View allAll Photos Tagged Alignment
Washington Royal Lines SD45R 331 comes off the 1967-built Royal City branch to rejoin the alignment of the former Milwaukee Road mainline, abandoned west of here since 1980. The line is now owned by the Port of Royal Slope and operates only sporadically, making this a rare catch to photogrpah.
Real Name: Xion
Gender: Male
Alignment: Villain
Backstory: Xion grew up on a farm, where he would be worked to the bone at unruly hours of the day. His complaints fall on deaf ears, as his parents wanted him to learn how to run the farm, so that eventually, he can take over the family business. It was discovered, that the crops grown there, had traces of radiation. His parents denied it, but it was only a matter of time, before CCBN junior reporter Asher Adams wrote an expose on the farm. Xion's parents would be sent to prison, and he would be sent to a monastery, due to his violent tendencies. For many years, Xion was isolated from the world, living with the other monks. While he was frustrated at how his parents treated him, they were still family. In time, he would realize they only wanted him to succeed. Most of his anger was targeted at Asher for putting them behind bars. During his time at the monastery, he would find a mystical hat in the old archives room. The rims of the hat, with razor blades (Think Kung Lao from Mortal Kombat). Upon trying it on, he had the urge to throw it. In doing so, he knocked a random vase off the shelf with such precision, and it came back to him. This relic is able to teleport back to him whenever he wants. In addition to this, when he holds it, becomes a shield, strong enough to stop bullets. One of the others tried stopping him from taking it, but seeing himself as the rightful owner of the hat, Xion killed the monk. He would leave the monastery in that moment, knowing they would come for him. Traveling back to Cardinal City, he seeks to take everything away from Asher Adams, and then, only then, will he kill him. In combat, he primarily uses his hat.
Status: Looking to kill Asher Adams.
- www.kevin-palmer.com - The two brightest objects in the night sky appear side by side in front of the milky way in a rare alignment. Venus is the blue object, and the yellow object is the moon. Even though the moon was only an 8% crescent, it was brighter than Venus. The band of yellow along the horizon is from the last colors of twilight before it was completely dark. This incredible sky is framed over the Colorado River in Utah. The 2000 foot deep canyon is part of Canyonlands National Park. But this view was actually shot from the edge of a cliff at Dead Horse Point State Park.
To get this shot I combined 2 exposures. The canyon was shot at 8 minutes, f/4, iso 1600. The sky was a 4 minute, f/5.6, iso 1600 exposure. I used an iOptron Skytracker to track the stars for a longer exposure.
I don't think these are particularly good shots and I probably wouldn't have posted them except for the fact that I was shocked how well they lined up. Not only the angle but the wheel wells also. I wasn't even trying to do this. Funny how things like this happen. Maybe it says something about our internal levels. Or it's just random.
12 3/8” x 12 1/4” x 2 3/4”
Mixed Media: Acrylic layered
painting stained and distressed.
Cut and Paste Collage, House
Paint, Oil Based Wood stain
& aged w/ a liquefied rust
With the Sun having risen in all its glory, an interesting play of light and shadow sets up across the vast, perfectly flat expanse of a flooded Badwater. Before us, the more than two mile high wall of the Panamint Range abruptly rises on the western side from alluvial fans to sheer mountain cliffs coated by recent snow. 11,049 foot tall Telescope Peak takes center stage here glistening in the sun. And a comparatively very short distance behind this photographer the Black Mountains rise even more abruptly more than a mile high. While the Sun has traveled all the way down the face of the Panamints, the vast saltwater lake here remains in shadow from the Black Mountains. As a result the salty water is reflecting nothing but deep blue sky and the salty ridges that stick up remain dark. By chance I found myself presented with an uncanny alignment of a salt ridge that very closely echoes the profile of the Panamint Mountain reflection. The dark, shadowed salty mud traces the contour pretty well, complete with a dip to account for Telescope Peak's tallest reflection.
Please do not use this image on websites, blogs or other media without my explicit permission. PhotOvation Akshay © - All Rights Reserved. Visit PHOTOVATION.PICFAIR.COM
White, red, and now yellow and GitD opaque make a nice little team. It would be awesome to find a torso, they're surely out there.
From my post-rain photo walk last week. I've photographed this location before but the wet pavement looked too cool to pass up. This was with the TT Artisan 23mm
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YA! A common project of Yves & Anne : Two glances, parallels or crossed, images to be juxtaposed, to be set or to be stacked...
First theme : Alignments.
YA! Un projet commun de Yves & Anne : Deux regards, parallèles ou croisés, des images à juxtaposer, à opposer ou à superposer...
Premier thème : Alignements...
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Encore une fois ou plutôt 1000 fois merci Yves pour le travail fait sur cette photo!
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© Anne d'Huart
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When you meet someone whose spirit is not aligned with yours.....
send them love and move along.
Unknown
Venus, Mars, and the crescent moon align with Pigeon Point Lighthouse on the California coast.
Single exposure with only Lightroom adjustments
Sony A7S, Canon 70-200mm f/2.8 @f/2.8, 200mm, 1 second, ISO12,800
More info, for the truly geeky:
I knew this alignment was coming several weeks ago and put a reminder on my calendar for the afternoon to come up with a shot for it. I knew that the planets and moon were going to be roughly 260-270 degrees as they approached the horizon and started looking at westerly foregrounds. Since the sun was well down by the time the planets and moon were going to be close to the horizon, I knew that the foreground either had to be a very strong silhouette or self-lit (like the GG Bridge, city skyline, etc). There was a possible shot from Treasure Island of the South Tower of the Golden Gate Bridge, but I just didn't want to drive into the city yesterday, so kept looking.
I found that the alignment matched very well with typical shooting locations for Pigeon Point Lighthouse. I like the lighthouse, but it presents some pretty daunting challenges; fog, sea spray, moisture in the air, and the very bright lights from the hostel and the beacon itself. Nevertheless, I set out for the lighthouse around 5:00pm to give myself enough time
I knew I was going to be at 200mm (or more) for the shot, which means that I would need to keep the shutter duration at 2 seconds or less to avoid streaking the planets, stars, and surface of the moon. This requires a pretty high ISO (12,800 or more) at f/2.8 (and even higher at f/4) to be able to preserve any detail in the foreground. I decided to keep my 70-200 f/2.8 instead of adding the extender to give it more reach, but at the loss of a stop of light.
I took a bunch of test shots as the planets and moon were setting and the sky got darker and darker as the sun got further below the horizon. I settled on exposure brackets centered around 0.5s at f/2.8. Shooting 5 shots at 1eV steps, this gave me exposures from 2s down to 1/4s. I ended up using the 1s exposure. All at ISO12,800.
The moon is incredibly challenging, even when in crescent phase. The sunlit portion is WAY too many stops above anything else in the sky and on the ground. I decided to let the sunlit crescent blow out and went for details in the earthshine portion of the moon. By making this decision, I was able to use a single exposure to make the image. There is a lot of highlight and shadow recovery going on here, but the Sony A7S image holds up pretty well. There is noise, of course, but it is very well behaved.
I believe that this image would not be possible without the A7S. Keeping the stars and planets from streaking at 200mm requires very short shutter durations. This requires bumping up the ISO to 12,800 or even 25,600. The ISO performance and Dynamic Range of the sensor at these ISOs allows long-lens astro-landscape photography to become a reality (without compositing)