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This is what happens when you hoard your film and get it all developed at once. You loose $200 and have to many photos that you don't know what to do with them.
Photos were either taken on a Canon AE-1 Program, Canon Canonent 28, or Polaroid Land Camera 220 using FP-100c or Fuji Spectra 400 or Kodak 400 TX
Canon AE1-Program
Canon FD 50mm, f1.4
Kodak Vision3 250D
Tetenal Colortec C41 kit
Reflecta RPS 10M
Colorperfect, Photoshop, Lightroom.
Shot on my Minolta SRT-102, developed HC110 1+31. Cheap film, but decent good looking grain. Just a few tweaks in levels as usual.
This is the rack which goes inside the Dallan Developing Tank. The 12 little arched frames each hold a sheet of film and are loaded in the dark, which, after I'd gotten the hang of it, became much easier than I expected. I'm guessing that the rack may have originally held 6.5 x 9 cm glass plate negatives for development.
I use this tank to develop 6.5 x 9 cm sheet film shot in my Kodak/Nagel Recomar 18.
In this shot, the Dallan film rack is posing on the home-made plywood tripod platform that i made for my box cameras.
Shot with Uncle Shoe's studio strobes in his studio. I also borrowed his Nikon FM2 for the shoot; shot on Kodak Portra 160VC.
We developed a series of graphic tests for a new food channel for FOX International Channels. We really enjoyed the project and made two options, very different from each other. Going from illustrative to surrealist.
More: bit.ly/Sfk7dL
Creative, art direction and design by Eloy Krioka. 3D Modeling help: Julio Cesar Velazquez. Work commisioned by our good mate Andres Rossi (Thanks!). VP Branding and Creative Fox International Channels: Florencia Picco. Branding Director Fox International Channels: Mariano Barreiro
#food #channel #design #fox
this isn't a test but smoke clouds are infinate i adore rain love awkward stories
so tall they need a little tweak of normal to
seem realistic
The Air to Surface Armored Transport, or AS-AT, was developed after the AT-AT...Imperial commanders consistently praised the AT-AT for its ability to inspire terror in battlefield enemies, appearing unstoppable as it plodded forward, but found it lacking in its limited maneuverability and difficulty in deployment.
The AS-AT was the Imperial Navy's response. Reduced in size but still maintaining a predatory, animalistic frame, the AS-AT could be brought in quickly to any battle for needing a bit "shock and awe". Just as easily, it could deploy a squad of jump troopers to tip the scales of a battle in difficult terrain. The AS-AT could then retract its wings and support the immediate needs of troops on the ground, or return to the skies to provide air cover.
Designed for, and dedicated to, my cousin's son Aidan in honor of his birthday, 2011.
Developed by CINELLI from a Patent by professor Antonio dal Monte (who was in the team that helped Francesco Moser to achieve Hour Record in 1984). It was used by cyclists before and after races in order to warm-up or down. This machine appears in the book "Cinelli: The Art and Design of the Bicycle" with Hans-Henrik Orsted training on it.
Home developed 4x5 Delta 100 test shot
developed in Paterson Orbital with constant agitation
Rodinal 1+50 (120 ml), 16:00 min. @ 22C
Nikon F3
Six Gates Films Orwell BW @400 iso
developed in Tmax dev 7''
epson v700
almost all of this picture were taken by Luca (Laszlo K.) while i was developing.
it has been a glorious day. We developed over 23 rolls of color negative cinema film in a vintage Morse G3 tank. We had some major fixing issue but we saved some good frames & had a good time.
Bottom line:
1)ECN2 is totally feasible for home processing
2) Morse G3 tank agitation could not be the best for these films.
3) we took a little step forward for DIY film photography
HM Dockyard, Gibraltar was first developed in the 18th century. After the Capture of Gibraltar, victualling facilities were provided from a small quay around what is now the North Mole, but a lack of berths prevented further development. In the 1720s, however, the building of the South Mole was accompanied by the establishment of a small dockyard facility consisting of a careening wharf, mast house and various workshops. The yard remained relatively small in scale for a century and a half, although coaling facilities were added in the 1840s.
In 1871 Captain Augustus Phillimore made the proposal that a new naval dockyard should be constructed in Gibraltar. Phillimore's scheme lied dormant in the Admiralty for 22 years before it was put to Parliament in 1895. The idea was to take five years and just under £1.5m pounds. In 1896 the scheme was further extended with the creation of new moles and three dry docks and a new budget of £4.5m pounds. The transformation was large and the government were still passing enabling legislation in 1905.
The three large graving docks initially known as docks Number 1, 2 and 3, were excavated on what had been the site of the old naval yard. Number 3 dock, the smallest at just over 50,000 tons of water capacity, was the first to be named in 1903 and was named King Edward VII, Queen Alexandra named the 60,000 ton Number 2 dock after herself in 1906, and the largest, Number 1 dock, which could hold over 100,000 tons of water, was called the Prince and Princess of Wales dock, having been named by their Royal Highnesses in 1907, subsequently King George V and Queen Mary.
In 1937 the warning of the Chiefs of Staff gave way to rearmament. The danger of a war being settled in the Mediterranean meant that No. 1 and No. 2 dock were extended so that Gibraltar could handle aircraft carriers and the new larger battleships.
(Text Wikipedia)
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, against the large central wall, a rural family is depicted suffering from the effects of drought, dust bowls, and poverty. Inscribed above the sculpture is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
Turning away from this historic scene, visitors encounter two more sculptural vignettes by George Segal which exemplify the overwhelming issue of poverty. One scene, Appalachian Couple, captures a farm couple caught in what appears to be an unending cycle of despair. They appear in front of their barn, their only obvious possession a wooden chair.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
Developed in Saarland (southwest Germany, borders France) and adopted all over Germany where regulations allow, the "Schwenker" is a pork steak marinated for at least 24 hours and grilled over a wood fire. ( sometimes beechwood coals are used)
For decades, developing and emerging economies have relied on traditional financing solutions intermediated by commercial banks with limited capital market activity. A vital challenge for these countries is how to mobilise more finance to help accelerate their development and achieve the Sustainable Development Goals (SDGs). This event comes at a critical juncture as developed economies begin to tighten their monetary policies and geopolitical tensions increase dramatically, raising new questions on how sustainable capital market ambitions could be achieved going forward.
The current turbulent environment in Europe has also highlighted the importance of energy security and the pressing need to fast-track decarbonisation efforts. This panel explored how emerging economies can achieve significant breakthroughs by mobilising cross-border finance focused on sustainable and inclusive solutions. In particular discussing the growth of blended finance and impact investment flows and their role in building up the stock of assets in emerging market economies with the aim of achieving sustainable development impact.
At the heart of the EBRD’s mandate lies a focus on environmentally sound investment and sustainable development, and the Bank is determined to promote Environmental, Social, and Governance (ESG) through a unique combination of policy dialogue, investments, and private sector focus. The panel also explored how various parties -- the emerging countries’ authorities, advanced economies’ governments interested in supporting sustainable development, impact investors and IFIs - could work together to support the much-needed quantum leap in finance.
Featuring:
Andre Kuusvek
President & CEO
Nordic Investment Bank
Alex Pivovarsky - Speaker
Director, Capital Markets Development
EBRD
Just in case you thought that I only got the celebrations of the first goal, Grant. :-)
This is the point where the Werder Bremen keeper looks fairly calm as he watches Daniel Cousin's shot head towards the goal. However, about 2 seconds after this, the ball was in the back of the net as a result of a goalkeeping blunder. Hard cheddar! :-)
I've quite enjoyed my recent efforts photographing football games this season. Considering I'm shooting from my seat in the stand (which was at the opposite end of the ground to this), I've been very pleased with the results I've been getting.
Shot with a Canon Canonet QL17 GIII and Ilford HP5 plus, developed at home with Rodinal and scanned with an Epson V600
This is Caitlyn Odette. Now *nervous cough* at this point in the left of the picture she is "giving into her addiction to majuana" - KIDS!! SMOKING IS NOT COOL!!! - and yeah in the right of the picture she is scratching her head lol and pretty much high. This is sometimes how her power to control the elements can be activated. And with all the "abiltated" characters in my comic their eyes turn white when they are in control of their powers or have activated their powers - I showed this to a classmate and he thought she was posing in an "erotic way"...she isn't! *smiles*