{"id":3931,"date":"2025-11-16T16:41:57","date_gmt":"2025-11-16T05:41:57","guid":{"rendered":"https:\/\/www.pinncomp.com.au\/Dev\/?p=3931"},"modified":"2026-01-18T11:51:22","modified_gmt":"2026-01-18T00:51:22","slug":"england","status":"publish","type":"post","link":"https:\/\/www.pinncomp.com.au\/Dev\/england\/","title":{"rendered":"England"},"content":{"rendered":"\n
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England – Henley Picnic with Peter and Gwen<\/div>\n
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\"B0001814.JPG\"<\/figure>\r\n
\"B0001814.JPG\"<\/figure>\r\n<\/div>\n
The river at Henley on Thames<\/div>\n

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File:<\/td>\nB0001814<\/td>\n<\/tr>\n
Date:<\/td>\nWed, August 8, 2018 02:02:42<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON D850<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5520<\/td>\n<\/tr>\n
ISO:<\/td>\n1600<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 32′ 0.11″N
0\u00b0 53′ 46.42″W
27m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/1000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/1000<\/td>\n<\/tr>\n
Focal Length:<\/td>\n38.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nPark Road, Henley-on-Thames, RG9 1DB, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"B0001848.JPG\"<\/figure>\r\n
\"B0001848.JPG\"<\/figure>\r\n<\/div>\n
The river at Henley on Thames<\/div>\n

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File:<\/td>\nB0001848<\/td>\n<\/tr>\n
Date:<\/td>\nWed, August 8, 2018 03:35:31<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON D850<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5670<\/td>\n<\/tr>\n
ISO:<\/td>\n1600<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 32′ 0.19″N
0\u00b0 53′ 46.21″W
20m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/800<\/td>\n<\/tr>\n
Focal Length:<\/td>\n300.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nPark Road, Henley-on-Thames, RG9 1DB, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"B0001862.JPG\"<\/figure>\r\n
\"B0001862.JPG\"<\/figure>\r\n<\/div>\n
The river at Henley on Thames<\/div>\n

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File:<\/td>\nB0001862<\/td>\n<\/tr>\n
Date:<\/td>\nWed, August 8, 2018 03:37:21<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON D850<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5420<\/td>\n<\/tr>\n
ISO:<\/td>\n1600<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 32′ 0.19″N
0\u00b0 53′ 46.61″W
21m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/800<\/td>\n<\/tr>\n
Focal Length:<\/td>\n135.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nPark Road, Henley-on-Thames, RG9 1DB, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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England – Brixham harbour with Trevor<\/div>\n
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\"B0001870.JPG\"<\/figure>\r\n
\"B0001870.JPG\"<\/figure>\r\n<\/div>\n
My brother, Trevor in front of the relica of the GoldenHind, an English privateering galleon circumnavigated of the globe between 1577 and 1580, captained by Sir Francis Drake.<\/div>\n

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File:<\/td>\nB0001870<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:26:56<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON D850<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5150<\/td>\n<\/tr>\n
ISO:<\/td>\n1600<\/td>\n<\/tr>\n
GPS:<\/td>\n50\u00b0 23′ 46.15″N
3\u00b0 30′ 46.01″W
2m Below Sea Level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/800<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nStrand Statue, The Strand, Brixham, TQ5 8EF, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"B0001883.JPG\"<\/figure>\r\n
\"B0001883.JPG\"<\/figure>\r\n<\/div>\n
Brixham Devon, the harbour<\/div>\n

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File:<\/td>\nB0001883<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:32:08<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON D850<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5630<\/td>\n<\/tr>\n
ISO:<\/td>\n1600<\/td>\n<\/tr>\n
GPS:<\/td>\n50\u00b0 23′ 46.04″N
3\u00b0 30′ 45.83″W
1m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/800<\/td>\n<\/tr>\n
Focal Length:<\/td>\n48.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nWilliam Prince of Orange, The Strand, Brixham, TQ5 8EF, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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England – Fruit picking at Grays farm<\/div>\n
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\"J0000308.JPG\"<\/figure>\r\n
\"J0000308.JPG\"<\/figure>\r\n<\/div>\n
Barry picking fruit<\/div>\n

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File:<\/td>\nJ0000308<\/td>\n<\/tr>\n
Date:<\/td>\nTue, August 7, 2018 12:10:42<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/1250<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000311.JPG\"<\/figure>\r\n
\"J0000311.JPG\"<\/figure>\r\n<\/div>\n
Jeremy picking fruit<\/div>\n

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File:<\/td>\nJ0000311<\/td>\n<\/tr>\n
Date:<\/td>\nTue, August 7, 2018 12:11:40<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/800<\/td>\n<\/tr>\n
Focal Length:<\/td>\n7.1 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000316.JPG\"<\/figure>\r\n
\"J0000316.JPG\"<\/figure>\r\n<\/div>\n
The fruits of our labours<\/div>\n

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File:<\/td>\nJ0000316<\/td>\n<\/tr>\n
Date:<\/td>\nTue, August 7, 2018 01:25:53<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n360<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
England – Trip to Kew Gardens<\/div>\n
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\"J0000324.JPG\"<\/figure>\r\n
\"J0000324.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000324<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 12:50:44<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/640<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000330.JPG\"<\/figure>\r\n
\"J0000330.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000330<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 12:56:30<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/500<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000332.JPG\"<\/figure>\r\n
\"J0000332.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000332<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 12:57:35<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/160<\/td>\n<\/tr>\n
Focal Length:<\/td>\n16.1 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000340.JPG\"<\/figure>\r\n
\"J0000340.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000340<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:05:26<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n400<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/13<\/td>\n<\/tr>\n
Focal Length:<\/td>\n7.1 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000351.JPG\"<\/figure>\r\n
\"J0000351.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000351<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:13:46<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/320<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000357.JPG\"<\/figure>\r\n
\"J0000357.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000357<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:22:11<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n400<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/10<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000369.JPG\"<\/figure>\r\n
\"J0000369.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000369<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 01:58:05<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/160<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000375.JPG\"<\/figure>\r\n
\"J0000375.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000375<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 02:11:46<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/400<\/td>\n<\/tr>\n
Focal Length:<\/td>\n8.9 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"J0000428.JPG\"<\/figure>\r\n
\"J0000428.JPG\"<\/figure>\r\n<\/div>\n
Kew Gardens<\/div>\n

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File:<\/td>\nJ0000428<\/td>\n<\/tr>\n
Date:<\/td>\nFri, August 10, 2018 04:01:56<\/td>\n<\/tr>\n
Camera:<\/td>\nCOOLPIX S7000<\/td>\n<\/tr>\n
ISO:<\/td>\n125<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/100<\/td>\n<\/tr>\n
Focal Length:<\/td>\n4.5 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
England – The Last Caravaggio National Gallery<\/div>\n
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Salome receives the Head of John the Baptist about 1609-10 This almost monochromatic composition shows Caravaggio\u2019s ability to reduce a story to its essentials. _ We are confronted with the horror of the severed head, the brutish power of the executioner, the old woman’s sorrow, and the complex revulsion of Salome who, at her mother\u2019s bidding, had requested Saint John\u2019s head on a platter. Painted during Caravaggio\u2019s second stay in Naples, this picture captures the stark emotional power of his late paintings and the profound impact the city had on his art. 17th-century Naples was a city of contrasts: at once the largest metropolis in Italy with vast wealth brought in by its port, but also dark, dirty and overcrowded. Violence would never have been far away.<\/div>\n

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File:<\/td>\nR0000498a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 06:05:55<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n22800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n32.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
England – National Gallery<\/div>\n
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\"R0000503a.jpg\"<\/figure>\r\n<\/div>\n
Hans Holbein the Younger (1497\/8- 1543) The Ambassadors, 1533 Jean de Dinteville (left) was French ambassador to the court of Henry VIIl in The inscription on his dagger reveals he is in his 29th year. Georges de Selve, Bishop of Lavaur (right), visited London in April 1533. The book on which he rests his arm indicates he is in his 25th year. The picture was painted for Dinteville and hung n his family house in Polisy, Champagne. lisy is marked on the globe next to him. ing of the objects on the shelves n much debated. The broken string is symbolic of discord, perhaps al and religious disharmony in e time of the Reformation. On or between them is a distorted skull. \u00bbd from the right-hand side, the \u00bb corrects itself and the symbol of 1 becomes clear. In the top left- of the picture is a silver crucifix, e Christian promise of slavation.<\/div>\n

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File:<\/td>\nR0000503a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 06:14:01<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5600<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Jan Brueghel the Elder (1568-1625) The Adoration of the Kings, 1598 This painting is a display of minute observation, from a woman with a baby conversing with a man on horseback at the left, to the still life of carpenter’s tools in the lower right. The black king and his elaborate boat-shaped container are inspired by the work of Pieter Bruegel, the artist’s father, reminding us that artists\u2019 drawings \u2014 templates for paintings \u2014 were often handed down from father to son. Bodycolour on vellum.<\/div>\n

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File:<\/td>\nR0000514a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 06:27:26<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n18000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/60<\/td>\n<\/tr>\n
Focal Length:<\/td>\n62.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Unknown Flemish artist Cognoscenti in a Room hung with Pictures, about 1620. I would have thought it was difficult enough to paint a single picture but 39! Oil on oak.<\/div>\n

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File:<\/td>\nR0000516a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 06:27:57<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n14400<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Jan Brueghel the Elder (1568-1625) Landscape with Travellers and Peasants on a Track, 1610 A convoy of travellers in horse-drawn carriages encounters a group of peasants dancing to the music of a violin. A characteristic feature of landscape paintings by Jan Brueghel, son of Pieter Bruegel the Elder, is the way the background opens up to a vast valley, providing a view of the town in the far distance. Oil on copper.<\/div>\n

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View technical data…<\/div>\n<\/div>\n
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File:<\/td>\nR0000518a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 06:28:22<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n18000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/60<\/td>\n<\/tr>\n
Focal Length:<\/td>\n55.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Pieter Bruegel the Elder (active 1550\/1; died 1569) The Adoration of the Kings, 1564 The tiny, naked Christ Child seems vulnerable among the heavily armed men. He recoils from the gift of myrrh, the spice used to prepare bodies for burial, foreseeing in it his future death. By contrast, the spectators, one wearing glasses, are blind to what is before them, the son of God made man to redeem fallen humanity. Oil on Oak.<\/div>\n

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\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000547a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:00:00<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5600<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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John Constable (1776-1837) The Cornfield, 1826 A boy has stopped to drink from a pool, and his sheepdog has also paused, while the sheep continue along a lane sheltered by trees. Harvesters are at work in the cornfield beyond. The scenery is based on Fen Lane, which Constable walked along as a boy on his way to school from the village of East Bergholt to Dedham. Some details, like the village in the distance, are invented. Oil on canvas.<\/div>\n

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File:<\/td>\nR0000555a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:21:32<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n6400<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n32.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Joseph Mallord William Turner (1775-1851) Dutch Boats in a Gale ‘The Bridgewater Sea Piece\u2019), 1801 utch boats are shown on course for collision in stormy weather. Dark clouds contribute to the sense of danger. The painting was commissioned by the 3rd Duke of Bridgewater as a companion piece to a 17th-century Dutch seascape in his possession. Oil on canvas.<\/div>\n

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File:<\/td>\nR0000575a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:28:37<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4500<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
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Joseph Mallord William Turner (1775-1851) Calais Pier: An English Packet Arriving, 1803 An English packet or mail-boat, crowded with travellers, narrowly avoids collision with a French fishing boat as it attempts to land. This picture is based on Turner’s experience of a stormy landing at Calais during his first trip abroad in 1802. Oil on canvas.<\/div>\n

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\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000580a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:30:00<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Claude Monet (1840-1926) The Museum at Le Havre, 1873 Le Havre was Monet’s home town. Monet here seems to have been working from one of the walls of the inner harbour. He is looking across the busy port to the Mus\u00e9e des Beaux-Arts, the large building at the centre of the painting. Oil on canvas.<\/div>\n

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\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000582a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:31:46<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n6400<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/40<\/td>\n<\/tr>\n
Focal Length:<\/td>\n34.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Claude Monet (1840-1926) Snow Scene at Argenteuil, 1875 The Reavy snowfalls during the winter of 1874-5 prompted Monet to paint 18 views of the landscape around his home in the village of Argenteuil, of which this is the largest. It evokes the cold winter atmosphere through a steely palette of blues and greys, occasionally given depth by sharp accents of colour. Oil on canvas.<\/div>\n

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File:<\/td>\nR0000584a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:32:54<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/125<\/td>\n<\/tr>\n
Focal Length:<\/td>\n38.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Claude Monet (1840-1926) Water-Lilies, after 1916 In 1916 Monet had a new studio built at Giverny in order to work on huge canvasses; large-scale, close-up views of the surface of his water-lily pond. In 1918, the day after the Armistice was signed, the painter promised a group of the paintings to the French nation as a \u201cmonument to peace\u201d. It was a war memorial, but of a personal, unprecedented kind. Monet described his Water-Lilies as \u201cproducing the effect of an endless whole, of a watery surface with no horizon and no shore\u201d. Distance and perspective are abolished; a limitless expanse of water occupies our entire field of vision. Closely related to that project, the present monumental canvas was not included in Monet’s gift, which hangs today in the Orangerie of the Tuileries in Paris. Oil on canvas.<\/div>\n

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View technical data…<\/div>\n<\/div>\n
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File:<\/td>\nR0000586a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:33:22<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/125<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Pierre-Auguste Renoir (1841-1919) The Skiff (La Yole), 1875 Rowing boats, sailboats and steam trains crossing bridges were favourite motifs of the Impressionists. Renoir combines all three in this iridescent summer scene. It was probably painted at Chatou, a suburb on the Seine to the west of Paris that was associated with boating and frequented by Renoir. Oil on canvas<\/div>\n

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File:<\/td>\nR0000590a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:34:12<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/50<\/td>\n<\/tr>\n
Focal Length:<\/td>\n42.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"R0000610a.jpg\"<\/figure>\r\n
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Vincent van Gogh (1853-1890) Portrait of Adeline Ravoux, the Innkeeper\u2019s Daughter, 1890 The 12-year-old Ravoux emerges from a dense, expressive background of layered black and blue brushstrokes in this portrait, which Van Gogh painted just over a month before his death. While the emphatic brushwork and profile composition invest Ravoux with a certain dignity, her delicate features reveal her youth and vulnerability. Oil on canvas.<\/div>\n

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View technical data…<\/div>\n<\/div>\n
\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000610a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:43:58<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/40<\/td>\n<\/tr>\n
Focal Length:<\/td>\n36.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Vincent van Gogh (1853-1890) Sunflowers, 1888 Van Gogh associated the colour yellow with hope and friendship. He suggested that his four Sunflowers canvases, painted to decorate his house in Arles, express an \u2018idea symbolising gratitude\u2019. He seems to have been especially pleased with this picture, which he hung in the guest bedroom in anticipation of the arrival of his friend, the artist Paul Gauguin. Oil on canvas.<\/div>\n

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View technical data…<\/div>\n<\/div>\n
\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000615a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:45:29<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/80<\/td>\n<\/tr>\n
Focal Length:<\/td>\n78.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"R0000621a.jpg\"<\/figure>\r\n
\"R0000621a.jpg\"<\/figure>\r\n<\/div>\n
Claude Monet (1840-1926) Bathers at La Grenouill\u00e9re, 1869 Monet and Renoir spent the summer of 1869 working at this popular caf\u00e9 and bathing place on the Seine near Bougival. Monet probably set up his easel on a platform in front of the cafe. In the centre of the picture, figures stand on a narrow wooden walkway. In the background, bathers crowd into a swimming area. Oil on canvas<\/div>\n

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View technical data…<\/div>\n<\/div>\n
\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000621a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 07:48:17<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5600<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n32.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"R0000630a.jpg\"<\/figure>\r\n
\"R0000630a.jpg\"<\/figure>\r\n<\/div>\n
Judy at the National Gallery<\/div>\n

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\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000630a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 08:00:17<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5600<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
England – St. Martin in the Fields<\/div>\n
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\"R0000636.JPG\"<\/figure>\r\n
\"R0000636.JPG\"<\/figure>\r\n<\/div>\n
St. Martin in the Fields<\/div>\n

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View technical data…<\/div>\n<\/div>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000636<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 09:21:03<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5600<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 30′ 31.36″N
0\u00b0 7′ 38.41″W
27m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/13000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/13000<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nunnamed road, London, WC2N 5DN, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Show Map<\/div>\n
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England – St. Martin’s Place, London<\/div>\n
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\"R0000637.JPG\"<\/figure>\r\n
\"R0000637.JPG\"<\/figure>\r\n<\/div>\n
St. Martin’s Place, London<\/div>\n

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View technical data…<\/div>\n<\/div>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n
File:<\/td>\nR0000637<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 09:23:09<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5320<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 30′ 33.86″N
0\u00b0 7′ 38.39″W
28m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/8000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/8000<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nMuriel’s Kitchen, St. Martin’s Place, London, WC2N 5DN, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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England – National Portrait Gallery<\/div>\n
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\"R0000652a.jpg\"<\/figure>\r\n
\"R0000652a.jpg\"<\/figure>\r\n<\/div>\n
The Whitehall Cartoon King Henry VIII (1491-1547) and King Henry VII (1457-1509) By Hans Holbein the Younger This is a preparatory drawing for one of the most famous depictions of personal power ever produced. Painted on a wall in Whitehall Palace, the portrait was intended to overwhelm the viewer with Henry VIII’s majesty. It was created by the \u2018King\u2019s Painter\u2019, the German artist Hans Holbein the Younger. The complete composition included portraits of Henry VIII, his third wife Jane Seymour, and his Parents Henry VII and Elizabeth of York. The mural was destroyed in a fire in 1698. ink and watercolour on paper, made 1536 and 1537 sett Accepted in lieu of tax 2nd allocated to the NPG 4027 by H.M. Government Gallery, 1957<\/div>\n

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File:<\/td>\nR0000652a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 09:36:25<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n9000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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King Charles Il, 1630-85 Attributed to Thomas Hawker The eldest child of the executed King Charles |, Charles Il spent most of his youth in exile on the continent during the Republic. He returned to reclaim his throne amid much rejoicing in 1660, entering London on his 30th birthday. He opened the public theatres after nearly 20 years of closure, and his court became famed for luxury, indulgence and the prominence of women. He had 14 children with his many mistresses, but none with his Portuguese queen, Catherine of Braganza. Cynical, lazy, and notorious for saying one thing and doing another, Charles was also charming and approachable, and promoted science and technology with genuine interest. Oil on canvas, about 1680<\/div>\n

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File:<\/td>\nR0000677a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 09:42:53<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n5000<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Samuel Pepys, 1633-1703 By John Hayls Pepys is most famous for his remarkable Diary, kept from 1660 until 1669: a unique record of life in Restoration London. His lively descriptions range from important national events like the Great Plague and the Great Fire of London, to domestic details about dining with friends and buying new clothes. Never intended for publication, the Diary also includes candid accounts of Pepys\u2019s intimate relationships, including, in disguised language, his infidelities and sexual exploitation of serving women. Pepys worked very successfully as a Naval administrator for James, Duke of York (later James II). He also as assembled an extensive library and collection of engravings that now belong to Magdalene College, Cambridge.<\/div>\n

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File:<\/td>\nR0000679a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 09:43:30<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n12800<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/40<\/td>\n<\/tr>\n
Focal Length:<\/td>\n38.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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\"R0000727a.jpg\"<\/figure>\r\n
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Sir Winston Churchill, 1874-1965 _ By Sir William Orpen This portrait shows politician Winston Churchill at a time of crisis during the First World War. This was 25 years before he guided Britain to victory as Prime Minister in the Second World War. Churchill had recently resigned from his position as First Lord of the Admiralty. He had overseen a disastrous naval campaign in the Dardanelles Straits linking Turkey to Europe, which had ~ resulted in the deaths of 46,000 allied soldiers. An enquiry eventually cleared him of sole blame, but painter William Orpen found Churchill to be a \u2018man of misery\u2019 who had \u2018lost pretty well everything\u2019. Churchill described his portrait as: \u2018not the picture of a man\u2019 but \u2018of a man\u2019s soul.\u2019<\/div>\n

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File:<\/td>\nR0000727a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 10:10:03<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4500<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/30<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Dame Judi Dench, b.1934 By Alessandro Raho ~ Acting just sort of crept up on me but | don\u2019t regret it for a moment. Dame Judi Dench : One of Britain’s best-known actors, Dench has played many different _ roles, from Ophelia in Shakespeare\u2019s _ Hamlet to \u2018M\u2019 in the James Bond films. However, Raho chose to portray the actor off-stage, as a version of herself _ in her everyday clothes, unadorned and without props. The artist has \u2014 spoken of how he attempted to \u2018trap | something | saw while she waited in the foyer of the National Portrait Gallery, unaware of me\u2019 when they _ first met. Raho\u2019 S process involves taking hundreds of photographs, yet the portrait retains painterly qualities _ such as the delicate brush strokes \u00a9 – and soft tonal effect, which make _ the figure appear to shimmer.<\/div>\n

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File:<\/td>\nR0000735a<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 10:20:46<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
ISO:<\/td>\n4000<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 30′ 32.98″N
0\u00b0 7′ 39.56″W
13m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/160<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/160<\/td>\n<\/tr>\n
Focal Length:<\/td>\n28.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nNational Gallery, Trafalgar Square, London, WC2N 5DN, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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England – Golden Jubilee Bridge, Victoria Embankment<\/div>\n
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London eye from Golden Jubilee Bridge, Victoria Embankment<\/div>\n

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File:<\/td>\nR0000742<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 11:13:55<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5900<\/td>\n<\/tr>\n
ISO:<\/td>\n640<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 30′ 23.68″N
0\u00b0 7′ 20.28″W
26m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/200<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/200<\/td>\n<\/tr>\n
Focal Length:<\/td>\n35.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nGolden Jubilee Bridge, The Queen’s Walk, South Bank, London, SE1 7PG, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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Big Ben from Golden Jubilee Bridge, Victoria Embankment<\/div>\n

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File:<\/td>\nR0001206<\/td>\n<\/tr>\n
Date:<\/td>\nTue, May 14, 2024 11:16:13<\/td>\n<\/tr>\n
Camera:<\/td>\nNIKON Z9<\/td>\n<\/tr>\n
Colour Temp:<\/td>\n5650<\/td>\n<\/tr>\n
ISO:<\/td>\n640<\/td>\n<\/tr>\n
GPS:<\/td>\n51\u00b0 30′ 22.30″N
0\u00b0 7′ 16.09″W
20m above sea level”<\/td>\n<\/tr>\n
No. Satellites:<\/td>\n1\/500<\/td>\n<\/tr>\n
Shutter Speed:<\/td>\n1\/500<\/td>\n<\/tr>\n
Focal Length:<\/td>\n105.0 mm<\/td>\n<\/tr>\n
Address:<\/td>\nGolden Jubilee Bridge, Victoria Embankment, Westminster, London, WC2N 5DJ, United Kingdom<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
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England – Henley Picnic with Peter and Gwen   The river at Henley on Thames   View technical data… File: B0001814 Date: Wed, August 8, 2018 02:02:42 Camera: NIKON D850 Colour Temp: 5520 ISO: 1600 GPS: 51\u00b0 32′ 0.11″N 0\u00b0 53′ 46.42″W 27m above sea level” No. Satellites: 1\/1000 Shutter Speed: 1\/1000 Focal Length: 38.0 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-3931","post","type-post","status-publish","format-standard","hentry","category-travel"],"_links":{"self":[{"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/posts\/3931","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/comments?post=3931"}],"version-history":[{"count":8,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/posts\/3931\/revisions"}],"predecessor-version":[{"id":9201,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/posts\/3931\/revisions\/9201"}],"wp:attachment":[{"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/media?parent=3931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/categories?post=3931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.pinncomp.com.au\/Dev\/wp-json\/wp\/v2\/tags?post=3931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}