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A quick visit to the open gardens at neighbouring village Smeeton Westerby this morning. This one on the edge of the village was our last call, and beyond the trees looks out over Smeeton Hill and the Laughton Hills
Orden: Lepidoptera
Familia: Sesiidae
Nombre científico: Sesia apiformis
Nombre común: sesia
Su aspecto se asemeja al de una avispa, con el abdomen amarillo y negro, aunque carece de la constricción al principio del abdomen que tienen estas. Además, las alas son más oscuras y tienen flecos y las antenas presentan pelos en su base.
Sesia apiformis, conocida como oruga perforadora de chopos, es un insecto lepidóptero de la familia Sesiidae. Los imagos imitan en su aspecto a una avispa. Este lepidóptero perforador se alimenta en estado de oruga fundamentalmente de chopos (Populus sp.) y, en menor medida, de sauces (Salix sp.) y aliso Alnus glutinosa. Está considerada una plaga para estos árboles, a los que causa importantes daños en la base y en las raíces que afectan a la formación de la planta.
Para completar su ciclo biológico necesitan al menos dos años. Tras emerger de las galerías del árbol en que se desarrollaron y después de estirar las alas, las hembras se posan en el tronco o en sus cercanías y emiten feromonas que los machos detectan con sus antenas y acuden para aparearse; una vez fecundada, la hembra realiza la puesta de unos 2000 huevos que almacenaba en su abdomen, cerca de la base del tronco o raíces gruesas del árbol. Al nacer las larvas tienen la cabeza de color castaño en forma de corazón y el abdomen blanco, en su último segmento cuentan con un gancho quitinoso arqueado hacia delante; conforme van evolucionando son más anchas y de mayor longitud, pudiendo alcanzar hasta 55 mm, y empiezan a alimentarse de la madera. Aproximadamente a mitad de su desarrollo construye un capullo de color pardo oscuro con los serrines de la madera en el que se transformará en crisálida; algo más de un mes después el nuevo imago rompe el capullo y sale al exterior. Aunque la mariposa se asemeja en su aspecto a una avispa, se puede distinguir de éstas por su abdomen en prolongación con el tórax, sin el característico estrechamiento de las avispas. Los machos son de menor tamaño y tienen una menor envergadura que las hembras (40 mm, frente a los 45 mm de las hembras). Sus antenas son de color negro, bipectinadas y cuentan con un mechón de pelos de color amarillo en la base; el cuarto segmento del abdomen difiere de los demás y tiene un color amarillo con tonos pardo oscuro en el caso del macho y negro cobrizo en el caso de las hembras.
Los daños que producen las orugas de estos lepidópteros perforadores afectan principalmente a la formación de los árboles en los que se alojan y a su posterior crecimiento. Las galerías que excavan rompen los tejidos conductores y afectan a la circulación de la savia, lo que trae como consecuencia una debilitación del árbol. Los daños en las raíces y la base del tronco pueden tener como consecuencia que los pies afectados puedan llegar a partirse por la acción del viento
La existencia de animales aposemáticos permite la evolución de los imitadores, que aparentan ser lo que no son. La coloración de las avispas es imitada por innumerables dípteros, mariposas y escarabajos. Todos estos imitadores han surgido por selección a nivel individual.
Aposemático:
Un organismo es aposemático, o presenta aposematismo, cuando, para advertir a sus posibles predadores de su peligrosidad, mal sabor, etc, exhibe un conjunto de colores vivos, o de características que le hacen destacar del medio. Algunas veces estos vivos colores simplemente imitan los de una especie peligrosa o con mal sabor, siendo el animal (o la planta) que los exhibe completamente inofensiva (Mimetismo Batesiano).
Copyright © juansaturno_5 , All rights reserved. This artwork can't be used without written consent from its author. Esta obra no puede ser utilizada sin el consentimiento por escrito del autor.
I found it difficult to do justice to Gaudi with my limited skills and camera equipment and because everything is sooo high off the ground!
si..
a veces amanece así..
ya sabes..
"A quien madruga.. Dios le ayuda.."
al menos le ayuda a hacer bonitas fotos..
:)
Hoy..
me siento como un limón..
raro.. verdad?..
tiene su explicación..
a los limones..
para sacarles lo mejor de si mismos.. (el jugo)
hay que cortarlos por la mitad..
hay que apretarles bien fuerte..
incluso hay quien les clava un tenedor..
y lo retuerce..
hasta que no queda nada dentro..
..
Has visto como queda el pobre al final..?
Hoy me siento limón..
:)
.........
Oui.. il y a des jours que c'est comme ça..
On dit en Espagnol..
"celui qui se lève tôt..
trouve l'aide de Dieu.."
possible..
en tout cas se lever tôt.. aide a faire des belles photos..
:)
aujourd'hui je me sens citron..
j'explique..
ce qu'il y a de meilleur au citron..
c'est son jus..
pour l'extraire..
il faut le couper.. en deux..
puis l'écraser..
il y en a, même qui lui enfoncent une fourchette..
jusqu'à la dernière goutte..
tu as vu le résultat?
l'aspect du citron après..?
..
aujourd'hui..
je me sens citron..
Maria Bethania
Bom dia, tristeza... Que tarde, tristeza... Você veio hoje me ver... Já estava ficando... Até meio triste... De estar tanto tempo Longe de você... Se chegue, tristeza... Se sente comigo. Aqui, nesta mesa de bar. Beba do meu copo... Me dê o seu ombro...Que é para eu chorar...Chorar de tristeza... Tristeza de amar...
besicos..
este amanecer es para ti.. Yak..
mi primera amiga de este Flickymundo..
con todo mi cariño..
Aspects of a dream
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I'll tell ya, I feel a lot more comfortable in a shoot having Emily there. Sure, there're the technical aspects, having someone to hold a reflector/diffuser, someone to remind me about my settings and to move out of the way when hobos are walking my way and I'm too focused on the day's subject to realize it.
But more than that, she's moral support. Things go south on a shoot, I've got her to roll my eyes to. I can show her photos while we're working, know I'll get an honest opinion, quick bit of feedback.
And when a subject flakes, I've got a pal to go get mexican food & margaritas with.
Because I'll tell ya, it's a very different picture, sitting in a dimly-lit mexican joint all by myself, sipping on a strawberry margarita and mumbling about the model who flaked because she, right at the very moment I arrived at her place, decided she had to help her roommate move out.
It was probably the longest canopy I saw. Like Komendandsky Prospekt in St. Petersburg. I made a series in this tunnel and was about to leave, when I suddenly discovered another aspect of it ...
An aspect of Chrysanthemum, tightly packed, a true Autumn flower, built against rain, wind and cold?
The name "chrysanthemum" is derived from the Greek words chrysos (gold) and anthemon (flower)
Chrysanthemums, sometimes called mums or chrysanths, are flowering plants of the genus Chrysanthemum in the family Asteraceae.
They are native to Asia and northeastern Europe.
Most species originate from East Asia and the center of diversity is in China.
Chrysanthemums were first cultivated in China as a flowering herb as far back as the 15th century BC.
The flower was brought to the Western World in the 17th century.There are about 40 valid species and countless horticultural varieties and cultivars.
For many years, chrysanthemum signifies praise and admiration.
A chrysanthemum is considered as a noble flower of the Chinese noble class.
Wishing you a day full of good light and thanks for your visit, M, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
CHRYSANTHEMUM, purple, portrait, single, pale, flower, colour, design, studio, black-background, square, NikonD7000, "Magda indigo"
Any interesting aspect of railroading up here in Northeast New England is that by and large Pan Am runs older power that still lugs and chugs along. With regular run through power from CSX however, we are treated to newer (mostly GE) Tier 2, 3 and 4 locomotives. It isn't often however we do see some of that newer, 'cleaner', power belching out some dark fumes. Well, I guess that can be attributed to the second unit the SD70MAC 4554, which in itself doesn't make it up here often.
POSE leads a large manifest west through Madbury New Hampshire on this mid-January MLK day. Traffic would be heavy in District 2 around sunset, as foremen held authority most of the day on various sections while Amtrak occupied the open slots. Three hours later, an eastbound 'parade' would make its way to Maine with EDPO and AYPO around sunset.
Neck Point Panorama (3 images 2.0 aspect ratio) - Nikon F75 with Nikkor 1:3.3-5.6 28-80mm zoom & Fuji ISO 400 film - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, British Columbia, where he works as a writer.
Arcadia, with electricity.
Travelling to Qina (Dendara) from Luxor to see the Temple of Hathor, which contains on an exterior wall the only surviving representation of Cleopatra in the whole of Egypt.
I know who I am, Paul knows who I am, my sons, family and friends know who I am!
Many people do not know who I am, all they see is different facets of the real me.
One piece of the puzzle…
This is the playful aspect, only one particular ‘look’, another way in which I can be viewed by the mind.
The angle here of each ‘facet’ is carefully considered, as the aim is to maximise the effect of the theatrical property.
Many actors relied on props and other means of support when they were being photographed.
Obviously I gathered a fair number of props over the years, so, on that day: mission over, some 'Space' left in the camera, a few more 'creative' ideas, lights still on, put on a wig a pair of outrageous shades and this is the result…
The one thing that is the REAL me is the small silver camera, given to me by my best friend years ago, and that I always wear.
Anybody who’s ever met me, they see this jewel, they know it’s me.
Just some fun… and a different 'take' on a photographer's self-portrait, who is very serious about her work but doesn't take herself too seriously, a sense of humour helps you through everything and gives you the 'good' wrinkles! LOL.
I wish you all a very good time, comments,likes,faves are very much appreciated.
M, (*_*)
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TAXI: maps.secondlife.com/secondlife/Hickory%20Creek/28/8/2701
Another aspect of Rastafarianism is vegetarianism. This "Rasta cat" begged for food from our Rastafarian lunch. I'd never met a vegetarian cat before. I also like the dry, cracked earth texture in this shot as well.
Colors! One of the primary aspects people like to neglect for Star Wars creations. Usually overshadowed by large grey triangles, but for the case of this parturition series, colors are not only used efficiently. They’re used to tell parts of the story, just the same as characters and vehicles. In this case, the clones stand out in there white armour with black markings, ironically for this placing them as knights on the field of battle, The battle droids however standing out as the foe in their Dark Orange & Pearl Sand Blue rust buckets. The only difference being Durge who with his stature solidifies the rage and power of his character.
Follow my plastic adventures here or on these platforms.
An aspect of any war is that those who are defeated are oftentimes forgotten. There is a tourist industry from the Western countries to the sites of the battles and graveyards of both World Wars. Many are familiar with the white stones over the dead on the Allied side but not too many Westerners would have seen the German graves. Regardless of nationality in each of these graves lie the bodies of young men who died pointlessly on a battlefield. These images were taken at the German War Cemetery at Langemark in Belgium. Rather more austere than the nearby Allied cemeteries there is the same sadness and sense of loss throughout!
Wikipedia has the following: The German war cemetery of Langemark (formerly spelt 'Langemarck') is near the village of Langemark, part of the municipality of Langemark-Poelkapelle, in the Belgian province of West Flanders.[1] More than 44,000 soldiers are buried here.[2] The village was the scene of the first gas attacks by the German army in the western front (see trench map), marking the beginning of the Second Battle of Ypres in April 1915.
During the First Battle of Ypres (1914) in World War I, inexperienced German infantry suffered severe casualties when they made a futile frontal attack on allied positions near Langemark and were checked by experienced French infantry and British riflemen. Contrary to popular myth, only fifteen percent of the German soldiers involved in the Battle of Langemark were schoolboys and students. Legend has it that the German infantry sang the first stanza of what later (1919) became their national anthem "Deutschland, Deutschland über alles", as they charged.
The cemetery, which evolved from a small group of graves from 1915, has seen numerous changes and extensions. It was dedicated in 1932. Today, visitors find a mass grave near the entrance. This comrades' grave contains 24,917 servicemen, including the Ace Werner Voss.[3] Between the oak trees, next to this mass grave, are another 10,143 soldiers (including 2 British soldiers killed in 1918). The 3,000 school students who were killed during the First Battle of Ypres are buried in a third part of the cemetery. At the front of the cemetery is a sculpture of four mourning figures by Professor Emil Krieger. The group was added in 1956, and is said to stand guard over the fallen. The cemetery is maintained by the German War Graves Commission, the Volksbund Deutsche Kriegsgräberfürsorge.
Otherwise, this cemetery has two Commonwealth burials. [4]
Adolf Hitler visited the cemetery on 1 June 1940 during a two-day tour of the Ypres front where he had served in World War I.
Future, Present, Past
Do I have plenty of time?
What is Time?
Running out of Time?
Have I lost time?
When I think so
I have lost consciousness
HKD
Der Bennpunkt der Zeiten ist der Augenblick
Die Erinnerung, das Planen und Tagträumen führt in die Zeit.
Das egolose Bewusstsein kennt keine Zeit.
Das Ego-Bewusstsein ist an Gedanken über Vergangenheit und Zukunft gekettet.
Wenn Zukunft und Vergangenheit substanzlos werden erscheint das augenblickliche Bewusstsein.
HKD
In der Kunst offenbart sich Gott dem Menschen. In den Kunstwerken kann er erkennen, dass Gott in Menschenform immer wieder gelebt hat und lebt. In der Kunst drückt sich das Göttliche auf Erden aus. Es ist lohnenswert, sich mit den Werken tiefschürfender Künstler auseinanderzusetzen.
HKD
I am continually surprised how a change in either a hairstyle or an item of clothing can change the mood of a photo. I think the two above show that to good effect. If one were to go out in public in either the impressions given would be quite different.
Cathedral of Aparecida
Wonderful architectural design and one of the largest in the world.
ZOON to view the dimensions.
This is another image from my March 2015 trip to PBPW Cuba. The image you are seeing are part of a greater project, a book series titled "Turning the Last Page." The title of the Cuba project is "Cuba: Turning the Last Page of 1962."
The camera was the fabulous Nikon D810. The lens was 105mm f 1.4. Arguably the best lens Nikon has ever made. Certainly the best lens I have ever shot with.
To make sure we are all on the same page, there are always two aspects to every shoot. "The Shoot" itself and the post processing to final art. This image contains both aspects and is the outcome of the post processing this is a copy of that final file.
For "the shoot" aspect of this project no artificial light, no make-up on the subjects by a make-up stylist, no reflectors or diffusers all of the images are spontaneous none of the subjects are posed. So what you are seeing is (from the shoot aspect) just the lens. Just the camera. Just the light that was there. Just the subject.
My goal every time I shoot is to be the weakest link in the entire project.
This is an image of a mother and child as I was walking the street of Santiago de Cuba. In this image,I just chose to look up. The history of a place is held like an expectant breath from the bottom of the third floor looking up or the floor of the fourth floor looking down. A time less photograph is, for me, a breath waiting forever to exhale.
The light source was ambient mostly cloudy daylight right around sunset.
When asked what is the best light W. Eugene Smith said "Why the best light is available light and by available light I mean any damn light that is available."..... This approach to lighting Works for me.
I have always held that the lens is the brush, the camera sensor is the canvas. I have also held the that the beauty of a lens is not in how well it handles focus but rather how well it handles from in focus to blur.
There is no image I cannot capture. There is no image in which my vision of the image and the beauty of moment that took me that is not enhanced by the beauty of the glass and lens design of the Nikon system.
This has to be the sharpest lens I have ever used. It is also has the most beautiful Bokeh of any lens I have ever shot with as well.
So you want to know why I choose Nikon? Now you know.
Because of my Nikon camera- I AM: A Super Hero. Because of the Nikkor lenses I AM: A Super Hero with tack sharpnes at point of focus and beautiful Bokeh every place else in the image.
NOTE: I do indeed use Photoshop. It's true. Have been since version 1. when it fit on a single floppy disc. Most inspired piece of software ever written. I was employee number 2 of Niksoftware ( Colorefex, SilverEfex) and employee number 6 of Altamira Group (the inventor of Genuine Fractals) so yes I do also use plug-ins. So if you are viewing an image (unless otherwise noted) on my personal pages, website and sundry feeds they are all post processed if I put them up.
To be very crystal clear ALL of my images that I post on my personal web feeds are post processed.
So that this non issue is no issue these are my "FINAL" versions on my PERSONAL sites. Because it is my personal page I do reserve the right to delete comments from angry photographic charlatan internet trolls.
I always make it a point, If you read the full description of any of my images, to always list the software and hardware used to produce an image.
Nikon D750 camera,28-300mm. Recorded to Lexarmedia Raw conversion done in Capture NX-D. converted to a 16bit Prohoto colorspace.TIFF. Further post processing Photoshop CC 2017, Nik collection by Google, oNonesoftware ver.10.5. Wacom Cintiq 27QHD, Benq SW2700 monitor (for approval color)
© Vincent Versace 2017
#NikonAmbassador #nikonlove #D750 #28-300mm #lexar #kelbyone #photography #onOne@NikonUSA #NikonNoFilter #niksoftware #nikonUSA #Epson #wacom #xritephoto #onone #fjwestcott #fineartphotography #iamgenerationimage #iamnikon #B&H #PhotogenicbyBenQ #lexarMemory #nikonLOVE #PBPW
Limestone Hall is one of two crossings at Kirksanton, near Millom, that have manually operated gates and semaphore signals. Although a non block post, it is the only place in Cumbria that has three aspect semaphore signals (that is stop signals with operational distant arms below them) in both directions.
6C23, the 0942 Sellafield - Barrow Marine Terminal test train - headed by 68018+68005 with 68021 on the rear - approaches the crossing on 13 May 2016. On the left of the image, the down home (with Silecroft's distant below it) looks a little overwhelmed by the metalwork (modern standard fall protection) attached behind it.
Aspectos generales de la final del Torneo de la Asociación Tachirense de Fútbol, categoria Infantil A, encuentro disputado entre los equipos Deportivo Tachira FC y Academia San Cristobal, realizado en la Cancha Sintetica de Barrio Sucre, San Cristóbal, estado Táchira, Venezuela, el 22 de agosto de 2014 (Gennaro Pascale Caicedo / Prensa Deportivo Tachira)
One aspect that makes MB's design look so much better than the UCS versions, is the back.
Of course, the 75192 UCS Falcon is impressive, robust and clever, and has a landing gear, but I think that the back is not that great.
I guess that's one of the reasons why there is no backside shot on the box of the 75192.
[Edit] I totally missed it, but thanks to SucramH, I noticed such a (small) photo on the side of the box.
My first version did not include landing gear, but while working on the instructions for Brickvault.toys, MB suggested to add his landing gear design, which was more than awesome, so we made space for it in the bottom.
Figurez-vous une île rougeâtre et d’aspect farouche; le phare à une pointe, à l’autre une vieille tour génoise .........
Quand le mistral ou la tramontane ne soufflaient pas trop fort, je venais me mettre entre deux roches au ras de l’eau, au milieu des goélands, des merles, des hirondelles, et j’y restais presque tout le jour dans cette espèce de stupeur et d’accablement délicieux que donne la contemplation de la mer. Vous connaissez, n’est-ce pas, cette jolie griserie de l’âme ? On ne pense pas, on ne rêve pas non plus. Tout votre être vous échappe, s’envole, s’éparpille. On est la mouette qui plonge, la poussière d’écume qui flotte au soleil entre deux vagues, la fumée blanche de ce paquebot qui s’éloigne, ce petit corailleur à voile rouge, cette perle d’eau, ce flocon de brume, tout excepté soi-même… Oh ! que j’en ai passé dans mon île de ces belles heures de demi-sommeil et d’éparpillement !…
Extrait: Le phare des sanguinaires, lettres de mon moulin, Alphonse Daudet
................................................................................................................................................................................
Imagine an island reddish and wild appearance, the lighthouse at one point, the other an old Genoese tower .........
When the mistral or north wind did not blow too hard, I had put myself between two rocks at the water's edge, among the gulls, blackbirds, swallows, and I stayed there almost all day in this kind of stupor and dejection that gives delicious contemplation of the sea You know, does not it, that pretty intoxication of the soul? We do not think, you do not dream either. Your whole being escapes you, wings, scatters. It is the gull that dives, with foam dust that floats in the sun between two waves, white smoke of the steamer moves away, this little red coral-fisher sailing, this pearl of water, mist flake, while except yourself ... Oh! I've spent in my beautiful island of hours of half sleep and scatter! ...
Extract: The Lighthouse of bloody letters from my mill, Alphonse Daudet
Copyright ©2012 EP BOUSQUET
Toutes mes images sont sous © Tous droits réservés.
Contactez moi si vous souhaitez télécharger ou utiliser ma photo à des fins commerciales ou non commerciales.
All my images are under © All Rights Reserved.
Contact me if you want to download or use my photo for commercial or non commercial purposes.
Aspect Travel
Caledonian Travel
Neoplan Tourliner N2216SHD
ex GL19TON
OU19XXW
Now carrying the livery of Caledonian Travel, Aspect Travel Neoplan AGZ433, ex GL19TON
Picture above shows a Nikon D800E equipped with Phottix GPS and wireless RF trigger. The back of the camera is equipped with a Hoodman loupe to be able to critically focus using live view on LCD screen. The lens used is a Mamiya 645 Manual Focus A 150mm f/2.8. It is mounted on the camera via a PSA (Panorama Shift Adapter) from the company Zoerk (Zork) custom made to accommodate Mamiya 645 lenses on Nikon F body. The adapter has a tripod mount and can accommodate a L bracket shown here. The whole assembly is mounted via a Novoflex plate (QPL2 in blue color) on an Arca-Swiss compatible tripod head. I used here a clone of the Arca Swiss Cube for maximum flexibility and accuracy of positioning. In the picture above the lens is shifted horizontally to the left of the camera of approximately 10mm. This assembly is no longer a point & click camera but the digital equivalent of the old view camera, designed to meet or exceed the largest Digital medium format output.
The purpose of using a Mamiya lens on Nikon FF body is not just the latest fad to mount third party lenses on a Nikon body. Mamiya 645 lenses are excellent medium format lenses which have a diameter much superior to the 135 format lenses. It allows to take several photos shifted within the diameter of the lens optics. This is made possible because the 75mm diagonal of a 645 medium format lens gives 32mm of additional space (shift) compared to the 43mm diagonal of a 35mm format camera sensor. This is why we can take 3 photos shifted (one with no shit, one shifted left, and one shifted right) and still be within the diameter of the medium format lens. Using this technique the stitching is quasi perfect with no need to crop due to loss of coverage in the upper or lower section of the image, usually created by a a curvy horizon when panning/rotating with a non perfect leveling.
The resulting image that can be produced with this setup is the equivalent of a 80 Mpixel camera depending on the orientation of the D800E sensor vs the direction of shift! Superior resolution, higher ISO and less noise than all the current Digital medium format cameras sold $20000 and more! Yes, it is possible to do it with an investment inferior to $4000 if you count the purchase cost of the D800E. I will concede that the Mamiya 645 lenses, although excellent, will not quite match the performance of the Leica S lenses. Note however that a Leica S lens is usually > $6000 vs a used Mamiya 645 lens (55mm, 80mm) which can be found on ebay for $300 or less!
The German made Zoerk (Zork) adapter is unique as the Mamiya lens is fixed during the shifting: it is the body which moves behind the lens! Unlike most Panorama adapters allowing the rotation through a difficult to find nodal point , the Zork adaper eliminates any parallax issue since the lens is fixed vs the subject. This is particularly useful when you have a near and remote subject aligned with the camera: any rotation outside the nodal point will ruin the alignment and makes the stitching impossible. Therefore the Zork design results in a superior accuracy of the stitching of the photos where technically 2-3 pixels overlap is enough for a perfect stitch. Rotation based Panorama requires usually min 20% overlap to account for distortion/parallax issues, and the final image needs cropping due to curvature movement of the rotation if tripod head is not perfectly leveled.
Another huge benefit of the Zork adapter: it shifts horizontally 20mm with camera sensor in landscape mode. One limitation in vertical shift: the prism/flash housing of the D800 or D800E limits the vertical shift with sensor in landscape position (approx 14mm). It is better than the max shift of a Nikkor PC-E lens (approx 11 mm). With the camera in landscape mode and a vertical shift (up and down) or with the camera in portrait mode and a horizontal shift (left/right) you achieve the biggest file enlargement. With a Nikon PC-E lens a maximum 11mm shift will give you a 92% increase of the photo. With the Zork adapter a full 20mm shift (possible on Canon DLSR and Nikon pro bodies without built-in flash) will provide a 167% enlargement (yes 2.7 the original pixel size!). It means that a 36Mpixel camera like the D800 will provide a 96Mpixel file with the Zork adapter fully shifted. On Nikon bodies with built in flash like the D700 or D800 however the full shift of 20mm is not possible as the flash housing in on the path of the shift. It seems that the shift is limited to 14mm which provides an enlargement of 117% (x2.2 Mpixel increase).
For Panorama shots where the camera orientation must be the same as the direction of the shift (landscape/Horizontal shift or portrait/Vertical shift) the aspect ratio is spectacular but the Mpixel increase is less:
- On a traditional Nikon PC-E lens with 11mm shift, the Mpixel increase is 61% with aspect ratio of 2.4:1
- with the zork adapter using full 20mm shift (possible on all Canon and Nikon DSLR even with the D700/D800), the Mpixel increase is 111% with aspect ratio of 3:1! more information is available at the following link:
www.cambridgeincolour.com/tutorials/tilt-shift-lenses1.htm
Tilt movement is not possible with this adapter and in general with Mamiya 645 lenses tilt can be achieved but you lose the ability to focus at infinity as the registration distance between the rear of the lens and the sensor would be too long with the additional tilt movement.
Although a sturdy design that reflects German engineering, the finish (look) of the adapter looks as a hand made prototype. The demand is not high enough in the market to mass produce this custom made adapter (the model I purchased use only Mamiya 645 MF lenses but the manufacturer can sell you one adapte for Pentax 6x7 or Hasselblad lenses to be mounted on Nikon or Canon bodies).
Cost $750 including the L bracket that allows the adapter to be mounted with flexibility in any position on a tripod head.
more information can be found on the manufacturer website:
I have put a lot of effort to research and understand the Tilt and Shift world which was new to me, and although there are a few books on view cameras, T&S lenses and the Scheimpflug principle, I could not find any practical information on using T&S adapters like Mirex and Zork on Digital cameras, using large diameter Medium Format lenses. Forums seem to provide some partial information with little experience with Nikon DSLR which are less friendly to shifting in the direction of the built-in flash. So I decided to gather all the information I have learned and summarize it in this single post, which you can bookmark or save as a favorite for future reference.
An example of a photo taken with this set-up with explanations how to use Photoshop for Panorama stitching and focus stacking is given in the comments area of this link:
www.flickr.com/photos/episa/8603934110/in/photostream
Final question you may ask and which I already asked myself since I own the Nikkor Micro PC-E 45/2.8: why not use a simple dedicated Tilt and shift lens from Nikon?
It turns out that using a dedicated Nikon PC-E lens is not any easier and still requires to manually focus and fix the exposure manually. A the same time it costs $2000 to get a single T&S lens. With the set-up described in this posting the investment is limited to the adapter ($750) and the Mamiya lens ($300 on ebay for each focal length like 55mm f/2.8N, 80mm f/2.8N, A 150mm f/2.8). Investing in a Nikon PC-E lens makes sense if you use the tilting function for creative effect or as a landscape photographer. But I would argue that using Focus stacking you can achieve an ever better effect than with a Tilt lens if your goal is to achieve maximum depth of field in a landscape or in a macro shot. The real advantage of the PC-E lens remains when you need to reduce the depth of field and create special effects (like miniature rendering, or tilted plane of focus). This becomes a very narrow application mostly for professional photographers who need to sell a unique look in their pictures.
I hope that you found this compilation of data instructive, even eye opening. Let me know if you appreciate the sharing.
Deep on the Delaware Bayside of New Jersey. Lush green grass, warm hues above, and friends out crabbing at sunset. All visible and memorable aspects.
Not visible were the swarms of green head flies that were the worst I've ever experienced. I luckily had on long pants since I was expecting mosquitos. I had to run back to my car and grab a hooded sweatshirt to block the annoying bugs from landing and biting. I may have looked weird, and was sweating bullets but it was worth it.
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Zeleni Venac
Zeleni venac ou, plus familièrement, Zelenjak (en serbe cyrillique : Зелени венац ou Зелењак) est un quartier de Belgrade, la capitale de la Serbie. Pour l'essentiel, il est situé dans la municipalité de Savski venac, avec une petite partie dans la municipalité de Stari grad. En 2002, il comptait 3 517 habitants.
Zeleni venac est situé au centre ville de Belgrade, à quelques minutes à pied de Terazije, qui est considéré comme le centre de la capitale serbe. Il est entouré par le quartier de Savamala au sud; sa limite septentrionale est la rue Brankova. Le Terazije tunnel le relie à la place de la République et un passage pour piétons le relie à Terazije et à la rue Knez Mihailova, respectivement par les rues Prizrenska et Sremska.
Zeleni venac est construit sur un secteur qui, au XVIIe siècle, faisait partie des fossés ceinturant la forteresse de Belgrade. Quand les fossés furent comblés, un étang s'y forma, qui devint un centre d'attraction pour les habitants de la capitale. Au milieu du XIXe siècle, l'étang fut asséché et le secteur fut choisi pour le site du futur Théâtre national mais, à cause de l'instabilité du terrain, ce projet fut abandonné et le théâtre fut construit sur un autre site.
En serbe, le nom du quartier signifie la « couronne verte ». Il doit ce nom à une ancienne kafana nommée Zeleni venac, à l'emplacement de l'actuel restaurant McDonald's de la rue Brankova. Le quartier possède un important marché appelé Pijaca Zeleni venac (en cyrillique : Пијаца Зелени венац), l'un des plus importants de Belgrade. Il a été créé en 1924 et fut conçu comme le grand marché en plein air du centre ville. Une reconstruction, commencée en 2005, veut lui restituer son aspect d'origine. Zeleni Venac constitue un important nœud de communication pour les transports publics de la ville. Plusieurs lignes de la compagnie GSP Beograd y ont leur terminus.
