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One, long night. That's what it's been. Felt like weeks. The security cameras were turned off during the breakout, so the person who broke Lynns free has access, making him a guard. All of the guards on shift are being taken into questioning. Joker is currently under strict surveillance in Gotham General. Batman probably believes he's behind this, but I think he's just being paranoid. Don't blame him though. I have been too, as well as Dianna... She did not approve of my going to the Asylum. The first thing I get when I arrive at the apartment and into the bedroom is "Abe, thank god you're okay!" My heart goes to ease. Her relief overpowered her being pissed.
"Of course I am."
"How the hell could you do something so stupid?! Weren't you thinking of us?" Or not.
I start removing my suit, getting dressed for bed. "What does that mean?"
"That asylum is - is dangerous! You could have killed yourself! One of them could have eaten your face or something!"
"Dianna, I know what I'm doing."
"You didn't have to go!"
"No, I did. It is my job. I made an oath to protect Gotham. You know why? To protect you and Johnny. You two are why I do what I do."
"Abe..."
"No, I'm not finished. When a break out happens, I need to be there. I need to know it's under control. I need to know who has escaped. I need to protect you. And I will go to extremes you won't believe to do so."
"I'm- I'm just worried... About Pyg..."
She starts tearing up. "What if he finds us. What if he comes back?" She buries her face in her hands.
"The GCPD is on his trail. We're close to apprehending him. We have a few leads.. well, they have a few leads. I'm off the case." I sit down and wrap my arm around her shoulders.
"I'm tired of this Abe..."
"Me too..."
"I'm tired of living here."
"Look, I hate my parents' place more than you do."
"No, I mean Gotham. I hate it. I can't walk down the goddamn street without being afraid of getting mugged. There's a psycho everywhere you turn, an Arkham break out every week! I can't take it! I can't take this!"
"Dianna, we can't -- Pyg's about to be--"
"Abe, it's not about just Pyg. It's about the entire city. Once Pyg gets put away, another psychopath will threaten our lives."
"I understand what you're saying... but what about your law firm? The GCPD?"
"You can transfer... I can get a job somewhere else."
"I can't do this somewhere else. This is my city. This is where I belong, where I can help the most."
"Fuck, Abe, open your eyes. You're one man. You can't make a difference, not in this city... this hell."
"One man can most certainly make a difference."
"And he dresses up as a goddamned bat. The most powerful man in this city is a rodent! See the problem with that?"
"I - I see what you're saying. I agree. It'd be for the best..."
"Are you serious?"
"Of course"
"Abe, I love you."
"I love you too."
What the hell did I just do?
Hard work is performed in the control room in an amazing abandoned steelworks in Austria. The place has thousands of interesting things to photograph. Maybe the most dirty place I have visited so far, but i enjoyed every second of being there.
Austrian Urbex weekend tour with:
bRokEnCHaRacTer and
More shots from this place here: uexplorer.wordpress.com/2012/08/26/steelworks-at/
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Mind Control.
Perceptions de circulation sans pouls facultés vitalité,
вибрации звуковых пробудившиеся телесной ум конфликты,
in phantasmatis enim obscurum est miraculum in vigiliis, infundat,
naturalezza guarda emozioni enormi bobine,
θέσεις μέχρι τώρα απελπιστικά χρόνια λουσμένο,
taka leynd samsetningar vön fáfræði læknis,
知的な印象崇高ファンタジア恐れ,
kleinigkeit geliefert schlaganfall beschleunigt halluzinationen pyramiden komfort,
deceiving bombastic languages doctor's emerging steadily,
voldoende brandende salon dromen onuitsprekelijke aanwezigheid reisde,
armonie musicali insondabile ammuffito eccelle simmetria,
visions célestes exquis translucide arcs en ciel d'albâtre gloire,
συνεγκαταστάσεις αρχιτεκτονικές άμεση πληρότητα καταπίνονται ολόκληρα,
amaranthine öldurnar gróskumikill beitargróðri kemur,
delirium auream circa portas paradisi seraphim mitis,
рапид причвршћивање инструменти пројекције погледах одмах,
sentrale begrensninger vilje høye huler strålende lys,
assurance needles deep thou now doest what thy commands!
Steve.D.Hammond.
W. H. Scribner’s Art Gallery, Newton, Iowa,
Albumen silver print from a collodion glass negative, mounted on card
The sitter wears her hair parted at the center and drawn back smoothly over the temples into a low, softly arranged chignon, with deliberate looseness and flyaway texture characteristic of post–Civil War fashion.
Decorative accessories—most notably a narrow ribbon threaded with small beads and a light-colored bow placed high toward the crown—signal the mid-to-late 1860s shift away from earlier, tightly controlled hairstyles toward a more natural, romantic aesthetic.
Long pendant earrings and a large bow fastened at the throat with a brooch further anchor the image in this period: such vertical drop earrings and prominent neck bows are especially associated with the years immediately following the war, c. 1865–1870.
The overall effect is restrained but consciously stylish, consistent with mid-1860s ideals of respectable femininity.
The photograph is presented as a standard carte de visite, mounted on a pale card with double-rule borders printed in muted tones. This style of mount—simple, elegant, and unembellished—became common in provincial American studios during the later 1860s, after earlier, heavier mounts but before the more ornate and branded designs of the 1870s. The absence of elaborate printed fronts places the emphasis squarely on the portrait itself, a convention typical of the period.
Material Traces of a Social Exchange
As an object, this photograph also bears witness to its own use. Cartes de visite were made to be handled, exchanged, and kept close, and this print was almost certainly held by the sitter herself after it was produced—examined, judged, and possibly given to another person as a token of regard.
Although no identifiable biological traces survive, the photograph retains material evidence of touch and circulation in the form of softened edges, surface wear, and subtle disturbances in the image layer. In this sense, the object preserves not the body of its subject, but a record of its participation in lived social relationships, bridging the moment of its making and the present through continued physical presence rather than symbolic association.
Silver on Glass and Silver on Paper: Two Independent Systems Joined Only by Light
Mid-19th-century photography relied on silver chemistry at two distinct stages of image-making, using the same element for two different purposes. Understanding the separation between these stages—**image capture on glass** and **image reproduction on paper**—is essential both to the technology itself and to the material traces visible in surviving photographs today.
Image capture: the wet collodion glass negative:
In the wet collodion process, a sheet of glass was coated with collodion containing iodide and/or bromide salts and then sensitized by immersion in silver nitrate. This produced light-sensitive silver halides suspended within a thin collodion film on the glass surface. While the plate remained wet, it was placed in the camera and exposed.
Light reflected from the sitter passed through the lens and struck these silver compounds, creating a **latent image**—an invisible chemical alteration corresponding to the distribution of light and shadow. During development, the exposed silver halides were reduced to **metallic silver**, forming a negative image. After fixing and washing, the plate became chemically stable and insensitive to further light. At this point, the negative was complete: a durable object bearing a silver image embedded in a transparent film on glass. The glass itself served only as a support; the image resided entirely in the collodion layer.
Image reproduction: the albumen paper print:
The finished glass negative was then used to create positive prints on paper. Albumen paper was prepared by coating thin sheets of paper with egg white mixed with salts, then sensitizing the dried coating by floating it on silver nitrate. This produced a second, entirely separate population of light-sensitive silver salts, now embedded in the albumen layer on the paper’s surface.
To make a print, the glass negative was placed directly against the sensitized paper and exposed to sunlight. Light passing through the negative—strong where the glass was clear, weak where it was dense—struck the paper and caused the silver salts in the albumen layer to darken, forming metallic silver in direct proportion to exposure. This process produced a **positive image** without a separate chemical development stage; albumen prints are “printed-out” images, visible as they form under light. After printing, the paper was fixed, washed, dried, and mounted to a card.
Two uses of silver, no interaction between them:
Although silver chemistry appears in both stages, the silver on the glass and the silver on the paper **never interacted physically or chemically**. They participated in independent reactions, at different times, in different materials. No silver moved from the negative to the print; no chemical process crossed from one surface to the other. The glass negative functioned purely as an optical modulator—a stencil for light.
The relationship can be summarized simply:
**Silver → light → silver**
The silver image on glass shaped the light; the silver salts on paper responded to it.
Because the negative remained chemically stable after fixing, it could be reused repeatedly. Each print made from it was a new, independent chemical event, allowing studios to produce dozens or hundreds of identical cartes de visite over months or years, even in different locations. This reproducibility—combined with the small, affordable format—made the carte de visite the dominant photographic form of the 1860s.
Why this distinction matters today
The dual use of silver explains many features visible in surviving photographs. Glass negatives and paper prints age differently because they contain silver in different physical and chemical environments. Albumen prints yellow as the organic egg-white layer oxidizes; glass negatives do not. Silver migration, speckling, and fiber-following marks occur only where silver is present in the paper’s albumen layer. The paper support decays organically, while the image material behaves as a metal.
In material terms, one is looking not at a single photographic substance, but at two generations of silver, chemically related yet historically and physically separate—linked only by light.
This negative-positive system also marks a fundamental shift from earlier photographic technologies such as the daguerreotype. Where the daguerreotype plate was directly exposed to light reflected from the sitter, later paper photographs are mediated objects: translations of an earlier optical event rather than its direct physical trace. The silver on glass recorded the scene; the silver on paper reproduced it.
Because the negative and paper were the same size, no enlargement was involved; each print was an exact replica of the original exposure.
After printing, the paper was typically toned—often with gold chloride—to improve stability and image color, then fixed, washed, dried, and finally mounted on a card support.
This negative-positive system allowed studios to produce multiple identical prints from a single sitting with relative efficiency and at modest cost. Its reproducibility, combined with the small, easily exchanged format, made the carte de visite the dominant photographic form of the 1860s.
The resulting silver image reflects the dominant photographic technology of the era: sharp yet softly tonal, with the gentle falloff and warm aging characteristic of albumen prints. Such studios catered to local clients seeking durable, exchangeable likenesses rather than unique objects.
Photographs of this type were commonly made at moments of transition—engagement, impending marriage, or the establishment of an adult identity—and were often exchanged between families or kept together in albums. The sitter’s composed expression and carefully chosen adornments suggest an image intended not merely as a personal keepsake, but as a representation meant to circulate within a social and familial network.
I.D.s 1300 & 14709 photographed by John Ward sometime in 1982-11-00 of the Sydney Bus Museum's White unregistered (formerly m-o 1300 & 837) towed by Fleet Towing International LSP-538 at Hoxton Park, Sydney, N.S.W., Australia.
The bus is a White normal control ex Department of Road Transport and Tramways (DRT&T) m/o-1300 ex Fitzgibbon m/o-
837 with a body built by Walsh Island Dockyard in 1930
The location is on a property off Hoxton Park Road, Hoxton Park.
837 (1300)
1929 WHITE MODEL 54A
In 1929, the White Motor Corporation of Ohio, U.S.A. introduced a double drop frame coach chassis with a six cylinder engine and a 250 inch wheelbase. The local dealer, Dalgety and Co. had to have the regulations relaxed from the maximum 231 inch wheelbase permitted at that time before a trial 54A model could be introduced. The bus had more power and size than any previous bus placed in service in Australia. Maximum brake horsepower was 130 @ 2300 rpm with a maximum torque of 385 ft/lbs @ 800-1200 rpm. Westinghouse air brakes were fitted with soft steel brake shoes bearing on special steel brake drums. The manufacturers claimed that the braking efficiency would not be appreciably affected by water or dirt and would not burn out in use on long grades.
The prototype arrived in Australia on 28th January, 1930 and was sent to Walsh Island Dockyard (Newcastle) for the first all metal bus body constructed in the country. On 15th April, 1930 this 36 seat bus entered service with Michael Fitzgibbon of Marrickville on Route 42 from Campsie to the City.
Three more chassis arrived on 22nd March, 1930 for Fitzgibbon's Deluxe Bus Service and had identical bodies to the prototype. Our exhibit was one of these and it entered service on 3rd June, 1930. The bus was registered as m/o 837.
During the early 1930’s, the government transport authorities considered that private bus competition had seriously eroded the finances of its operations, on which the capital costs were yet to be paid. Accordingly, legislation was passed which in effect taxed the buses off the road after 31 October 1931. As a result our exhibit along with other vehicles went into storage. 837 was not used again for over five years. The Department of Road Transport & Tramways officially purchased the four White 54A’s on 1 March 1937.
Our exhibit then became fleet number 300 and was registered m/o.1500. It operated mainly from Burwood depot. The bus was then withdrawn and auctioned in February 1939, for about 2% of its 1930 price. It became fleet No. 18 at Rover Motors, Cessnock passing to Quodling Brothers, Queanbeyan as M/O.445.
Realising the significance of the bus, Quodling's donated it to the HCVA in June 1966
SPECIFICATIONS
ENGINE: White six cylinder Over Head Valve, petrol, Bore 4.375",
stroke 5.750", 519 cubic inch displacement with dual ignition.
TRANSMISSION: Four speed sliding gear type gearbox, Crown wheel
and pinion differential.
BRAKES: Westinghouse Air Brakes on all four wheels.
Transmission parking brake.
The Countryside park Duisburg-Nord is a public park in the German city of Duisburg. The center of the park is formed by the ruin of a blast-furnace complex shut down in 1985.
These images were captured in an abandoned power plant in Italy. There is not much left of the plant which once generated up to 80 megawatts. However, the control room and a cooling tower are still in place.
More images at
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Strobist: AB1600 with gridded 60X30 softbox overhead. AB800 open behind backdrop of white faux suede.Triggered by Cybersync.
Drop Control SplashArt Water Drop Kit Canon 7D 1/250 f/18 iso 200 100mm f/2.8 L macro.
Strobist info 2 YN560 Through Perspex Green Gel on top flash, Amber on bottom flash. Mounted vertically 1/32 Power 12 inches behind drop.
Liquid - Water with about 10% Corn Syrup touch of yellow food clour
Convair CV-440-12
cn: 361
ff: 24-08-1956
19-09-1956 OO-SCN Sabena
10-10-1967 N73162 Frontier Airlines, fleet no 162,
25-10-1967 start of conversion to CV-580 (PAC 126)
26-02-1968 N73162 Frontier, fleet no 162
02-05-1983 N73162 Frontier Leaseco Inc
14-10-1983 N73162 Combs Airways, opf Frontier Commuter
12-01-1984 N73162 Frontier Leaseco inc
21-08-1985 N73162 Metro Airlines, opf American Eagle, config Y50
02-10-1987 N73162 bought by SAAB Aircraft and converted to freighter, CV-580F
14-09-1988 N73162 bought by EAT - European Air Transport
22-12-1988 OO-DHJ rr EAT- European Air Transport, opf DHL
22-06-1989 N73162 DHL wordlwide Courier
02-03-1990 OO-DHJ EAT (returned)
17-10-1995 HZ-SN14 SNAS Aviation tfd, opf DHL
01-11-2004 N587X Air Tahoma
01-09-2008 N587X crashed after take-off at Rickenbacker International airport (KCLK / LCK)
Found trim tab control cables reversed after maintenance....
Seen loading in the afternoon sunlight, July 31st 1990
Scanned from original slide
One thing that can damage your photography is burning your flame of inspiration at too high temperature. I experience this from time to time and usually it's the case of not letting go of my original vision. I might, for example, have a picture that is 'ok' but not quite there and I insist on editing on it too long in hope for salvation – only to find out after couple of days that I'm actually fed up with the picture and it's not serving my photographic pleasure at all anymore. Usually this results a drop of inspiration for couple of days as I get a feeling that I cannot get anything done. I used to suffer this kind of drops more often before I understood that it is actually the same flame of inspiration that can make my photography 'fly in the zone' and also 'crash it into to ground' – and what actually happens depends on how high temperature I let the flame burn. Controlling my expectations and learning to let go have definitely been educational experience to me and nowadays I feel that it's usually more productive to move on the next idea than try to edit things beyond what is reasonable.
I feel that similar kind of stuff can be projected to the camera setup your using. When you are getting great results the setup is also great and inspiring. But when things don't go as you've planned, the grass starts to look more green on the other side of the fence. It's very humane feeling, but as you already know, often a wrong projection. So the question is, does the high quality equipment such as Sony & Zeiss stuff change this cognitive behavior in some way. Based on my experience over the few months, I would say that while it has become a lot harder to blame my tools, I'm still experiencing same kind of highs and lows as I've always have – not a big surprise really since one cannot really buy mental things like inspiration and passion. But using high quality tools have definitely given me certain kind of mental reference points which makes it easier to orientate myself in my own cognitive sceneries. For example, I don't have to worry about the gear or daydream about it, which clears space for other kind of thoughts and targets in healthy way. 'Having it all here' helps me to concentrate on photography itself rather than the tools themselves, and I feel this raises a new kind inspiration in me. Of course one can be disappointed with any gear, even the Zeiss Otus lenses, if one has unrealistic expectations and projections, but so far I have to say that using this setup is more liberating than it is driving my inner expectations. It's all about the flame and controlling it.
Days of Zeiss: www.daysofzeiss.com
Roughly 8.5 x 11 inches. I was thinking a bit about the work of Hooded Fang when I collaged in the guy working at the bank of machines that control our lives.
The best of about 15 lightning strikes that I captured during the storm. The worst ground strikes all seemed to land in the same place (Schlieren or Birmensdorf) and were too overexposed.
I haven't managed to capture a single lightning strike over the years but this time they were right over or behind Zürich. Having the camera connected to a laptop via USB also helped. A small program which emulated some features of Nikon's Camera Control Pro was used to trigger multiple shots, in timelapse fashion.
iss064e022911 (Jan. 14, 2021) --- NASA astronaut and Expedition 64 Flight Engineer Kate Rubins sets up the ACE-T-Ellipsoids study inside the Light Microscopy Module. The investigation designs and assembles complex three-dimensional colloids – small particles suspended within a fluid medium – and controls density and behavior of the particles with temperature.
yapımında emeğim geçtiği için demiyorum, silahtarağa gidip görülmeli çok güzel...
picture from the control room of the old thermal power plant silahtaraga, the museum of new campus of istanbul bilgi university. i was the design engineer of the infrastructure system during construction.
This early arriving Hummer is one of several males that are fighting over control of the nectar feeder just below. They now compete with breath-taking high-speed aerial sky dives to impress the feeding females and get their attention (for breeding... although this year's young are already flying). This flight action is both visually and audibly impressive! It's still very early morning, and the sunlight is heavily filtered by the tall forest growth to the east. Although I have the sun at my back, the gorgets will not display full wine-red iridescence until it gets a little brighter.
IMG_8129; Broad-tailed Hummingbird
A fire broke out at work last week. Luckily it was contained. Shows how quickly we can lose control.
Air China 737 MAX B-1398 waits at the gate at Beijing Capital, ready for its next flight to Phuket. The airport's huge control tower looms in the background.
Aircraft: Air China (CA/CCA) Boeing 737 MAX 8 B-1398.
Location: Beijing Capital International Airport (PEK/ZBAA), China.
Previous set from Duga here: www.flickr.com/photos/timster1973/sets/72157643924793935/
Duga-3 (NATO reporting name Steel Yard) was a Soviet over-the-horizon radar system. It was developed for the Soviet ABM early-warning network. The system operated from 1976 to 1989. Its distinctive and mysterious shortwave radio signal came to be known in the west as the Russian Woodpecker.
Two stations of Duga-3 were installed: a western system around Chernobyl and an eastern system in Siberia.
The transmitter for the western Duga-3 was located a few kilometers southwest of Chernobyl (south of Minsk, northwest of Kiev). The receiver was located about 50 km northeast of Chernobyl (just west of Chernihiv, south of Gomel).
The Soviets had been working on early warning radar for their anti-ballistic missile systems through the 1960s, but most of these had been line-of-sight systems that were useful for raid analysis and interception only. None of these systems had the capability to provide early warning of a launch, which would give the defenses time to study the attack and plan a response. At the time the Soviet early-warning satellite network was not well developed, and there were questions about their ability to operate in a hostile environment including anti-satellite efforts. An over-the-horizon radar sited in the USSR would not have any of these problems, and work on such a system for this associated role started in the late 1960s. Duga-3 could detect submarines and missile launches in all of Europe and the Eastern coast of United States.
The first experimental system, Duga-1, was built outside Mykolaiv in Ukraine, successfully detecting rocket launches from Baikonur Cosmodrome at 2,500 kilometers. This was followed by the prototype Duga-2, built on the same site, which was able to track launches from the far east and submarines in the Pacific Ocean as the missiles flew towards Novaya Zemlya. Both of these radar systems were aimed east and were fairly low power, but with the concept proven work began on an operational system. The new Duga-3 systems used a transmitter and receiver separated by about 60 km.
My blog:
timster1973.wordpress.com
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The headphone is not working, the sound is altered.
They normally work when you press the button on the control, the golden button. With a quick check, the GND line is interrupted.
Now when you press this button, the microphone line works as GND and the headset sounds good.
Replace the cable with a new one and everything is fine.
Hello
I was driving from Jacksonville Florida to Lake City Florida when I came across a section of Pine forest that had recently undergone a controlled burn. I'm not sure I caught the image the way i wanted. I didn't have a tripod with me so you loose some detail in the pines in the background where i think the picture really is.