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this S54 powered supercharged E36 compact was built by SMITH Performance, my latest client.
we just scheduled a series of shootings over the next couple of weeks, really looking forward...
Fujifilm X-T1 & Fujinon XF 56mm/F1.2 R
OLYMPUS DIGITAL CAMERA u 1010.
Even with a compact the sharpness is pretty good.
The sharpness is imho quite reasonable considering the price of this type of camera.
Deze soort is voor het eerst beschreven door Charles de Geer, een geboren Zweed die opgroeide in Nederland waar ook zijn familie vandaan kwam. De wat opmerkelijke Nederlandse naam dankt deze vlieg aan de tekening; een gele basiskleur met een wat complexe, maar regelmatige zwarte strepentekening dwars op het achterlijf. Deze bestaat uit drie zwarte banden met daaronder een vaak onderbroken, dunnere en ietwat V-vormige streep. De bovenste band is meestal versmolten met de driehoekige streep erboven. Het borststuk is zwartbruin en glanzend, en heeft een lichtere, meestal gele 'uitstulping' aan de achterzijde. De ogen zijn rood van kleur en de lengte is 7 tot 12 millimeter.
Algemeen
De pyjamazweefvlieg leeft van nectar en stuifmeel van bloemen en er worden meerdere plantensoorten bezocht. Deze soort komt in grote delen van Europa voor, maar ook in Noord-Afrika, Noord-Amerika en in Azië. In Nederland en België is de pyjamazweefvlieg algemeen, en komt overal voor waar veel bloemen en bladluizen zijn. Deze soort is erg populair in de tuinbouw, omdat de larven vraatzuchtige belagers van bladluizen zijn.
Voortplanting
Het vrouwtje legt de witte, langwerpige eitjes in een bladluizenkolonie, waar de larven al na enkele dagen uitkomen. De larve is een platte, kruipende larve die iets weg heeft van een worm, de larve is half-doorzichtig en glimmend. Vooral de larve is erg nuttig omdat het voedsel uitsluitend bestaat uit bladluizen, die worden leeggezogen. De larve is vooral te vinden aan de onderzijde van bladeren, omdat zich hier ook de bladluizen bevinden. Na enige tijd verpopt de larve, deze pop ziet eruit als een bruine druppel. De snelheid van de ontwikkeling hangt sterk af van de temperatuur; in het noordelijkste deel van het verspreidingsgebied komt slechts een enkele generatie tot ontwikkeling, in het zuiden wel vier of vijf. Bron Wikipedia
Dubbelbandzweefvlieg,pyjamazweefvlieg,snorzweefvlieg,cocacolazweefvlieg,"Episyrphus balteatus"
P6260285BVN
same photo as the A1-the previus photo is the original, this is the croped/zoomed part of the previous photo
A little 3d projekt in C4d
No photo.
Some adjust were taken in Adobe Photoshop
C4D:
I use 3 softboxes in a Studio for the light.
Gi was on.
Linear Workflow was on.
Use Mograph Dynamics.
Anti Alaising on 4x and Ambient Occlusion and a Softfilter in CInema.
Photoshop:
Colour correction and shrapenes filter.
Use Nik software for somme effects:
Softfilter
Colourfilter
View it in Full on:
Dawson City on Christmas Day 1976 (with texture) - 35mm Compact Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
I currently use the following digital compact cameras:
Olympus E-p1 (front left)
Olympus E-p3 (front right)
Canon G11 (back left)
Canon G15 (back right)
These four compacts have many of the features I desire. However, some have only some of the features; none have all of the features; and some features are completely missing from all four.
My ideal compact digital camera would meet the following specifications:
1.Built to withstand daily usage.
2.Manufacturing quality of the Leica MP or M6 film camera
3.Body and controls are ergonomically designed.
4.Has a simple user interface like the Nikon SP, Leica MP, or Leica M6 film cameras rather than relying on menus, toggle switches, and fly-wheels
5.About the size, weight, and style as the Leica MP or M6 film cameras
6.High quality, fast, interchangeable lenses
7.Live-view LCD screen
8.Ability to hide the LCD screen so that it is not visible.
9.LCD screen swings and rotates
10.Fast and accurate auto focus control
11.Fast and accurate manual focus control
12.Manual and auto exposure control
13.Choice of built-in spot, zone, and center-weighted light metering patterns
14.Offers shutter priority, aperture priority, manual, and program exposure modes but no scenic modes like portrait, landscape, children, sunsets, etc.
15.Provides “B” (bulb) and “T” (timed) exposure options
16.Resolution equal to or greater than 35mm film
17.Minimum of 12 megapixel resolution
18.Creates RAW and standard jpeg image files
19.Dynamic range similar to the Fuji S5 dSLR
20.Uses CompactFlash and/or SD memory cards
21.Uses standard-sized generic batteries rather than proprietary batteries
22.Uses rechargeable batteries that can be recharged outside of camera body
23.No built-in flash
24.Has both hot shoe and PC flash connections for external flash units.
25.Uses a digital sensor that allows the user to select a horizontal rectangular format, a vertical rectangular format, or a square format.
26.Digital sensor is user upgradeable.
27.Camera software is user upgradeable.
28.Body cost $600 or less
29.Digital sensor is protected from dust and/or is self-cleaning.
30.Provides custom color, contrast, saturation, dynamic range, white balance, and noise reduction controls.
31.Has totally silent mode (no clicking, beeping, or whirling sounds during picture taking).
32.Minimal warm-up time when unit is turned on.
33.Minimal delay when shutter is pressed
34.Ability to shoot at least 2.5 images per second
35.Ability to shoot at least 24 consecutive images
36.ISO light meter range from 50 to 3200 or greater.
37.Produces high quality video images
38.Has microphone jack
39.Camera does not have stupid sounding name like “CoolPix” or "FinePix.”
Until my perfect digital compact comes around, I will continue to use the four digital compacts I have.
Thus far, I have been very pleased using the Canon G15 compact and the Olympus micro 4/3 as monochrome cameras.
I use the G15 as a black & white test camera when shooting with a 4x5 view camera because the G15 can give me a 4x5 aspect ratio for composition.
The Olympus micro 4/3 camera with Panasonic 20mm f/1.7 normal lens, Olympus 45mm f/1.8 telephoto lens, and Panasonic 14mm f/2.5 wide-angle lens produces excellent monochrome images.
Probably one of my favourite shots from the foray to Nunney. Again the N-grads came into play. Best NOT viewed large. The distortion caused buy the 10-20mm lens spoiled the foreground a little with soft focus, but the overall composition and colour combine in a shot that I have been longing to take for a long while. Without the wide angle lens this one would be almost impossible as the castle is tightly contained and the unexpected but glorious sunshine was really well timed.
An excellent property just ripe for conversion into a fancy modern home one feels – if it weren’t for the whacking great Cromwellian cavity in the other side of the building!
This tiny compact was a gift for my wedding from a dear friend, it's engraved and precious to me, so glad I have it captured in photo.
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.
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
The second model based on the stacked triangle twists just uploaded.
This model:
Alios kraft, hexagon from 30x30 cm square, 40 division grid.
Included CP and several views, backlit, with and without flash.
Visiting Photography Playground in Berlin trying some shots with a compact camera. The exhibiting artists managed to form a great place and showed spectacular ways to play with space.
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.
In 1982 Mercedes-Benz released the production version of more than a decade's research into developing a compact format, efficient and safe luxury car. The name '190' referred back to the 1950 and 60s versions of 'reduced power output' models of their mainstream saloon car range. The 190E specified a fuel-injected 2.0 litre, four cylinder engine, whilst a 190 model, without the 'E' (for einspritz' appellation, referred to the same engine, but using a carburetor.
This is the version most commonly seen in taxis, along with a 2.0 litre 4-cylinder diesel, with even less power......
Then something strange happened within the halls of Mercedes-Benz....
190E 2.3-16 & 2.5-16 "Cosworth":
In the late 1970s, Mercedes competed in rallying with the big V8-powered Coupés of the R107 Series, mainly the light-weight Mercedes 450 SLC 5.0. Mercedes wished to take the 190 E rallying, and asked British engineering company Cosworth to develop an engine with 320 bhp (239 kW) for the rally car. This project was known as project "WAA' by Cosworth". During this time, the Audi Quattro with its all-wheel drive and turbocharger was launched, making the 2.3-16v appear outclassed. With a continued desire to compete in high-profile motor sport with the 190, and also now an engine to do it with, Mercedes turned to the Deutsche Tourenwagen Meisterschaft (DTM) (German Touring Car Championship) motor sport series instead. Cars racing in this championship, however, had to be based on a roadgoing model. Mercedes therefore had to put into series production a 190 fitted with a detuned version of the Cosworth engine. This high-performance model was known as the 190 E 2.3-16, and debuted at the Frankfurt Auto Show in September 1983, after its reputation had already been established. Three cars, only slightly cosmetically altered, had set three world records in August at the Nardo testing facility in Italy, recording a combined average speed of 154.06 mph (247.94 km/h) over the 50,000 km endurance test, and establishing twelve international endurance records. The Mercedes 190-E Cosworth was also featured on the second episode in series fifteen of the popular car show Top Gear.
Engin:
2.5-16 Cosworth
The Cosworth engine was based on the M102 four cylinder 2.3-litre 8-valve 136 hp (101 kW) unit already fitted to the 190- and E-Class series. Cosworth developed the cylinder head, "applying knowledge we've learnt from the DFV and BDA." It was made from light alloy using Coscast's unique casting process and brought with it dual overhead camshafts and four valves per cylinder, meaning 16 valves total which were developed to be the "largest that could practically be fitted into the combustion chamber".
In roadgoing trim,the 2.3 L 16-valve engine made "185 hp (138 kW) at 6,200 rpm and 174 lb·ft (236 N·m) at 4,500 rpm. The oversquare 95.50 x 80.25 mm bore and stroke dimensions ensuring that it revs easily up to the 7000 rpm redline". Acceleration from 0–100 km/h (62 mph) was less than eight seconds, and the top speed was 230 km/h (143 mph).
US-Specification cars had a slightly reduced compression ratio (9.7:1 instead of 10.5:1), and were rated at 167 hp (125 kW) @ 5800 rpm and 162 lb·ft (220 N·m) @ 4750.
The roadgoing version of the engine was reconfigured with reduced inlet and exhaust port sizes, different camshaft profiles, no dry sump configuration and Bosch K-jetronic replacing the specialised Kugelfischer fuel injection. These changes helped bring power down to the required 185 bhp (138 kW) specification, but still resulted in a "remarkably flexible engine, with a very flat torque curve and a wide power band". The heads for the engines were cast at Cosworth's Coscast foundry in Worcester and sent to Germany to be fitted to the rest of the engine, parts of which were different from the standard 2.3 including light pressed alloy pistons, and rings designed to withstand higher engine speeds, whilst con-rods, bearings and bearing caps were found to be strong enough as standard and left unaltered.
16v differences:
Due to their performance, the 16-valve cars were different from the other 190 models. The body kit on the 2.3-16 and 2.5-16 reduced the drag coefficient to 0.32, one of the lowest CD values on a four-door saloon of the time, whilst also reducing lift at speed. The steering ratio was quicker and the steering wheel smaller than that on other 190s, whilst the fuel tank was enlarged from 55 to 70 L. The Getrag 5-speed manual gearbox was unique to the 16-valve and featured a 'racing' gear pattern with 'dog-leg' first gear, left and down from neutral. This meant that the remaining 2nd, 3rd, 4th and 5th gears were in a simple H pattern allowing fast and easy selection. The gearchange quality was, however, noted as "notchy, baulky", criticisms which weren't levelled at the BMW M3 (E30) which shared the same gearbox. The pattern is also unusual in that the driver engages reverse by shifting left and up from neutral, as for first gear in a conventional pattern. This was demonstrated in a Top Gear episode (S15E02) where James May took a 190E 2.3-16 Cosworth and repeatedly confused reverse and first gear. An oil cooler was fitted to ensure sufficient oil cooling for the inevitable track use many of these cars were destined for.
The strictly four-seater interior had Recaro sports seats with strong side bolsters for front and rear passengers. 3 extra dials - an oil temperature gauge, stopwatch and voltmeter - were included in the centre console. The 190 E 2.3-16 was available in only two colours, Blue-Black metallic (Pearl Black in the US), and Smoke Silver. The 2.5-16 added Almandine Red and Astral Silver.
All 2.3-16-valve 190 models are fitted with a Limited Slip Differential (LSD) as standard. They were also available with Mercedes' ASD system which was standard equipment on the 2.5-16v. The ASD is an electronically controlled, hydraulically locking differential which activates automatically when required. The electronic control allows varied amounts of differential lock from the standard 15% right up to 100%. It is not a traction control system however, and can only maximize traction rather than prevent wheel spin. Activation of the ASD system is indicated by an illuminating amber triangle in the speedometer.
The suspension on 16-valve models is very different from the standard 190 (W201). As well as being lower and stiffer, it has quicker dampers, larger anti-roll bars, harder bushings and hydraulic Self-levelling suspension (SLS) on the rear. This allows the rear ride height to remain constant even when the car is fully loaded.
At the inauguration of the new, shorter Nürburgring in 1984, a race with identical cars was held, with former and current F1 pilots at the wheel. A then unknown Ayrton Senna took first place.
Private Teams such as AMG later entered the 2.3-16 in touring cars races, especially the DTM. In the late 1980s, the 2.5-16 (never released in the United States) raced many times, against the similar BMW M3 and even the turbocharged Ford Sierra RS Cosworth.
Evolution models:
2.5-16 Evolution II
With the debut of the BMW M3 Sport Evolution, Mercedes' direct competitor, it became obvious that the 2.5-16 needed a boost for the circuit. In March 1989, the 190 E 2.5-16 Evolution debuted at the Geneva Auto Show. The Evo I, as it came to be called, had a new spoiler and wider wheel arches. Many changes were made to under-the-skin components such as brakes and suspension. There was a full SLS suspension allowing vehicle ride height to be adjusted from an interior switch. All were intended to allow the Evolution cars to be even more effective round a track.
The Evo I's output is similar to the 202 bhp (151 kW) of the "regular" 2.5-16. However this car had a redesigned engine of similar capacity but, most importantly, a shorter stroke and bigger bore which would allow for a higher rev limit and improved top-end power capabilities. Additional changes stretch to "rotating masses lightened, lubrication improved and cam timing altered". Cosworth also list a project code "WAC" for the development of the short-stroke Evolution engine.
Only 502 units of the Evolution model were produced for homologation in compliance with DTM rules. For those customers desiring even more performance, a PowerPack option engineered by AMG was available for DM 18,000. The PowerPack option included hotter camshafts, a larger diameter throttle body, more aggressive ignition and fuel management as well as optimization of the intake and exhaust systems. The net result was an additional 30 bhp (22 kW).
In March 1990, at the Geneva Auto Show, the 190 E 2.5-16 Evolution II was shown. With the success of the first Evolution model, this model's 502-unit production was already sold before it was unveiled.
The "Evo II" included the AMG PowerPack fitted to the same short-stroke 2.5 engine as the Evolution, as well as a full SLS suspension allowing vehicle ride height to be adjusted from an interior switch. An obvious modification to the Evolution II is a radical body kit (designed by Prof. Richard Eppler from the University of Stuttgart) with a large adjustable rear wing, rear window spoiler, and Evolution II 17-inch wheels. The kit served an aerodynamic purpose — it was wind tunnel tested to reduce drag to 0.29, while at the same time increasing downforce. Period anecdotes tell of a BMW executive who was quoted as saying "if that rear wing works, we'll have to redesign our wind tunnel." The anecdote claims that BMW did.
As mentioned 500 were made in "blauschwarz" blue/black metallic. But the last two, numbers 501 and 502 were made in astral silver.
[Test taken from Wikipedia]
This Lego miniland-scale 190E 2.5-16 Evolution II sedan has been created for Flickr LUGNuts' 84th Build Challenge, our 7th birthday, - "LUGNuts Turns 7…or 49 in Dog Years", - where all the previous challenges are available to build to. In this case Challenge 57, - "From Mild to Wild", for vehicles that have been turned into something special out of the ordinary. And also challenge 33, - "Size Matters", - as a buddy challenge with Sirmanperson, who has produced the same 190E 2.5-16 Evolution II in 1:17 scale.
Not all amateur photographers own a DSLR. They are expensive, heavy and bulky, while compacts camera fits anywhere. Some of them have a nice macro feauture, that allow to really get close, but for a 1:1 macro you will have to experiment. On this image, apply the same macro coupler principle for a DSLR. I have a box of all kind of surplus lenses and found a small 20mm, reversed and mounted with electrical tape, set the compact to telephoto. My compact at telephoto is 20mm, so 20 /20=1. So able to reach a 1:1 macro with this setup. This small red fly is not a regular size fly, it only measure 2.5mm long, is really hard to see because of it's light color. But this macro setup was able to resolve even the microscopic hairs on the back of this red fly. Recommendation: Use the camera on Program mode with flash and low ISO. If the flash is too strong, cover it with a darker film.
Data: Canon PowerShot A2200 @20mm with a reverse 20mm tape on, f/5.9, 1/160, ISO: 1600, Maginfication: 1:1, Mode: Program, Focus: auto, Support: handheld, Flash: none, Process: Zoner Photo Studio 12, file: IMG_0455, Date: July 13, 2012.
Spanish: Mas abajo esta la versión en Español.
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