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Ritchey Comapact mountain crankset set up as a wide range road comapct, 50/30 chainrings. The rear is an IRD 6sp. works great, and only drop to the 30 on long steep climbs.
The only hitch has been the deraileur set up, very tight clearances, and need to switch to something with a flatter cage to stop the occasional rubbing. Other than that it is a dream.
Shaped like a little bunker, nice automatic camera from Agfa, with the Orange Dot. The camera has 2 sliding pieces of plastic : one for the viewer, when opened the lens pops out with a slow and painful electric motoric noise, and another slider to protect the Orange Dot, Agfa is very protectfull...
Solinar lens, to reffer to the...sun...maybe...
Any hallway in a train is usually quite narrow and small to begin with, but the corridor in Moonlight Dome added the height constraints imposed by the dome above, resulting in quite a tight space.
ALMA antenas packed all close to each othe in the Compact Array configuration after a snowfall during December 2019
Taking the lily pictures reminded me of a few took a little while ago using the LX2.
I like lots of the flower work that Mirthe Duindam does:
www.flickr.com/photos/mirthe-1/
These mimic that work a little.
Minhas impressões
Realmente a sensação que sinto quando uso esse pó-base é de uma pluma, como se não tivesse usado nada, porém a pele fica linda.
Hoje fiz a prova de fogo. Apliquei às 09h e fui trabalhar. Uma observação - trabalho o dia todo na rua, dentro de um carro (sem ar condicionado), sujeita a pó, calor, vento, chuva. Fez um calor dos infernos e, às 16h, quando me olhei no espelho, estava um pouco suada, mas apenas levemente/quase nada oleosa. Na verdade, a aparência estava bem digna. Gostei, gostei muito!
Ah, ela tem FPS 15.
No momento minhas bases preferidas são:
- ArtDeco Matificadora (compacta, cremosa)
- Shiseido Pureness, Dior Forever e Lancôme Teint Idole Ultra (compactas, em pó)
- Mary Kay de cobertura média (líquida).
PS - Seja qual for a base, sempre uso em pouca quantidade. Odeio base que aparece mais que eu....rsrs
I currently own and use the following digital compact mirrorless cameras:
The Canon G5 (back left) is the oldest digital camera that I still use. I would like to retire it but it has one useful feature that none of my other camera have -- a built-in intervalometer.
The Canon G11 (back center) has a reticulated LCD screen that I find useful when I am shooting still life or close-up subjects with the camera mounted on a tripod or a copy stand.
The Canon G15 (back right) is the one I take when I need to travel with a light photographic load. The f/1.8 to 2.8 28mm to 140mm fixed zoom lens covers 80% of the subjects I need to shoot. If it had a reticulated LCD, it would be close to perfect for me.
The Olympus E-p3 (middle left) and the Olympus E-p1 (middle right) were my handheld available light cameras until I replaced them with the X-Pro1. I am now using them as dedicated black & white cameras.
The Fuji X-Pro1 (foreground) is my current handheld available light camera.
All six cameras have the following important features that I need:
1. Quiet operation -- especially when shooting theater or in audio recording studios
2. Excellent image quality (jpeg and RAW)
3. Size, weight, and style of a Leica rangefinder
4. A simple user interface that relies more on dials rather than menus
5. Video
Some of the important features that I need but none of the six cameras have are:
1. Fast and accurate manual focus control
2. Input jack that accepts a microphone for video audio track
3. Accessory battery pack for extended shooting sessions
Some of the important features that I need that some have and some do not include:
1. Built to withstand daily usage -- my G5, E-p1, and E-p3 break too often and too easily
2. High quality, fast, interchangeable lenses -- the Canon lenses are not interchangeable
3. LCD screen that swings, tilts, and rotates -- only on the Canon G5 and G11
4. Hot shoe and PC flash connections for external flash units -- all have hot shoes but only the X-Pro1 has both
Bag of trash before going down the chute! I collect trash for a living and on the side clean apartments usually for move out— so much do a PhD in sociology. The irony. Anyway I was doing a clean-up for an apartment of girls. They were around so I could really take the Cosmo. Plus it was smushed into a pile of tampons and kitchen trash. I figured I would snap a pick before throwing down the chute and that would be that. The trash here goes down a chute and is collected a day later and taken to the incinerator. In this bag were a bunch of magazines, kitchen trash and other gross stuff. In a separate bag was the Taylor swift vogue from September (becomes important). I took this bag out and dropped it down the chute and actually, with force threw out the bag with the t Swift vogue. Unfortunately I soon found out that I tossed out something that was important and also... threw out the vogue. I needed both back. I went down to find the dumpster.
Okay, some are only dark grey.
Some statistics:
17 cameras all in all
Film advance: 10 x manual, 7 x motor
Exposure mode: 12 x programmed AE, 4 x aperture priority AE, 1 x single shutter speed.
Focusing method: 8 x guess-o-matic, 7 x AF, 1 x RF, 1 x fix focus
Story: After I put up the video of my retouching on the Jonnie Walker shot I got a meeting with a company that makes cosmetics. Since I didn't really have any cosmetics in my book I spent some quality time shooting specifically for that meeting. This was actually the shot that I started with. I knew I wanted a shot of a compact and this was basically the most difficult compact to shoot I could find. The entire thing is mirrored.
Lighting: The compact is sitting on a white seamless and there are two lights. There is a bare dynalite 2040 head from camera left providing the hard shadow. Then there is another bare head from camera right pointed to the seamless and that is what is providing the light fall off for the top. If the seamless is one color then the chrome doesn't look chrome so you have to get some light fall off. In addition to the two lights there is also a reflector right in front and a reflector overhead. The camera is just able to get between the two reflectors which is why the compact is small on the sensor in the before shot. I really needed that bit of light on the edge around the actual makeup.
Marcello, more or less lost in Venice, better to trust in the navigator, in the signs, or get lost in the dark canals?
Original shot taken with an Olympus SZ-20 digital compact camera, 16Mp, heavy post processing.
Ich habe des öfteren darüber nachgedacht, warum Hunde ein derart kurzes Leben haben, und bin zu dem Schluss gekommen, dass dies aus Mitleid mit der menschlichen Rasse geschieht; denn da wir bereits derart leiden, wenn wir einen Hund nach zehn oder zwölf Jahren verlieren, wie groß wäre der Schmerz, wenn sie doppelt so lange lebten?
(Walter Scott)
And thus I bring you my favourite family car of all time, bar none, all things considered, king of the hill, lord of the manor, master of all it surveys, the Range Rover P38! :D
Why do I love this car so much when the original was a classic that changed the world of motoring? Because it combined an updated version of that original winning design with some of the perks and premiums of the 1990's. The Classic Range Rover is indeed a fantastic machine, and one of those rare instances where sense and logic perforated into the ranks of British Leyland. But by the time I was born in the early 90's the car was very much looking its age, a tired 60's design mixed with what was starting to become a comparatively under-equipped interior. The only way the Range Rover was going to survive the 90's was to shape up, and thus in 1990, Rover Group (the descendant of British Leyland) put together a plan to design a new car under the chassis codenumber P38A (or just P38 for short). Four years of development and £300 million later, the car was launched to a whirlwind of critical acclaim.
Launched in 1994, the Range Rover P38 was the last Land Rover machine to be designed by Rover, and included the very best in cutting-edge technology to mix the go-anywhere do-anything raunchiness of the Classic, with the luxury and majesty of an upmarket saloon car. The first major difference between the old and new was the option of engines. For those who didn't intend to take these cars to the mountains and go driving off cliffs, then there was the humble BMW 2.5L V8, but for those who wished to conquer Everest and still have enough time in the day to lacerate the rest of the Himalayas, there was the original 4.5 & 4.6L Rover V8 from the original. Another later addition to this fray of power units was what was later dubbed the 'Overfinch', which was powered by a 5.7L General Motors V8, for if you wanted that extra edge. Jeremy Clarkson once demonstrated the power of the Overfinch by having a drag race with a Ford Focus, whilst pulling a trailer upon which was another Ford Focus, to which the Range Rover won by an absolute mile!
However, what people were interested the most was on the inside. The interior of the Range Rover P38 was very much similar to that of the original, with 5 seats, good space in the boot, and various other trim options depending on your preference. However, the new Range Rover came with a more personal touch, this being dubbed the 'Autobiography' service. For a little extra, Land Rover would happily fill out your preference for any optional extras or personalising of your machine. Leather on the seats, wood veneer, paintwork, these were just some of the features that you could select, not to mention the number of gadgets you could insist on as well, including reclining seats, on-board engine management systems, SATNAV, remote control locking that also resets the seats to their original position, etc. The car is also incredibly safe too, a 6-foot, 3 ton block of steel hurtling through the countryside, and the high driving position meant that you could feel a sense of security and comfort as you looked down on lesser mortals in their normal cars.
So, to summarize, the Range Rover P38 is the best car in the world bar none because it is big, safe, comfortable, very well equipped, extremely reliable, powerful, beautifully designed and all around the best thing anyone could possibly drive...
...if they could afford it!
The problem with the P38 is that it is a very, very, very expensive car to both buy and run. At £40,000 it wasn't an easy car to get your hands on when new in 1994, especially after a massive recession, and if you went for the Long-Wheelbase 'Vogue' or SE (Special Equipment) versions, you'd be forking out more towards £50,000, and if you went for an 'Autobiography' job or an Overfinch if you were really edgy, you'd have to be an eccentric millionaire!
Next was actually running it. These days when you come across Range Rover P38's you'll find that most people have the 2.5L BMW engine because of the fact that it was less expensive in terms of fuel consumption. The Rover V8 and Overfinch versions on the other hand, you'd be very lucky to get yourself 9 Miles to the Gallon out of them! You'd be spending more time at Petrol Stations than anywhere else!
And then there's the image when owning a Range Rover. Today modern Range Rovers are very mundane cars in comparison to what they were back in 1994. If you owned a brand new P38 back in 1994, everyone would notice, and everyone would hate you! They'd hate you on a cellular level, on an atomic level even! If you were a person on the street, you'd think 'Egotist', if you were an environmentally minded person, you'd think 'Planet homicidal murderer', if you were any other motorist, you'd think 'Wideboy'. The fact that you had the audacity to go out and buy a gas guzzling luxury SUV which chewed up petrol at 9MPG, had an interior lined with 4 cows and half the New Forest, and was generally a bigger car than theirs in more ways than one, they would absolutely loathe you!
However, the seeds with the P38 were sown and the Range Rover found itself into the hands of a newer, wider ranging audience, this audience being the celebrities and superstars of the 1990's TV and Music scene. No person with a regular salary could possibly risk the Range Rover, but the new money lapped them up like warm milk. With this new demographic in mind, Land Rover very much changed their attitude on the Range Rover, moving it from being a practical ground-covering all terrain vehicle to an item of 'bling-bling'. In 2002 the P38 was replaced by the newer L322, and it was clear from the start that this new Range Rover was built not to climb mountains, but to climb over legions of fans as they huddled around the celebrities of Hollywood and Dubai. Chances are a modern L322 Range Rover and the later L405 have never seen a muddy puddle, and chances are they never will, but their comfortable lives in the spotlights of celebrities can all be owed to the endearing design of the original P38 that dominated the 1990's, and brought that original British Leyland dream of an international conquering car to reality...
...24 years late mind you but ho hum...