will also be showcased at AGE. The IGT Advantage Club® System will be demonstrated with new technologies such as Service Window, a small window that appears on the left hand side of the screen. The Service Window can be used for personalized player messaging and for service requests, adding a unique level of service for venues with the IGT system. The IGT Advantage Club® system is proving to be a winner with clubs in New South Wales. IGT will again be playing host to industry experts who will present a range of topics including game floor design, customer service and systems. For more details on the free business seminar sessions visit www.igt.com.au/AGE12. About IGT International Game Technology (NYSE: IGT) is a global leader in casino gaming entertainment and continues to transform the industry by translating casino player experiences to social, mobile and interactive environments for regulated markets around the world. IGT's recent acquisition of Double Down Interactive provides engaging casino style entertainment to more than 5 million players monthly. More information about IGT is available at www.IGT.com or connect with IGT at @IGTNews or www.facebook.com/IGT. © EPE, Reg. U.S. Pat & TM O_. Dangerous Beauty and Black Widow were created by High 5 Games. For more information on High 5 Games, go to www.High5games.com Pure Depth™, MLD®, Multi-Layer Display® and Actual Depth™ are trademarks or registered trademarks of Pure Depth, Inc. All other trademarks are registered trademarks or the property of their respective owners without the intent to infringe. www.puredepth.com. All trademarks or registered trademarks are owned by IGT (Australia) Pty. Limited or its related entities. All information is subject to change without notice. Game type availability is subject to jurisdictional approval. Websites Australasian Gaming Expo www.austgamingexpo.com Gaming Technologies Association www.gamingta.com PALtronics Australasia www.paltronics.com.au Sydney Convention and Exhibition Centre www.scec.com.au Human Statue Bodyart www.humanstatuebodyart.com.au Human Statue Bodyart Flickr www.flickr.com/photos/humanstatuebodyart Eva Rinaldi Photography Flickr www.flickr.com/evarinaldiphotography

Rockefeller Center - Industries of the British Empire by Carl Paul Jennewein (1933). Cast bronze relief with gilding, 620 Fifth Avenue. Rockefeller Center was named after John D. Rockefeller, Jr., who leased the space from Columbia University in 1928 and developed it from 1930. Rockefeller initially planned a syndicate to build an opera house for the Metropolitan Opera on the site, but changed his mind after the stock market crash of 1929 and the Metropolitan's continual delays to hold out for a more favorable lease, causing Rockefeller to move forward without them. Rockefeller stated "It was clear that there were only two courses open to me. One was to abandon the entire development. The other to go forward with it in the definite knowledge that I myself would have to build it and finance it alone." He took on the enormous project as the sole financier, on a 27-year lease (with the option for three 21-year renewals for a total of 87 years) for the site from Columbia; negotiating a line of credit with the Metropolitan Life Insurance Company and covering ongoing expenses through the sale of oil company stock. The initial cost of acquiring the space and razing some of the building and construction of new building was an estimated $250,000,000 dollars; a staggering sum in 1930. It was the largest private building project ever undertaken in modern times. Construction of the 14 buildings in the Art Deco style (without the original opera house proposal) began on May 17, 1930 and was completed in 1939. Principal builder, and "managing agent", for the massive project was John R. Todd and principal architect was Raymond Hood, working with and leading three architectural firms, on a team that included a young Wallace Harrison, later to become the family's principal architect and adviser to Nelson Rockefeller. It was the public relations pioneer Ivy Lee, the prominent adviser to the family, who first suggested the name "Rockefeller Center" for the complex, in 1931. Junior initially did not want the Rockefeller family name associated with the commercial project, but was persuaded on the grounds that the name would attract far more tenants. What could have become a major controversy in the mid-1930s concerned the last of the four European buildings that remained unnamed. Attempts were made by Ivy Lee and others to rent out the space to German commercial concerns and name it the Deutsches Haus. Junior ruled this out after being advised of Hitler's Nazi march toward World War II, and thus the empty office site became the International Building North. This subsequently became the primary location of the U.S. operations of British Intelligence, British Security Coordination (BSC) during the War, with Room 3603 becoming the principal operations center for Allied intelligence, organized by William Stephenson, as well as the office of the future head of what was later to become the Central Intelligence Agency, Allen Welsh Dulles. The Center is a combination of two building complexes: the older and original 14 Art Deco office buildings from the 1930s, and a set of four International-style towers built along the west side of Avenue of the Americas during the 1960s and 1970s (plus the Lehman Brothers Building). (The Time-Life Building, McGraw-Hill and News Corporation/Fox News Channel headquarters are part of the Rockefeller Center extension now owned/managed by the major private real estate firm, Rockefeller Group.) In 1985, Columbia University sold the land beneath Rockefeller Center to the Rockefeller Group for 400 million dollars. The entire Rockefeller Center complex was purchased by Mitsubishi Estate, a real estate company of the Mitsubishi Group, in 1989, which fully bought out Rockefeller Group. In 2000, the current owner Jerry Speyer (a close friend of David Rockefeller), of Tishman Speyer Properties, L.P., together with the Lester Crown family of Chicago, bought for $1.85 billion the older 14 buildings and land from the previous syndicated owners: Goldman Sachs (which had 50 percent ownership), Gianni Agnelli, Stavros Niarchos, and David Rockefeller, who organized the syndicate in 1996 and is historically associated with the other partners. The centerpiece of Rockefeller Center is the 70-floor, 872-foot (266 m) GE Building at 30 Rockefeller Plaza ("30 Rock", also the name of a comedy television show) formerly known as the RCA Building—centered behind the sunken plaza. The building is the setting for the famous Lunchtime atop a Skyscraper photograph, taken by Charles C. Ebbets in 1932 of workers having lunch, sitting on a steel beam, without safety harnesses. The 840-foot (260 m) drop lies below. The building was renamed in the 1980s after General Electric (GE) re-acquired RCA, which it helped found in 1919. The famous Rainbow Room club restaurant is located on the 65th floor; the Rockefeller family office covers the 54-56th floors. The skyscraper is the headquarters of NBC and houses most of the network's New York studios, including 6A, former home of Late Night with David Letterman and Late Night with Conan O'Brien and current home of The Dr. Oz Show; 6B, home of Late Night with Jimmy Fallon; 8H, home of Saturday Night Live; plus the operations of NBC News, MSNBC and local station WNBC. NBC currently owns the space it occupies in the building as a condominium arrangement. Unlike most other Art Deco towers built during the 1930s, the GE Building was constructed as a slab with a flat roof, where the Center's newly renovated observation deck, the Top of the Rock is located, which was first built in 1933. The $75 million makeover of the observation area was carried out by the Center's owner, Tishman Speyer Properties and was finally completed in 2005. It spans from the 67-70th floors and includes a multimedia exhibition exploring the history of the Center. On the 70th floor, reached by both stairs and elevator, there is a 20-foot (6.1 m) wide viewing area, allowing visitors a unique 360-degree panoramic view of New York City. At the front of 30 Rock is the Lower Plaza, in the very center of the complex, which is reached from 5th Avenue through the Channel Gardens and Promenade. The acclaimed sculptor Paul Manship was commissioned in 1933 to create a masterwork (see below) to adorn the central axis, below the famed annual Rockefeller Center Christmas Tree, but all the other original plans to fill the space were abandoned over time. It wasn't until Christmas Day in 1936 that the ice-skating rink was finally installed and the popular Center activity of ice-skating began. Rockefeller Center represents a turning point in the history of architectural sculpture: it is among the last major building projects in the United States to incorporate a program of integrated public art. Sculptor Lee Lawrie contributed the largest number of individual pieces — twelve — including the statue of Atlas facing Fifth Avenue and the conspicuous friezes above the main entrance to the RCA Building. Paul Manship's highly recognizable bronze gilded statue of the Greek legend of the Titan Prometheus recumbent, bringing fire to mankind, features prominently in the sunken plaza at the front of 30 Rockefeller Plaza. The model for Prometheus was Leonardo (Leon) Nole, and the inscription from Aeschylus, on the granite wall behind, reads: "Prometheus, teacher in every art, brought the fire that hath proved to mortals a means to mighty ends." Although some sources cite it as the fourth-most familiar statue in the United States, behind the Lincoln Memorial, Mount Rushmore and the Statue of Liberty, Manship was not particularly fond or proud of it. A large number of other artists contributed work at the Center, including Isamu Noguchi, whose gleaming stainless steel bas-relief, News, over the main entrance to 50 Rockefeller Plaza (the Associated Press Building) was a standout. At the time it was the largest metal bas-relief in the world. Other artists included Carl Milles, Hildreth Meiere, Margaret Bourke-White, Dean Cornwell, and Leo Friedlander. In 1932, the Mexican socialist artist Diego Rivera (whose sponsor was Museum of Modern Art and whose patron at the time was Abby Aldrich Rockefeller, the wife of John D. Rockefeller, Jr.), was commissioned by their son Nelson Rockefeller to create a color fresco for the 1,071-square-foot (99 m2) wall in the lobby of the then RCA Building. This was after Nelson had been unable to secure the commissioning of either Matisse or Picasso. Previously Rivera had painted a controversial fresco in Detroit entitled Detroit Industry, commissioned by Abby and John's friend, Edsel Ford, who later became a MoMA trustee. Thus it came as no real surprise when his Man at the Crossroads became controversial, as it contained Moscow May Day scenes and a clear portrait of Lenin, not apparent in initial sketches. After Nelson issued a written warning to Rivera to replace the offending figure with an anonymous face, Rivera refused (after offering to counterbalance Lenin with a portrait of Lincoln), and so he was paid off and the mural papered over at the instigation of Nelson, who was to become the Center's flamboyant president. Nine months later, after all attempts to save the fresco were explored—including relocating it to Abby's Museum of Modern Art—it was destroyed as a last option. (Rivera re-created the work later in Mexico City in modified form, from photos taken by an assistant, Lucienne Bloch.) Rivera's fresco in the Center was replaced with a stunning, larger mural by the Spanish Catalan artist Josep Maria Sert, titled American Progress, depicting a vast allegorical scene of men constructing modern America. It contains the figures of Abraham Lincoln, Mahatma Gandhi and Ralph Waldo Emerson, and it is wrapped around the west wall of the Grand Lobby at 30 Rock. In 1962, a plaque was placed at the plaza with a list of principles in which John D. Rockefeller Jr. believed, first expressed by him in 1941. It reads: "I believe in the supreme worth of the individual and in his right to life, liberty, and the pursuit of happiness. I believe that every right implies a responsibility; every opportunity, an obligation; every possession, a duty. I believe that the law was made for man and not man for the law; that government is the servant of the people and not their master. I believe in the Dignity of labour, whether with head or hand; that the world owes no man a living but that it owes every man an opportunity to make a living. I believe that thrift is essential to well ordered living and that economy is a prime requisite of a sound financial structure, whether in government, business or personal affairs. I believe that truth and justice are fundamental to an enduring social order. I believe in the sacredness of a promise, that a man's word should be as good as his bond; that character not wealth or power or position - is of supreme worth. I believe that the rendering of useful service is the common duty of mankind and that only in the purifying fire of sacrifice is the dross of selfishness consumed and the greatness of the human soul set free. I believe in an all-wise and all-loving God, named by whatever name, and that the individuals highest fulfilment, greatest happiness, and widest usefulness are to be found in living in harmony with His Will. I believe that love is the greatest thing in the world; that it alone can overcome hate; that right can and will triumph over might."