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Se não fosse o chamamento que emite frequentemente na primavera, o torcicolo passaria certamente despercebido. Esta ave singular notabiliza-se pelo seu hábito de girar o pescoço. Pequena ave da família dos pica-paus. A plumagem castanha e cinzenta tem um aspecto críptico, tornando esta ave difícil de detetar, especialmente quando pousada nos troncos das árvores. O canto característico que o torcicolo emite na primavera é o principal meio de deteção desta espécie.Pouco comum mas não raro, o torcicolo distribui-se de forma esparsa pelo território nacional. Localmente, como em certas zonas do nordeste, pode ser bastante comum. É uma ave principalmente estival, que está presente entre nós de abril a outubro, embora ocasionalmente se observe no inverno, no sul do país. Mas é nos meses de abril e maio que o torcicolo é mais fácil de observar, devido à maior atividade vocal nessa época do ano.
Fonte:http://www.avesdeportugal.info/jyntor.html
The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.
I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.
The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.
The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.
All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.
Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.
The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.
The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.
Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.
One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.
Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).
The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.
I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.
The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.
Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.
The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.
The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.
Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.
The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.
There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.
In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
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Another upload of my new favourite mountain and on this occassion it appears to be doing a spot of cloud production.
Once again i opted for the HDR approach for which i do not apologise :)
im counting down the days till i get back up there,midgies or not i need to return to the Highlands and do more exploring,i find the whole area very addictive and have a few more shots i need to get.............now where did i put that sleeping bag?
HDR....3 exposures from a single RAW file
37 219 emits a whiff of exhaust as the driver opens up the EE power plant, just to give us all a sound of the throaty EE roar. The working was 1Q17 Bristol to Derby which would pass through Water Orton 3 times during the day.
As one can observe the plant is emiting his annual flower stalk. Hope it is a auto-polinator plant ´cause it is an only one plant everywhere in wilderness. Hope I can get back there with lots of seedlings and do the difference, my share.
Hope you liked it,
Constantino
The larvae of the adult Puss Moth is one of the most extraordinary caterpillars of the moth world. With its large head and its two tails (modified claspers) when felt threatened or provoked it will wave them about emitting fine red threads and thrust out a thin liquor of formic acid which is said to have an accurate range of about 60 centimetres. Larvae will feed on the leaves of willows.
The facade of this building fitted with glass emitted a spectrum of colours, which was something I was trying to capture.
Gustav Krueger is a German criminal with a 7-foot (2.1 m) long bionic tail that emits sonic shockwaves to mimic his reptile namesake.
Hailing from Germany, Rattler was given a bionic tail which he uses to create shockwaves and vibrations. This proved very useful in his first confrontation with Captain America, during the Rattler's initiation into the Serpent Society. He and his fellow Serpents Cobra and Anaconda were ambushed by the hero, but Rattler was able to use his tail to stop Captain America's shield from doing any damage. With the other Serpent Society members, he was hired by A.I.M. to hunt down MODOK. He later battled Captain America again after being tricked by the Porcupine, along with Diamondback, Death Adder, and Cottonmouth. During the ensuing fight with Captain America, Rattler used his bionic tail to send vibrations coursing through the hero's body, disorienting him. However, he was eventually thrown into a pillar by his tail, knocking him out for the battle. Rattler, Cottonmouth, and Death Adder were sent to jail, but freed from jail by Sidewinder. Alongside Cottonmouth, Rattler confronted Kingpin's men over the Death Adder's murder.
The Rattler joined Viper during her invasion of the Serpent Society, and battled the Falcon. He subsequently followed Cobra's instructions when he became leader. He participated in the Serpent Society mission to recover mystic objects for Ghaur and Llyra. During the battle with the X-Men after Longshot had found the missing artifact they were searching for, Rattler created an avalanche by rattling his tail, though this took both Longshot and Rattler out in the process. Rattler voted against Diamondback during the Serpent Society's trial of her; alongside the Serpent Society, he then battled Captain America, Paladin, and Diamondback. The Rattler also participated in the battle against Force Works, where he initiated use of his "Rattling Gun", a gun that could supposedly create enough seismic waves to rattle someone's ribcage apart. He was eventually defeated by Hank Pym.
He has been seen as member of the Serpent Society under Cobra's leadership. After the group had captured and chained Captain America and Diamondback (really an L.M.D.) in this underground New York headquarters the pair escaped. S.H.I.E.L.D. subsequently took Rattler and the rest of the Society into custody.
Very little is known about Rattler's past. He was very popular with the ladies of the Serpent Society, as Black Mamba recommended him to Diamondback for a "good time."
Rattler joined the group of criminals aiding the Thunderbolts during The Civil War, alongside fellow Serpent Society members Cobra and Bushmaster.
He appeared in Brand New Day as one of the villains in the bar.
Rattler was apparently killed by Scourge but later resurfaced as as a member of Viper's "all-new, all-different" Serpent Society under its new name of Serpent Solutions.
Rattler possesses a 7-foot (2.1 m) long artificial bionic tail attached through surgery to his spine and lower back, which he can use for a variety of tasks, including grasping small objects, hanging by his tail, and as a bludgeon. He also has the ability to generate sonic vibrations by activating mechanisms in the "rattle" at the tip of the tail for various effects, including creating shockwaves, deflecting projectiles, and inducing vertigo, disorientation, unconsciousness, internal hemorrhaging, and possible death in opponents.
Rattler is 85% deaf in both ears and wears electronic hearing aids in his cowl. He possesses fang-like teeth.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
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A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Gustav Krueger
Publisher: Marvel
First appearance: Captain America vol. 1 #310 (October 1985)
Created by: Mark Gruenwald (writer)
Paul Neary (artist)
The starry northern sky, enchanted by colorful curtains of the Northern light, sparkles above Peyto Lake in the Canadian Rockies. The diffuse ethereal glow of the green and pink aurora borealis spread out along the northern and northeastern horizon during the night of the new moon. This phenomenon is caused by particles flung out by the sun at enormous speed. Guided by Earth’s magnetic field towards the poles they collide with atoms in the thin atmosphere at 100 to 300 km height. Within this ionosphere the absorbed energy is emitted as visible light. The green and red colors are emitted when the suns particles collide with atomic oxygen in the atmosphere. Purple colors result from collisions with molecular nitrogen. Ursa Major, the Big Dipper is visible just atop the pink northern light and the Corona Borealis, the northern crown to its left. Peyto Lake is located in the glacial valley below Bow Pass. The lake is fed by meltwater of the Peyto glacier. The stream carries vast amounts of sediments and rock flour into the lake. The latter causes the lakes beautiful and famous bluegreen waters, even visible at night.
August 2009
Canon 5D Mk II, L16-35mm, ISO 1600,
6 min static and dynamic images, tripod, AstroTrac TT320 astronomical mount
More information:
Where Geoscience Meets Art
Emits music when someone zooms in on your avatar.
Radius is 1-meter.
Within 30 seconds long from the start of the song!
Come and listen to the samples inworld . ♥
Neon lighting consists of brightly glowing, electrified glass tubes or bulbs that contain rarefied neon or other gases. Neon lights are a type of cold cathode gas-discharge light. A neon tube is a sealed glass tube with a metal electrode at each end, filled with one of a number of gases at low pressure. A high potential of several thousand volts applied to the electrodes ionizes the gas in the tube, causing it to emit coloured light. The colour of the light depends on the gas in the tube. Neon lights were named for neon, a noble gas which gives off a popular orange light, but other gases and chemicals are used to produce other colours, such as hydrogen (red), helium (yellow), carbon dioxide (white), and mercury (blue). Neon tubes can be fabricated in curving artistic shapes, to form letters or pictures. They are mainly used to make dramatic, multicoloured glowing signage for advertising, called neon signs, which were popular from the 1920s to 1960s and again in the 1980s.
And yes this was taken in the "Pub" - - Wellington now has a pub called "the Pub", this was my first visit, it made a nice change from coffee.
A palm-sized propulsion option for future space missions: each one of these seven emitter arrays etched onto this silicon wafer using micro- and nano-technology possesses more than 500 pinhole-sized emitters that spray out ions, accelerated via an electrostatic field to maximise thrust.
Inherently scalable, this ‘electrospray’ technology is being developed as a cost- and mass-effective method of propelling CubeSats and other small satellites. For the first time in Europe, this ionic-liquid based electrospray propulsion system has achieved more than 400 hours of continuous operation.
“Everyone knows that ‘space is hard’, but we like to say that ‘propulsion is harder’,” comments Daniel Pérez Grande, CEO & Co-founder of IENAI Space in Spain, developing the technology for ESA. “Developing a new technology, which we have built from scratch, has been no easy feat, but we are confident that our propulsion products will stand out in the market for their incredible performance and customisation capabilities; and in fact we have already been approached by a number of interested parties in the industry.”
Known as ATHENA (Adaptable THruster based on Electrospray powered by Nanotechnology), this system is one of three currently being developed by ESA to harness electrospray propulsion for space. ATHENA relies on conductive ionic-liquid salts as a fuel. This liquid flows through nano-textured conical emitters to be accelerated between an emitter and an extractor operating at different electric potentials. The interaction between the surface tension of the liquid and the applied electrostatic field forms ions which can be sprayed out at very high speeds (on the order of 20km/s), creating the force to move the satellite.
The micro-fabricated ATHENA system has the advantage of highly customisable thrust, using non-toxic ‘green’ propellants with no need for pressurised tanks. And the thrusters can be clustered together freely as needed – a total of six would fit onto the 10 cm face of a single CubeSat unit. These units can then be further clustered to deliver thrust for satellites of up to 50kg in mass.
The project has now passed its Preliminary Design Review, targeting a final product by the end of next year. Development has been supported through ESA’s General Support Technology Programme, readying innovative products and services for spaceflight and the open market.
Credits: IENAI Space
As a response to Loros violent actions Eu launched counter strikes to cripple their operations. After they had discovered a container ship that emitted abnormally high data traffic, they raided the ship and found a data center which turned out to be a goldmine with intel surrounding their statfjord operations.
Shot and edited in three channels of narrowband data, SII, Ha, and OIII.
SII is the light wavelength emitted by singly ionized sulfur.
Ha is the light wavelength emitted by hydrogen alpha.
OIII is the light wavelength emitted by
doubly ionized oxygen.
The three data channels combine to make the color image by using SII for Red, Ha for Green, and OIII for Blue. This color pallet is known as SHO. SHO was pioneered and made famous by the Hubble Space Telescope.
This data was collected by Will.i.am on the Discord Server "FriendlyCosmos" and edited by myself using Pixinsight and Photoshop.
Brooklyn June 2011, with Jick and Ewok.
I did almost the exact same piece 2 months earlier with a light outline, and I really wanted to see it with a dark outline, so this happened.
Starlight Designs - Cursed Chest Icicles {Maitreya}
Starlight Designs - Cursed Icicles Light Emitter {Add}
Starlight Designs - Cursed Collar Icicles {Maitreya}
Starlight Designs - Cursed Left Arm Icicles {Unrigged}
Starlight Designs - Cursed Right Arm Icicles {Unrigged}
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[Mignonne] evo X ears Velour Frost
[Mignonne] Lorna goth br frost
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GERMINAL - EVE NIGHT face tattoo
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DO INK HIVER DES ANGES
(Sleeves)
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Petirrojo. Canto
Emite insistentemente un reclamo seco (tac), que repite con frecuencia irregular: tac-tac…, tac-tac-tac. El canto es más elaborado y melodioso. Reclama y canta a lo largo de todo el día, pero especialmente por la mañana muy temprano, incluso antes del amanecer.
Canto
Emite insistentemente un reclamo seco (tac), que repite con frecuencia irregular: tac-tac…, tac-tac-tac. El canto es más elaborado y melodioso. Reclama y canta a lo largo de todo el día, pero especialmente por la mañana muy temprano, incluso antes del amanecer.
Los graffiti en el lado palestino de la barrera se han convertido en una de las más conocidas formas de protesta contra su construcción. Grandes áreas del muro contienen mensajes en diferentes idiomas dejados por activistas y visitantes.
Un grupo de palestinos e israelíes crearon "Artistas sin barreras" para protestar mediante el arte y la no-violencia contra su construcción.
La Barrera israelí de Cisjordania está siendo construida por el Gobierno de Israel, y se extiende aproximadamente un 20% a lo largo de la Línea Verde y el 80% restante en territorio cisjordano, adentrándose en el mismo hasta 22 kilómetros en algunos lugares, con el fin de incluir asentamientos israelíes densamente poblados, como Ariel, Gush Etzion, Emmanuel, Karnei Shomron, Guiv'at Ze'ev, Oranit y Maale Adumim.
Es un proyecto muy polémico que ha generado importantes críticas contra el Gobierno israelí por parte de distintos organismos como Naciones Unidas y organizaciones pro derechos humanos, así como una resolución no vinculante emitida en 2004 por la Corte Internacional de Justicia que declaraba su ilegalidad e instaba a su total desmantelamiento.
Consiste en un sistema de vallas y alambrados a lo largo de aproximadamente el 90% de su trazado, y en el 10% restante adopta la forma de un muro de hormigón prefabricado de hasta siete metros de altura, creado con módulos individuales, dispuestos uno al lado del otro e intercalados cada cierto intervalo con torretas para el control militar. Las partes de hormigón fueron erigidas para impedir ataques desde los edificios del lado palestino contra los vehículos que circulan en el lado israelí.
El nombre oficial que el Gobierno de Israel puso a la construcción es el de «Valla de seguridad», y por eso los israelíes suelen denominarla «Valla de separación», «Cerca de seguridad» o también «Cerca antiterrorista».
En los Territorios Palestinos suele denominarse en árabe como «Muro de la segregación racial», «Nuevo Muro de la Vergüenza» o «Muro del Apartheid», en referencia al antiguo régimen racista sudafricano. Esta denominación también es utilizada por algunos detractores de la barrera.
La denominación «Muro de Cisjordania», o simplemente «Muro», es utilizada por algunas organizaciones pro-derechos humanos, entre las que se encuentran UNICEF y Amnistía Internacional.
Fuente: Wikipedia
An old school coal-fired power plant, on the banks of Lake Erie. Belching a whole lot of carbon dioxide into the atmosphere - but also providing the electricity we need for our lifestyle.
From the beach only a few hundred yards from this plant, one can see two separate nuclear power stations, each producing electricity without emitting significant carbon dioxide. They are "old school" too, for different reasons, but in the global warming era they make a lot more sense.
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London | Architecture | Night Photography
EXPLORE # 441
This image of the London Chelsea bridge dedicated to Irene to thank her for the kind testimonial. You can see her lovely photos at:
www.flickr.com/photos/10111287@N04/
Chelsea Bridge (formerly Victoria Bridge) is a Grade II listed self-anchored suspension bridge over the River Thames in West London, connecting Chelsea on the north bank to Battersea on the south bank. It opened in 1937 and replaced an earlier suspension bridge of 1857, itself built on the site of an ancient ford.
The first bridge was proposed in the 1840s as part of a major redevelopment of marshlands on the south bank of the Thames into a large public park, and was intended to provide easy access from Chelsea to the new Battersea Park. Although built and operated by the government, it was built as a toll bridge, with the intention that tolls would be removed once the costs of building the bridge had been recouped. With construction delayed because of works on the nearby Chelsea Embankment, the bridge, initially called Victoria Bridge, did not open until 1857. Although well received architecturally, it was unpopular with the public owing to the tolls, and Parliament felt obliged to make it toll-free on Sundays. The bridge was not commercially as successful as had been planned, due in part to competition from the newly built Albert Bridge nearby. In 1877 it was taken into the ownership of the Metropolitan Board of Works, and the tolls were abolished in 1879.
The bridge was narrow and structurally unsound, leading the authorities to rename it from Victoria Bridge to Chelsea Bridge to avoid the Royal Family being associated with a potential collapse. Unable to handle increased volumes of users caused by population growth in the surrounding area and the introduction of the automobile, in 1926 it was proposed that the bridge be rebuilt or replaced. Between 1934 and 1937 it was demolished and replaced by the current structure. The new bridge was the first self-anchored suspension bridge built in Britain, and built entirely with materials sourced from within the British Empire. From the early 1950s onwards it became a popular area with motorcyclists, who would hold regular races across it. A meeting of motorcyclists erupted into violence in 1970, leading to the death of one man and 20 men being imprisoned.
Chelsea Bridge is now floodlit from below and the towers and cables illuminated with 936 feet (285 m) of light-emitting diodes. In 2004 a smaller bridge opened perpendicular to the main bridge beneath the southern span, carrying the Thames Path underneath the main bridge.
en.wikipedia.org/wiki/Chelsea_Bridge
Lights and Texture of London Chelsea Bridge
A more practical take on the new High frequency beam technology. The blade emits a extremely hot high frequency electric current at the end allowing it to slice easily. The blade can be removed however and the MCH-10 can be used a taser device.
Emitting the kind of exhaust for which it is renowned, Bulleid Pacific 34092 CITY OF WELLS heads the southbound Cumbrian Mountain Pullman through the closed station at Little Salkeld on 22nd October 1988. Unfortunately, this was not the shot I intended. The 13:03 Leeds - Carlisle DMU was running late and contrived to eclipse the steam locomotive at the point where I wanted it.
279'10125
Esta es una de esas veces que espero equivocarme, pero creo que esta va a ser la primera y única fotografía que voy a tener la oportunidad de hacer a una retales.
En la imagen la 319-212 con un tren de obra negociando una de las rampas del Pardo y emitiendo una melodía que era música para lo oídos.
Y como siempre, muchas gracias al maestro.