Cool Only Your Test images

A few nice only your test images I found:

current palettes
only your test
Image by Julie Paradise1
why so many colours? well, they accumulated over times, a holiday here, some money there, a sale and a gift and the neverending search for the perfect colour.

now I would say that no one needs so many colours, but to make the best out of it and to use them all it seemed best to sort them all in palettes, in thought over and well balanced palettes that are usable as they are.

what does it bring? rotating and rethinking the palettes every once in a while has taught me mixing and getting to certain colours from various starting points. it can be amazing how differently you can achieve shadows or greens or moods with about everything you see here. (I am still no friend of pre-packed palettes as there are some colours I will never like and there just not use.)

I have sworn that once some of them will be empty I will not refill them or stock up again as time will show which colours I really and alway like to use for various purposes. no one needs THAT MANY colours 😉

warum soviele farben? hmnja, es sammelt sich eben soviel an mit der zeit, rabatte, gutscheine, unverhoffter geldsegen hier, ein geschenk da … aber letztlich braucht eigentlich doch niemand soviele farben, das gebe ich hiermit offiziell zu.

was nun aber tun damit, denn herumliegen lassen wäre bei aquarellfarben zwar grundsätzlich möglich aber doch zu schade. ich habe mich vor einer weile dazu entschlossen, aus allen farben sets zu erstellen, für verschiedene zwecke und gelegenheiten, alle paletten sollten in sich selbst halbwegs vollstandig sein, "coloristisch sinnvoll" (so heißt es immer im schmincke-katalog).

was bringt mir das? ich wechsle die paletten alle paar tage bzw. nutze manche eher für unterwegs oder meine skizzen und andere für "richtig ernsthafte" bilder. die jeweils verschiedene auswahl an farben bringt / zwingt mich dazu, aus unterschiedlichen ausgangsfarben ähnliche ergebnisse zu ermischen, einige paletten enthalten zum beispiel kein grün (rechts unten), andere beinahe alle meiner lieblingsfarben, manche keine davon und sie "funktionieren" trotzdem. durch das rotieren lerne ich nach und nach alle farben kennen und manche sogar noch lieben, die ich eigentlich bereits abgeschrieben hatte. das erreicht man natürlich nicht, wenn man die farben gar nicht zur verfügung hat. mir hat es also sehr geholfen — und wahnsinnig viel spaß gemacht in diesen farbmassen zu schwelgen — dennoch habe ich mir vorgenommen, einige der paletten nicht aufzufüllen wenn sie leer sind bzw. manche der farben nicht nachzukaufen. mit der zeit wird sich zeigen, was ich wirklich benutze. soviele farben braucht also kein mensch, aber schön ist es trotzdem mit ihnen. 😉

Brooklyn Home Office, Minimized, At Night
only your test
Image by mkosut
I’ve spent the past few months figuring out how to scale down many of the things i don’t need and keeping my home office very minimal. That included ditching the large 30" apple cinema display (it blocked my view out the windows!) and going back to a simple laptop with two headless servers (on old G5 osx server pictured, and one ubuntu dual core 2.8ghz hp proliant server hidden behind the desk)

I’ve hidden my speakers behind the desk and stream via an airport express station to minimize cord plugins. The two cables visible below the desk have been hidden (ethernet for the osx server and some other cable) didn’t see them in the photo til it was too late.

I’ve purchased an all-in-one scanner/printer that fits comfortably in the sliding glass door cabinet for easy access.

My old and faithful aeron chair finally made it’s return home from vermont. Thank you for the gift adam, it’s lasted me years!

For white board drawings, i use dry erase markers on the glass windows. I make sure i don’t write any sensitive data on them as they’re clearly visible from the street 🙂

This provides maximum desk space to work with while not being distracted. i work from home occasionally (i’m a senior linux systems engineer for mtv networks/viacom) so i wanted someplace enjoyable to work without losing focus on my tasks.

I didn’t have any stones to put in the vase for the flower, so i ended up using all the silver change i could find. This works great because it looks interesting, but also makes it easy to ditch extra pocket change into it conveniently. No pennies allowed!

Pre-cleaning: www.flickr.com/photos/mkosut/2583927058/in/set-7215759430…

Bristol Cinema Then & Now – The Kings, Old Market
only your test
Image by brizzle born and bred
The King’s Cinema in Old Market, Bristol BS2, once one of the city’s stalwart picture houses which after 70 years, made way for yet another office block? – in its declining years it was home to sleazy sex films and horror movies and dirty old men in rain coats just like The Tattler round the corner.

image top left: British Electric Theatres owned this small cinema, which was originally called King’s Hall. It was built on the site of a cemetery, between Old Market Street and Redcross Street, and when it was demolished, bones from the cemetery were discovered and removed. It was British Electric Theatres who put a test case for Sunday opening in 1910. The inspector went to another cinema, saw some nudity and a scene in which a vicar kissed a woman and promptly objected. The case was refused.

After the First World War, Ralph Bromhead, who was later a leading light in the Gaumont empire, took over the King’s and changed it beyond recognition. He purchased the shop next door and gave the building a new frontage, with a wide foyer and low canopy outside. Inside, the balcony area was decorated with ornate brasswork. In order to obtain planning permission, Bromhead had to employ fifty demobilised men as labourers. The work took less than a year and cost £15,000.

The King’s reopened in 1921 and became a landmark in Old Market Street.

The cinema suffered a fire in 1926 but soon reopened with new owners, Enrico Carreras and his son James. They had their own orchestra, the King’s Symphony Orchestra, consisting of twelve musicians. The orchestra played twice a day every day and were paid £68 per week between them, which was better than most musicians were paid at that time.

The King’s cinema’s biggest competitor was the Regent in nearby Castle Street. A gimmick was needed to put the King’s in front, so they took a gamble and tried the talkies. They were the first in Bristol to do this and changed the face of Bristol cinema for ever. In March 1929, they opened with the film The Singing Fool, starring Al Jolson.

The queues went all the way up Old Market Street and they packed in four performances a day for five weeks. They counted 50,000 admissions in the first two weeks, figures unheard of before. It was the end for silent films.

By the end of the 1930s, the ABC Group, under John Maxwell, had taken over the cinema and it continued to be popular. It survived the Second World War but the surrounding area and, following the redevelopment of the area and the building of the new road system, the cinema became isolated. It closed on 4 December 1976 with a double bill of Hot Dreams and Man Hungry.

image top right: c1968 The construction of the roundabout and pedestrian walkway system, in the 1960s. The Stag and Hounds is now the first building on the right. Note left of photograph: The King’s Cinema.

image bottom left: The cinema stood empty for a while, and was demolished in December 1981 for an office block named King’s House to be built on the site, located on the corner of Old Market Street and Bond Street at Old Market Roundabout.

image bottom right: "Yet another office block, just what Bristol needs?"

The Sad Decline of Bristol Cinema

The years after 1945 were hard for Britain. The country was in debt after the strain of war, and there was a severe housing shortage. Both of these factors affected cinema business.

The Entertainment Tax, which was added to the price of a cinema ticket, was raised. It was nearly 47% on the price of an expensive seat. At this rate people could not afford to keep up the twice-a-week habit of pre-war years. Smaller audiences meant that owners had to keep putting up the prices to make any profit.

Building materials, money and labour were channelled into house-building. This meant that very little was available for building new cinemas or even repairing old ones. No new cinemas were built in Britain until 1954. Old ones became increasingly scruffy.

Slum clearance and rebuilding programmes left many inner-city cinemas without a local audience.

From August 1947 to March 1948 US film distributors boycotted Britain because the government proposed putting a high import duty on imported films. Robbed of Hollywood films, British cinemas had to fall back on old copies and poor quality films. Cinema audiences never recovered.

There were only 15,000 television sets in Britain in 1945, but by 1955, when commercial television started, there were 5 million. By 1961 there were 11 million sets and cinema admissions had fallen by 75%.

All these factors together meant that cinemas were not able to compete very well with television. Who would want to go out to a cold, draughty cinema, with decor that had not been painted or repaired since the 1930’s, and pay prices that had risen much faster than inflation, when television could entertain you more cheaply in the warmth of your own fireside every night?

Filmmakers tried to fight back by taking on techniques that could not be copied on TV. 3-D films appeared, requiring the use of special projectors, screens and expensive glasses. It was a short-lasting gimmick. Cinemascope brought wide-screen ‘epics’ that only big cinemas could manage to show effectively. Some new cinemas were built, usually on the same lines as 1930’s cinemas. Some older houses tried to catch a paying audience by showing soft porn films which could not be shown on TV.

Cinema owners were sometimes slow to see that times had changed. The chain system, in which all the cinemas in a particular company would show the same film in the same week might have saved some money in distribution costs. However, the result was that the new car-owning public, perhaps wanting a change from TV and willing to drive across town to see a film, were faced with less choice than there could have been. Only later did owners think of splitting large cinemas up into two, or even three separate, smaller cinemas, thereby offering more choice and cutting running costs.

The rise of video hire in the 1980’s was a further blow to the cinema. At the lowest point, about 1985, there were less than 1,000 cinemas open in Britain.

What happened to the cinemas?

The two most common fates of old cinemas were demolition or bingo. The bingo craze started in 1961 and turning cinemas into bingo halls at least kept them more or less intact. The other fates of old cinemas are too many to list. They have become shops, carpet warehouses, chapels, bowling alleys, temples, even car showrooms.

Then & Now

Two photographs depicting the same view, one taken a period of time after the other, give us an instantaneous impression of ‘ then ‘ and ‘now ‘. Some comparisons show old views that are instantly recognisable, where the natural passage of time and technology has made only slight changes.

Other views illustrate major change and it can be difficult to comprehend that an area has altered so much. Unless you have lived through a change and can remember what was there before, there is often no reason to question what building was replaced or how the area functioned in the past.

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