View allAll Photos Tagged Dynamic
So this is the first of many shots with my new ultimate IQ setup. I just won a nikon D90 in an online photo contest, and I am outfitting it to be a dynamic range monster. This shot has the most dynamic range I have ever tried, a total of 11 exposures at 2 ev intervals, yes 22 stops of range! I think the exposures go from 1/250 to 4 min or so. I also have a new Tokina 11-16mm 2.8 and so far I am loving the low distortion and tack sharpness even at the edges (check it out above). Much better than the sigma 10-20mm, which I will still shoot and which was my first love. Really excited about the possibilities...
This is the Basilica of the immaculate conception on Colfax in the heart of Denver, CO...
I really appreciate comments and invites, but please refrain from posting large flashy banners. I would much rather hear your actual thoughts and words. (although a I know a ton of you don't even read the caption and just wildly throw down banners, like indie kids smoke camel wides).
contact me if you're interested in my shots (no digital version requests).
abenison@gmail.com
I'm also now on imagekind!
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My first High Dynamic Range (HDR) Landscapes with the Nikon D800! These are straight out of photomatix, with no further editing yet!
Nikon D800 HDR Wide-Angle (Nikkor 14-24 mm 2.8 lens) Malibu Landscapes 7 exposures @ 1EV Photomatix
High dynamic range rocks! I'm addicted! :)
Amazingly sharp details and fine, crisp definition!
Nikon D800 HDR at the Malibu Creek State Park in the Malibu Canyons!
A mostly sunny day with just enough cirrus clouds to lend the sky a dramatic edge.
Enjoy the Hero's Journey Mythology photography, and all the best on your own Hero's Journey in pursuing epic beauty! :)
Kingsburg Historical Park, Kingsburg, Ca.
Strychnine phosphate---what could go wrong. Gonna get me some of that dynamite dynamic tonic.
Dynamic Comics / Heft-Reihe
cover: Gus Ricca
Chesler / Dynamic / USA 1944
Reprint / Comic-Club NK 2010
ex libris MTP
Led by Earth's endless quest to equalize the dispersion of heat, winds whip around the world in this NASA-created image, a still capture from a 4-minute excerpt of "Dynamic Earth: Exploring Earth's Climate Engine," a fulldome, high-resolution movie playing at planetariums around the world.
The excerpt explores the fundamental power of the sun and how its energy drives the climate on Earth, and is made up entirely of new visualizations -- created by NASA Goddard's Scientific Visualization Studio -- that illustrate NASA satellite and model data of a coronal mass ejection from the sun, Earth's magnetic fields, and winds and ocean currents circulating around our planet.
To see the full, narrated excerpt, go to: youtu.be/ujBi9Ba8hqs
These visualizations were recently accepted to be shown at the SIGGRAPH 2012 computer animation conference. To read more about this, go to:
www.nasa.gov/topics/earth/features/dynamic-earth.html
The excerpt was also the basis for the 100th story released through the Scientific Visualization Studio's iPad app, called NASA Visualization Explorer. To see the app story in web form and to download the app, go to:
"There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which your eyes cannot catch although it can be felt. In art this state is called dynamic movement."
-- Kasimir Malevich
Thanks a lot for your ongoing and kind support, my friends... Have a great weekend....!
Best seen on black - press L or click on image above.
l'art rupestre de Fontainebleau was apparently known about from the 19th Century.
Details of the unpolluted rock art station 'Vente Bourbon 3' found by D. Caldwell after 2014 (published 2015) - one of many important new stations found by a team in the forest of Fontainebleau.
Fontainebleau rock art stations can cover cave mouth or, as is the case of the examples featured in this section, be on 'intimate' surfaces. I use the word intimate as examples can be tight and small - almost page sized, or page-spread sized. See the oak leaf on this example – perhaps only 7cm long and 3cm wide.
So much rupestre, and so many petroglyphs use the sweep of an arm, involve shoulders and hip placement to create. To produce such clear and ordered lines would be hindered by just such vigour and would leave little space for onlookers.
Whilst small scale examples of rock art exist from the great ages of ice (palaeolithic) - the smokey fire in Coa and some of the smaller etchings in Lascaux - most ice age art was dynamic, in movement; with a sense of life force and in a scale in keeping with the flows generated by an expressive full artist's body. Intimist ice age art tended to be assigned to objects and not monolithic surfaces. The period of prehistory after the ice age is the Mesolithic – no ice, but still hunting, gathering and some slowing down with seasonal stops. Magdalenian-esque etchings of horses of around 18x23cm in size, drawn in Angouleme's recent Mesolithic discoveries would be giant aside the small rectilinear motifs pictured in these associated posts. The animals and people of the Mesolithic Levantine art can range between 20 and 40cm – again giants against these Fontainebleau motifs, where two 'glyphs' might fit snug inside the form of a single dry oak leaf. Finding that these petroglyphs came from the millenniums immediately after the ice age would in my mind be a revelation that would need to explain the lack of line movement/love of straight line; the move of portable art scales onto monolithic surfaces, how the abstractions leapfroged moves towards schematic ornamentations and so on. Put simply, a Mesolithic date for the Fontainbleau rock art would be almost as shocking as the dated for Chauvet.
A recent paper from the “Journal of Archaeological Science June 2017 summarised the current situation as:
“Au cours des trente dernières années, une attribution au Mésolithique a été l'interprétation la plus largement acceptée en raison de la découverte d'objets lithiques très usés”
“la datation du Mésolithique ancien de l'art rupestre de Fontainebleau peut être considérée comme une hypothèse solide”
“...identifiant la partie sud de l'Ile-de-France comme l'une des principales régions d'Europe en ce qui concerne Art rupestre mésolithique.”
So, the fact that worn Mesolithic tools were found at some sites proves that one of Europes principle regions of early Mesolithic rock art is to the south of Paris.
A Rosetta Stone is now generalised to show that specific archaeological evidence unlocks and finds meaning, and in 1981 a “Rosetta stone” of Fontainebleau rock art was announced. Uncovered by Jacques Hinout “under four meters of sediment” – a piece of decorated ceiling stone with petroglyphic marks and patches of red pigment had fallen to be subsequently sandwiched by two Mesolithic layers each from the Sauveterriennes period. Thus: “on en déduit que les gravures schématiques de Fontainebleau se trouvent datées objectivement.” - the rock art was Mesolithic.
Duncan Caldwell is one of the best known living independent prehistorians, and by using Dstretch® on the red paint marks on the 'Fontainebleau Rosetta stone' he isolated the following string of glyphs: “CONSORTIUM-RON… /PARIS”. The letters were presented vertically in a “mesolthic sandwich”, and horizontally, if the stone had stood until recent decades as a menhir or “pierre signal”. A closer look at the definition of the Mesolithic layers also proved wanting, and although these observations do not stop the arguments that the rock art was Mesolithic, they do seem to stop this rock from being used as evidence. Worn Mesolithic tools found near some stations is not blistering evidence, and Duncan Cadwell goes on to argue that the petroglyphs have half their age and are Bronze age. He made comparisons with the 'Vallée des Merveilles' rock art (see past Flickr posts) and Balkan ceramics. Generating perfectly straight lines is not a feature of the Vallée des Merveilles rock art and neither is the intimate scale. The parallel icons he isolates are rare within the Fontainebleau rock art and are not time-specific – once invented, a yoke on bulls has existed over the ages. Cadwell is not alone in pushing for a Bronze age date and some have seen occasional swastikas, and from these isolated marks told extended tales of Bronze age invasion and historical domination. Rightly Cadwell distances himself from these fancies and correctly remarks that the Fontainebleau 'swastikas' are simply variation of cross and dot themes. There is an example at the top of this station.
Stepping back, rectilinear rock art of grids, dots and tassels are visible in Iron age sites (for one example, Colen del Valento), and a working bridge period from after the bronze age (let's say from between BC 200 to AD 400) would sensibly allow the rock art to be mirroring the scale of the newly dominant cultural focus, namely the 'manuscript', and the cultural art of manuscript lettering. This might explain the small scale and the application of straight lines and junctions. The images seem largely apart from the total abstraction of the glyphs found in 'letters', and the idea of 'lettering protocols' applied to an-alphabet schematics seems to be a credible avenue of explanation.
The growth of today's cities of Paris and Orléans from the early years of Roman invasion and into the medieval feudal will have pushed 'traditional thinkers' into fringe areas, and a lifestyle of discretion (where traditional thinkers might be those keen on ancient dance, rite, free thinking and spiritual ideas). The area between these two dominant 'urban' growth-points with the most available discreet land might be described as the band of land to the south and west of Paris – including the rocky outcrops of the forests of Fontainebleau, and if I was to look for evidence of the post Celtic pagan in the first centuries after Christ I would look here.
AJM 26.03.20
It has been a little while since I have had some free time for railfanning. Since both of the kids needed a nap, I packed them up and headed out for a couple of sunny Sunday afternoon hours. Both promptly fell asleep as I began a quick tour around Granite City. I spied a nicely parked 2064 at the Port Harbor but heard an Alton & Southern 102 job get a couple of blocks to head south (Troy & Van blocks) with the ALS 2000! ALS power remains high on my hit list as they are elusive and most assuredly do not have many years left.
After a couple of so-so shots at Double Track Jct & at Hwy 111, the cloud cover moved east. Glorious sunshine bathed the 2000 / 2001 as they chugged south with 58 cars for Gateway Yard. Grady had awoken from his nap for this shot at Collinsville Road (that's I-55 in the background) and had a quick minute to throw rocks in a puddle before waving and hopping back in the car to resume the chase!
11-22-2015
Dynamic Comics / Heft-Reihe
cover: Gus Ricca
Chesler / Dynamic / USA 1944
Reprint / Comic-Club NK 2010
ex libris MTP
With a one year-old GE C44-9W in the lead and an older ister behind, this intermodal container train is in dynamic braking mode as it approaches the curve where Swarthout Canyon Road runs alongside the tracks heading towards the area know as Blue Cut.
BNSF 4031 General Electric C44-9W built 2003
BNSF 4905 General Electric C44-9W built 1998
NASA's International Sun-Earth Explorer C (ISEE C) was undergoing testing and evaluation inside Goddard Space Flight Center's dynamic test chamber when this photo was taken. Working inside a dynamic test chamber, Goddard engineers wear protective "clean room" clothing to prevent microscopic dust particles from damaging the sophisticated instrumentation. NASA launched the 16-sided polyhedron, which weighed 1,032 lbs. (469 kg.), from Cape Canaveral, Florida, on August 12, 1978. From its halo orbit 932,000 miles (1.5 million km.) from Earth, the satellite monitored the characteristics of solar phenomena about one hour before its companion satellites-ISEE-A and ISEE-B-observed the same phenomena from a much closer near-Earth orbit. The correlated measurements supported the work of 117 scientific investigators who were trying to get a better understanding of how the Sun controls Earth's near-space environment. The scientists represented 35 universities in 10 nations.
Credit: NASA
Image Number: 11-77-6
Date: November 6, 1976
This aurora took quite a while to build up (fairly typical with a slow high density solar wind), but the climax was well worth waiting for, with an active rayed band that was difficult to catch in this 6 second exposure. Luckily I was also shooting video at the time.
Samyang 35mm lens
my friend got this as a gift & the packaging was so appealing I couldn't resist myself.
the spray bottle came within a large, handful size packet; showing the line of products coming with it on front & there is sport figure printed at the corner, kicking a ball, in black while the whole background was full of red-dots.
the picture was taken inside a room in the sunlight coming from the left-side window & right-side wide-opened gate.
Dynamic Auto Painter
We went for breakfast at the Sunset Grill last weekend and I snapped this photo of the scenery from the restaurant and turned it into a painting. We were high up atop a hill in Ithaca, NY.
In January 1954, Union Pacific took delivery of 40 EMD GP9 units without dynamic braking (UP 205-244). No. 224 made an appearance in Salt Lake City, Utah on May 27, 1978. It would be retired in Feb. 1979 and sold to Morrison Knudsen in Boise, Idaho who rebuilt it (adding dynamics) and sold to Kyle Railways, lettered for San Diego & Arizona Eastern as No. 101 in March 1980. Info from UtahRails.net