View allAll Photos Tagged Autopilot
somewhere in the Kolob Canyons/Zion National Park area;
on these flights, every day was spent looking outside the window..thankfully the Deuce had a kicka$$ autopilot!!
(probably one of the most scenic freight runs I've done-plus it was a daylight operation)
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A 33 Squadron Puma HC Mk2 Helicopter performing dust landings during Exercise Jebel Sahara in Morocco.
The Puma HC Mk1 reached its Out of Service date with the Royal Air Force in December 2012. After a life extension programme to deliver a significantly upgraded aircraft, the Puma HC Mk2 took to the skies with an RAF crew in September 2013.
The Puma HC Mk2 boasts two new powerful engines, which will provide a major increase in performance, especially in hot and high conditions, and an additional internal fuel tank that increases its range and endurance.
The new glass cockpit includes a world-class four axis digital autopilot, secure communications and an advanced Flight Management System.
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© Crown Copyright 2014
Photographer: Corporal (Cpl) Connor Payne
Image 45160788.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45160788.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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No real direction this evening due to hectic schedule so just got the camera out, went into autopilot and opened the shutter.
Rainbow paper lit with torch then outside my back door with my flash on its stand, full power @ 70mm about a foot behind my head. Cap off and closed the door then popped the flash. Liking the randomness here and the fact you can make stuff look cool with the addition of some rainbow paper.
This is number 331 of my 365.
22/366 - Peek-A-Boo
Update: I was recently on a b&w spree and was mostly on autopilot in postprocessing, but this one actually seems to need the colour.
An old army APC with the turret removed and replaced with a hab module. Usually running between settlements, the rover would be set to autopilot mode while the crew went into "assisted sleeping" for a couple of weeks. While safely asleep, the rover would record data of the route (including detecting possible crevasses using it's "candy cane" radar boom) and upload it to the local Cloud. The crew would then be woken upon arrival.
Satellites could detect the major hazard areas to avoid (near glacier or frozen sea ice) but it was still useful to continually monitor the "safe" lanes between settlements.
Hardly glamorous planet exploration by any means but a part of life on the new frontier.
"'Cos it's drive time baby, drive me wild.
Mmm, it's drive time baby, be my wild child.
I ain't no backseat driver, my hands on the wheel.
I got no standard features, got speed appeal.
Red light, green light, hit the overdrive.
Foot down baby, make me feel alive.
White line high in my love express.
C'mon now drive me back to happiness"
(This short series of "Drivetime" was inspired by some of the recent work of Brian "brainburger" Burgess)
In attempting to capture meteors on the night of the Perseid Meteor Shower's peak, I set the camera on autopilot taking 30-second exposures at 16mm, f/2.8, ISO 1600. I was at Sparks Lake and facing north toward South Sister mountain just left of center, and Broken Top just to the right. The northern lights made a dramatic appearance, although during this 102-minute sequence it was pretty tame. The 204 30-second exposures were combined in the Startrails program and this was the result, after some tweaking in Photoshop. The north celestial pole is the point around which all the other stars appear to rotate (thanks to the Earth's rotation), creating the appearance of a vortex.
The thicker star trails reflected in the water are the result of "stretching" of the star reflections in the ever-so-slightly undulating water, which seemed more like glass. These thick trails really accentuate the different colors of those bright stars.
I saw a lot more meteors throughout the sky than I captured in these shots, but there are a few small streaks visible if you look really closely. There are also a few faint satellite trails that I neglected to get rid of in the individual frames.
Bold - Pepper Potts/Iron Woman
Italics - Jarvis
Normal - Ten Rings Follower / Hostages
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"Hey, Jarv, tell me about these guys."
My suit is set to autopilot as I fly through the sky, headed to a building where members of the Ten Rings have hijacked a news station, proclaiming that someone named the "Mandarin" is the one true "savior".
"The Ten Rings Group - A terrorist group behind recent attacks on military units stationed in multiple areas of the middle east. They seem to worship some sort of ancient idol that goes by the name of the "Mandarin", Madame."
"Right. Thanks."
I come up towards one of the building's upper floors and see two people inside.
"Scan for hostiles."
The screen in my helmet pulses with a blue and shows me how many heartbeats are inside the building. Without hesitation, I blast one of the men inside, and he falls to the ground, knocked out. The other man turns quickly, and before he can yell, I grab him and bring him outside the building, hanging him by his shirt.
"We do not fear you, Iron Woman!"
"What about heights?"
The man looks down, and then looks back up, panicked.
"What do you want!?"
"Where are the hostages?"
"R...right room! Room on the right!"
"That's all you had to say."
I toss him back through the window and shoot a ray at him, throwing him into the wall at the back.
I fly in and make a right turn, turning to the news station's editing room where the hostages are being kept. One guard is inside, which I take out with ease.
"Don't worry everyone, you're all going to be safe. Jarvis, call the police and tell them everyone is safe. Make it anonymous."
"Yes, Madame.""
I untie the people one-by-one, and escort all of them outside of the room, telling them all to head down the emergency exit.
Before all of them leave, a woman turns around and looks at me.
"Who are you?"
"Not a robot."
I nod, and back away into the last room where I fly out the window, heading back home.
Just a day in the life, I guess.
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So most of the Admins (looking at you Zazz) have written throwback issues about the series we were all writing a year ago. Mr. Begote is the only one who hasn't dropped his series yet (congrats). Glad to see the EWSG has grown so much since last year!
This is me in February 1979 flying the NOAA P-3 Hurricane Hunter aircraft from Diego Garcia to Darwin Australia via Singapore (it was on autopilot). NOAA was involved in what was called FGGE (First GARP Global Experiment). GARP was the Global Atmospheric Research Program NOAA conduced over several years that attempted to model the tropical atmosphere by taking dropsondes (like balloon radiosondes for those who aren't meteorologist).
I was 27 at the time.
Taken with a Miranda Sensox 35mm SLR.
As a side note, the pilot Dave Turner www.legacy.com/us/obituaries/eastbaytimes/name/david-turn... was a great guy during the two months I got to know him while he visited Diego Garcia (en.wikipedia.org/wiki/Diego_Garcia) in the Indian Ocean). SEE IMAGE BELOW.
Also in this NOAA team that I worked with was Dr. James McFadden: www.aoml.noaa.gov/hurricane_blog/in-memoriam-dr-james-doc... who was the team leader. I remember him having an unusual sense of humor. Additionally, another researcher was Sigfred Rossby, the son of the discoverer of the Planetary Atmospheric Rossby Wave: en.wikipedia.org/wiki/Rossby_wave.
Picture of the Day
Taken for Street Photography Community's Year 3 Instruction #26:
"What you shoot reflects your personality. What does yours show?" - Martin Hanna
Blog - skitzobassblog.wordpress.com/
♪♫•*¨*•.¸¸♫♪Music ◎ TUNE ◎ Music♪♫•*¨*•.¸¸♫♪
First verse, uh, I'm on 'til I'm on a island
My life's ridin' on the Autobahn on autopilot
Before I touch dirt, I'll kill you all wit' kindness
I kill ya, my natural persona's much worse
You've been warned if you've been born or if you can form
Slap up a cop and then snatch 'im out of his uniform
Leave him wit' his socks, hard bottoms and bloomers on
And hang him by his balls from the horn of a unicorn
Y'all niggas' intellect mad slow, y'all fags know
Claimin' you bangin', you flamin'
Bet you could light your own cigarette witcha asshole
Me and Shady deaded the past, so that basically resurrected my cash flow
I might rap tight as the snatch of a fat dyke
Though I ain't wrapped tight
My blood type's the '80s!
My '90s was like the Navy, you was like the Bradys
You still fly kites daily!
Catch me in my Mercedes
Bumpin' "Ice, Ice Baby, " screamin' Shady 'til I die
Like a half a pair of dice, life's crazy
So I live it to the fullest 'til I'm Swayze
And you only live it once, so I'm thinkin' 'bout this nice, nice lady
Wait, no, stop me now 'fore I get on a roll (Damn)
Let me tell you what this pretty little dame's name is, 'cause she's kinda famous
And I hope that I don't sound too heinous when I say this
Nicki Minaj, but I wanna stick (My penis in your anus!)
You morons think that I'm a genius
Really I belong inside a dang insane asylum, cleanin', try them trailer parks
Crazy, I am back, and I am razor-sharp, baby
And that's back wit' a capital B wit' an exclamation mark
Maybe you should listen when I flip the linguistics
'Cause I'm'onna rip this mystical slick shit
You don't wanna become another victim or statistic of this shit
'Cause after I spit the bullets, I'ma treat these shell casings like a soccer ball
I'ma kick the ballistics! So get this dick, I'ma live this
I'm livin' life in the fast lane
Movin' at the speed of life and I can't slow down
Only got a gallon in the gas tank
But I'm almost at the finish line, so I can't stop now
I don't really know where I'm headed, just enjoyin' the ride
Just gon' roll 'til I drop and ride 'til I die
I'm livin' life in the fast lane (Pedal to the metal)
I'm livin' life in the fast lane (Pedal to the metal)
Yeah
My whole goal as a poet's to be relaxed in orbit
At war wit' a bottle, this Captain Morgan attacks my organs (C'mon)
My slow flow is euphoric, it's like I rap endorphins (Woo!)
I made a pact with the Devil that says "I'll let you take me
You let me take this shovel, dig up the corspes, Jack Kevorkian" (C'mon)
Go 'back and forth in more beef that you can pack a fork in
I'm livin' the life of the infinite enemy down
My tenement, too many now, to send my serenity powers
Spin 'em around, enterin' in the vicinity
Now
Was called Eminem, but he threw away the candy and ate the rapper
Chewed him up (Pt!) and spitted him out
Girl, giddy-up, now get, get down
He's lookin' around this club and it looks like people are havin' a shit fit now
Here, little t-t-trailer trash, take a look who's back in t-t-town
Did I s-st-stutter, motherfucker? Fuck them all
He's shuts the whole motherfuckin' Walmart d-d-down every time he comes a-r-r-round
And he came to the club tonight wit' 5'9? to hold this bitch down
Like a motherfuckin' chick underwater, he's tryna d-dr-drown
Shawty, when you dance, you got me captivated
Just by the way that you keep lickin' 'em dicks like her lips I'm agitated, aggravated
To the point you don't suck my dick, then you're gonna get decapitated
Other words, you don't fuckin' give me head, then I'm have to take it
And then after takin' that, I'ma catch a case, it's gon' be fascinatin'
It's gon' say "The whole rap game passed away" on top of the affadavit
Graduated from master debater slash massive masturbator
To Michael Jackson' activator (Woo!)
Meanin' I'm on fire off the top, might wanna back up the data
Runnin' over hip-hop in a verbal tractor-trailer
Homie, this sick, you can normally ask a hater
Don't it make sense, these shell casings is just like a bag of paper
Drop in the lap of a tax evader (Homie, they spent)
Now make that ass drop like a sack of potatoes
What, girl, I'm the crack-a-lator
Percolator to this party, be my penis ejaculator later
Tell ya boyfriend that you just struck paydirt
You rollin' wit' a player, you won't be exaggeratin' when you sayin'
I'm livin' life in the fast lane
Movin' at the speed of life and I can't slow down
Only got a gallon in the gas tank
But I'm almost at the finish line, so I can't stop now
I don't really know where I'm headed, just enjoyin' the ride
Just gon' roll 'til I drop and ride 'til I die
I'm livin' life in the fast lane (Pedal to the metal)
I'm livin' life in the fast lane (Pedal to the metal)
I'm livin' life in the fast lane (Pedal to the metal)
I'm livin' life in the fast lane (Pedal to the metal)
Bella Grace | Issue 13
I walk to the mailbox, much like any other, ordinary day. I pull the handle down and reach inside. On autopilot, I gather the letters and papers, without much interest. But wait, I spy a larger parcel. Now, my curiosity peaks. Who doesn't like receiving something special in the mail? I do.
Cars are passing. I am ignoring every single one of them. I tilt my head, for a closer look, and scoop my hand in a little deeper. It's not too big; still, it fits in the mailbox. It's not too small because I see the edges regardless that it is beneath everything else. I pull the lot out and quickly bring the star of the midday mailbox show to the top. My eyes dart to the sender's name and address. There's a thump in my stomach, and my eyes are smiling!
The new Bella Grace is here!
The return trip to the house takes less than half the usual time. I must be walking with the wind against my back.
This brings us here.
Issue 13 will be on shelves very soon. Now, get ready to rush out and nab a copy!
Rumor has it that artful images, along with heartfelt words, via an Instagram feature are awaiting you on pages 76-77, smiling.
Bella Grace says it best, life is a beautiful journey.
Camera
Canon PowerShot SX60 HS
Program mode
Aperture
f/5.0
Focal Length
12.7 mm aka 70 mm
Exposure
0.025 sec (1/40)
Flash
Off,
ISO Speed
160
Exposure Bias
+2/3 EV
P -
In Program mode, you dial in the right setting depending upon the situation.
Program mode (sometimes referred to as the "Programmed Exposure" or "Programmed Automatic" mode) is a bit more flexible. When you dial in the P, the camera might look like it's in the same sort of autopilot mode as Auto, but you have full control over a surprising number of settings, including ISO and white balance, which are unavailable to you in Auto.
• Programmed auto (P) should be the usual mode for experienced photographers, maybe S or A depending on your personal habits.
•You have to switch the flash on and off yourself.
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Effi´s helpline
The Nikon D5100 digital SLR camera offers automatic settings that enable point-and-shoot photography.
- scene capture types (scene modes)
www.digital-photography.com/nikon-d5100-pdf-reading-sampl...
ff
Vordefinierte Szenen-programme
SCENE mode
Recommendation: See the beginning of this chapter – SCENE mode can produce better pictures if the chosen scene fits with your shooting situation.
specific camera settings
portrait large aperture for soft, unsharp background
flash: automatic
picture control: portrait
landscape
preferred aperture: 8-11 for good depth-of-focus
picture control: landscape
flash: off
child
flash: automatic
a bit like sports and portrait together
sports
short exposure times
higher ISO
flash: off
autofocus: single focus point
close up
flash: automatic
autofocus: single focus point
night portrait
flash with slow sync
picture control: portrait
night landscape
flash: off
party/indoor flash: slow sync with red-eye reduction
beach / snow
flash: off
picture control: landscape, sharpening slightly reduced to 3
sunset
flash: off
picture control: landscape, sharpening slightly reduced to 3
dusk / dawn
flash: off
white balance: 4550K = warm light ? color rendition is corrected towards cooler (blue) colors
picture control: landscape, sharpening slightly reduced to 3
pet portrait
flash: automatic
autofocus: single focus point
candlelight
flash: off
white balance: 4350K = warm light ? color rendition is corrected towards cooler (blue) colors
picture control: standard, sharpening slightly reduced to 2
blossom
flash: off
picture control: landscape, hue -1
autumn colors flash: off
picture control: vivid
food
flash: has to be switched on or off manually using the flash button
picture control: Standard, saturation +1
-
Quick Modes in dial
landscape, advanced portrait, child (pets), sports, nice close ups (flower icon) auto flash of, full auto
or
Advanced Exposure Modes for Your Nikon D5100 Digital Camera
www.dummies.com/how-to/content/nikon-d5100-for-dummies-ch...
... here's a handy reference to your camera's buttons and dials and automatic and advanced exposure modes.
P A S M modes
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Help tool
Favorite Lenses, Gear & Accessories for the Nikon D5100
www.cameratips.com/d5100/lenses-accessories
Simulating a DSLR Camera -
Learning what happens, is you change settings!
e.g.
freeze a moving object:
Üben: mit einer anspruchvollen digitalen Kamera.
Beliebige Einstellungen vornehmen und ein Photo schiessen.
Simulation
camerasim.com/apps/original-camerasim/web/
-
DSLR sim controls:
Lighting
Lighting is the single biggest determinant of how your camera needs to be set. With only a few exceptions, you can never have too much light. Use this slider to experiment with different indoor and outdoor lighting conditions.
Distance
Use this slider to simulate how close or far you are in relation to the subject.
Focal length
Moving this slider is the same as zooming in and out with your lens. A wide, zoomed out setting creates the greatest depth of field (more things are in focus) while zooming in creates a shallower depth-of-field (typically just the subject will be in focus).
Mode
The exposure modes of an SLR let you control one setting while the camera automatically adjusts the others. In Shutter Priority mode, you to set the shutter speed while the camera sets the aperture/f-stop. In Aperture Priority mode, you set the aperture/f-stop while the camera sets the shutter speed. Manual mode is fully manual—you’re on your own! Refer to the camera’s light meter to help get the proper exposure. Although every real SLR camera has a “fully automatic” mode, there is not one here—what’s the fun in that?
ISO
ISO refers to how sensitive the “film” will be to the incoming light when the picture is snapped. High ISO settings allow for faster shutter speeds in low light but introduce grain into the image. Low ISO settings produce the cleanest image but require lots of light. Generally, you will want to use the lowest ISO setting that your lighting will allow.
Aperture
Aperture, or f-stop, refers to how big the hole will be for the light to pass through when the shutter is open and the picture is snapped. Lower f numbers correspond with larger holes. The important thing to remember is this: the higher the f number, the more things in front of and behind the subject will be in focus, but the more light you will need. The lower the f number, the more things in front of and behind the subject will be out of focus, and the less light you will need.
Shutter speed
Shutter speed is how long the shutter needs to be open, allowing light into the camera, to properly expose the image. Fast shutter speeds allow you to “freeze” the action in a photo, but require lots of light. Slower shutter speeds allow for shooting with less light but can cause motion blur in the image.
Happy simulating!
Fun
Germans ?
They’re punctual, polite, and they know how to get stuff done. .
www.geekycamel.com/17-reasons-germans-do-everything-bette...
The Mode Control Panel controls the Automatic Flight System (AFS). The AFS consists of two components being the Autopilot Flight Director System (AFDS) and Autothrottle (A/T).
With the Mode Contol Panel you can simply adjust things as altitude, speed and heading or fly in different autopilot modes such as VNAV, LNAV or LVL CHG.
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Challenger MT 775E tracked tractor (steering controlled by Trimble Autopilot) with the Lemken Solitair 9 seed drill
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Lucky film! I was developing the first 2 of 4 rolls of B&W film tonight while cooking dinner and while on autopilot I stupidly unscrewed the light tight inner lid of the Paterson tank to pour the developer in. I realised and quickly put the lid back on and thought I would try to develop the film anyway.
Rather than my usual developing method I went for a high contrast look and under develop the shadows in a attempt to reduce the potential light leak fogging.
Developing was 2.5 Xtol : 7.5 waterr, 36 degrees, 9 mins, with more agitating.
To my amazement I think I only lost 2 photos of 24 to the light leak! So lucky!
Here is an example of the higher contrast higher grain look.
Hasselblad 501C + Zeiss Sonnar 150mm f4 @ f5.6 1/125 + Fomapan 100@400 + flash. I was shooting into the sun hence the flare.
Model - Anastaija (from the weekend)
Fomapan 100 review - mrleica.com/120-fomapan-100-film/