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Sirui 50mm f/1.8 Anamorphic 1.33X
2020 l 10 aperture blades | Sony E mount
On APS-C: the horizontal EFL* is 35mm and the vertical EFL is 50mm.
Paris | 2021
ARW to Jpeg via LightRoom ... Desqeezed with Photoshop
* EFL: equivalent focal length
Program:Aperture-priority AE
Lens:AF-S DX VR Zoom-Nikkor 18-105mm f/3.5-5.6G ED
F:16.0
Speed:1/125
ISO:100
Focal Length:18.0 mm (35 mm equivalent 27.0 mm)
Focus Mode:AF-S
AF Area:Single Area
Shooting Mode:Single-Frame
VR:On
EV:-1/2
Metering Mode:Multi-segment
WB:Auto
Focus Distance:5.62 m
Dof:inf (0.86 m - inf)
HyperFocal:1.01 m
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:5.0
Speed:1/4000
ISO:250
Focal Length:160.0 mm (35 mm equivalent 240.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame, Auto ISO
VR:On
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Picture Control:Standard
Focus Distance:28.18 m
Dof:6.26 m (25.40 - 31.65)
HyperFocal:255.61 m
I've always found tall buildings a comfort; no matter where you are in a city you can usually see them and get your bearings. They're the modern day equivalent of using the stars to navigate.
This was taken on my last night in Seville, at the end of a very, very bad day. After a big disappointment earlier in the day I sunk to my absolute depths and ended up in what professionals tend to call a 'crisis'. I ended up hurting my best friend and myself- it was one of the worst episodes I've ever had. Thankfully (and I'm eternally grateful) he stuck by me and looked after me regardless. When things had calmed down, we went for a walk and I managed to capture this- a nice reminder of the nicer parts of my trip.
I'm often asked by friends, "why go away when you always feel terrible away from home?" My response is generally that I live for the small sense of adventure; the escape from routine. Yes, I'm pretty much guaranteed to feel terrible, but I'm able to go to places I'd never visit otherwise, and have fun taking photographs I never usually would.
Question is, is it worth it each time? Hmm...
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:8.0
Speed:1/200
ISO:100
Focal Length:210.0 mm (35 mm equivalent 315.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:IR Control
VR:Off
WB:Auto1
Focus Distance:28.18 m
Dof:5.79 m (25.58 - 31.37)
HyperFocal:275.20 m
This could be considered as the Indian equivalent of the American Hummingbird. Like other Sunbirds, it feeds on small insects and builds characteristic hanging nests. The species is named after a colonial Dutch governor of Ceylon, Joan Gideon Loten. Only 12–13 cm long, its long bill helps distinguish it from the similar Purple Sunbird. Their long down-curved bills and brush-tipped tubular tongues, are adaptations to their nectar feeding. The bill lengths vary across populations with the longest bills found on the east of Peninsular India and in Sri Lanka. Clicked in the garden; cropped slightly but otherwise untouched. I made sure that the stem of the coconut tree in the background was perfectly aligned with the stem on which the bird had perched so as to create a nice lighter coloured backdrop to isolate the bird from the darker backdrop.
Top shot in Photography Bay Reader Photos Roundup for August 19, 2018.
shot with an olympus om-d e-m10 mark ii—720nm infrared converted—and an olympus 12mm f/2.0 wide angle lens
Program:Aperture-priority AE
Lens:12-28mm f/4 G
F:8.0
Speed:1/320
ISO:100
Focal Length:12.0 mm (35 mm equivalent 18.0 mm)
Focus Mode:AF-S
AF Area:Single Area
Shooting Mode:Single-Frame, [3], Auto ISO
VR:Off
EV:-2/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:3.98 m
Dof:inf (0.73 m - inf)
HyperFocal:0.90 m
This tree........this damn tree......the equivalent of an ear worm for me. I cant stop revisiting it to try to capture it at its best.
I had already had one failed sunrise session with it and knew I could do better with the proper conditions. Well, this particular morning the conditions were better, with a cracking sunrise going off to the right and these clouds behind getting lit up with the first blush.
The pastel tones in the clouds does it for me, subtle layers of light and colour adding depth to this shot.
Really happy with this one.....will I continue to go back to. the tree though? Yep lol
maintenance - Porto di San Benedetto del Tronto (Ascoli Piceno) Marche Italy
Fuji X-Pro1 - Fujinon XF 35mm f1.4 R (53mm equivalent)
Focale équivalente à 166 mm, la distance à vol d'oiseau entre Chamechaude et le Mont-Blanc est supérieure à 100 km!
Oh goodness, I did so many things to try and get all these up, like I had to download a trial version of Adobe CS4 on my mom's computer just to be able to like change them from RAW files to JPEGS, ugh.
Oh I'm like two mintes late, hahahaha.
Oh well.
Hmm yeah so I went onto my friend's roof :)
He talked me into it, even though I'm terrified of heights!
I so wanted to get down for like ever but he wouldn't let me... He grabbed my camera, so I had to stay up.
So it looks like I'm not scared, but I'm terrified.
Anyway!
I have some more to come :)
Oh yeah and compliments to the picture, taken by Justin, my best frannd :)
With my camera of course.
I love you.
Orione: il Signore dei cieli invernali
Dalle Prealpi Trevigiane, la costellazione di Orione si svela in tutto il suo splendore, incorniciata da un cielo limpido e stellato. Con una lunga esposizione, emergono i delicati colori vibranti delle immense nubi di idrogeno galattico, culle di stelle in formazione. La brillante Betelgeuse, il luminoso Rigel e la maestosa Nebulosa di Orione dipingono il firmamento di tonalità eteree. Questa visione celeste cattura l'infinito e lo porta più vicino a noi, in una danza di luce e materia.
Esposizione equivalente di 62 minuti a 30 mm f/2.8
#CostellazioneOrione #CieliInvernali #Astrofotografia #CieloNotturno #FotografiaAstronomica #BellezzaUniverso #NebulosaOrione #Astronomia #PrealpiTrevigiane #Stelle #EsposizioneLunga #UniversoColorato #IdrogenoGalattico #Betelgeuse #Rigel #NotteLimpida #FotografiaCielo #MeravigliaCosmica #AstroLovers #CieloStellato
#OrionConstellation #WinterSkies #Astrophotography #NightSky #AstronomicalPhotography #UniverseBeauty #OrionNebula #Astronomy #TrevigianeFoothills #Stars #LongExposure #ColorfulUniverse #GalacticHydrogen #Betelgeuse #Rigel #ClearNight #SkyPhotography #CosmicWonder #AstroLovers #StarrySky
Program:Manual
Lens:12-28mm f/4 G
F:16.0
Speed:20
ISO:100
Focal Length:12.0 mm (35 mm equivalent 18.0 mm)
Focus Mode:Manual
Shooting Mode:IR Control
VR:Off
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:3.16 m
Dof:inf (0.39 m - inf)
HyperFocal:0.45 m
View On Black
For me, elephant photos are the equivalent of nachos, I can’t do with just one! Well, after that awful analogy, let’s move on to our beloved elephants.
I always seem to put up doom and gloom photos of elephants here. But not everything is bleak. Not a lot of people know this but Amboseli faced one of its worst droughts in 2009. Animal died everywhere; zebras, wildebeests, buffaloes, hippos and elephants – around 400 of them. Young calves died due to lack of milk from their mothers and older calves died due to lack of fresh greens. Older matriarchs often starved and older bulls were poached. It was widely known as the tipping point for elephants in the Amboseli ecosystem, a situation worsened by escalating ivory poaching. But conservation efforts prevailed and the numbers have now bounced back. Collared elephant monitoring and heightened anti-poaching efforts have also helped the numbers tremendously.
We often focus on the negatives and forget to applaud the positives, and I am guilty of this all the time. When I visited Amboseli in August 2014, I saw numerous elephant herds, with elephants of all shapes and sizes. They looked happy and Amboseli looked healthy. It’s true that we can’t control nature’s fury, but today I would like to tip my hat to the dedicated organisations doing incredible work for our beloved behemoths, the thousands of people who dedicated their lives so that I would witness scenes like this; Elephants – walking wild and free.
Strobist: AB1600 with gridded 60 X30 softbox camera right. Reflector camera left. Triggered by Cybersync.
Strobist: AB1600 with gridded 60 X30 softbox camera right. Reflector camera left. Triggered by Cybersync.
Program:Manual
Lens:24-70mm f/2.8 G VR
F:10.0
Speed:13
ISO:100
Focal Length:24.0 mm (35 mm equivalent 36.0 mm)
Focus Mode:AF-S
AF Area:Contrast-detect (normal area)
Shooting Mode:IR Control
VR:Off
EV:-2/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:11.89 m
Dof:inf (2.32 m - inf)
HyperFocal:2.88 m
AF Fine Tune:+18
------------------
Got a blue magic water,
I've got a blue magic water....
Program:Manual
Lens:24-70mm f/2.8 G VR
F:7.1
Speed:1/60
ISO:100
Focal Length:24.0 mm (35 mm equivalent 36.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame
VR:On
Metering Mode:Spot
WB:Auto1
Focus Distance:11.89 m
Dof:inf (3.03 m - inf)
HyperFocal:4.05 m
AF Fine Tune:+11
Two novice monks in Bhutan spinning a large prayer wheel like a playground toy.
In Buddhism, a rotation of a prayer wheel is the equivalent to the recitation of a mantra, usually the sacred 'Om mani padme hum' mantra.
Spock and Mini Spock give it two Vulcan Salutes (the equivalent of two thumbs up for you Terrans!)!
This is not your momma's Star Trek! But that is a good thing! Never before has Star Trek provided so many nail biting, edge of your seat moments! It is much hipper and somewhat more believeable than the typical Trek of old, and has a much more frenetic pace. However, the filmmakers never lose track of what made the original Trek work so well - the characters!
The characterizations here are all very faithful and strong. All of the main characters get their moment(s) in the spotlight.
Not only is this movie much more action packed and exciting than ye olde Trek, it's a lot funnier too, with lots of great character driven humor. McCoy and Scotty in particular are hilarious and the actors playing them deserve special reckognition for so sucessfully capturing the essence of these characters. Of course, it's all about Kirk and Spock and here again, both actors do an excellent job with these Sci Fi icons. Chris Pine in particular does a great job of giving us a Kirk who still seems like Kirk without doing a cheesy Shatner impersonation. He owns the character and makes it his own, as does Zachary Quinto as Spock. Eric Bana's villian, Nero is quite excellent, I only wish we had seen a bit more of him. Leonard Nimoy's appearances in the film are all fantastic and serve the purpose of passing the torch quite well. You'll want to cheer when he first shows up!
Continuity hounds should not allow themselves to be thrown or discouraged by events that seem at odds with established Trek lore, if you hang in there, all will be explained, just sit back and enjoy the ride.There are a few minor things that seem like plot holes to me, but they didn't really detract from my enjoyment of the movie and I don't think most people will notice them, they'll be too busy having a good time!
The designs of everything in the film harkens back to what made the original series so cool, but succesfully purges them of their dated, somewhat silly elements.
This is hardly the best film ever made, but it is a great tribute to a Sci Fi classic which constantly entertains and leaves you begging for more. It is the best reboot/reimagining of something I've ever seen. It's one hell of an origin story for this legendary crew, but it is nothing less than what such classic characters deserve.
if this movie doesn't re-energize the Trek franchise, then frankly NOTHING ever will. In fact I suspect it will re-energine the entire sci-fi space opera genre in general.
May the new Trek franchise Live Long and Prosper!
NOTE: I have a spoiler-filled review as well which is only visible to people who are marked as friends, If I haven't marked you as a friend yet and you'd like to check it out, send me a Flickr e-mail!
Program:Manual
Lens:100mm f/2.8 D
F:3.0
Speed:1/1000
ISO:1250
Focal Length:100.0 mm (35 mm equivalent 100.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Continuous, Auto ISO
VR:Off
WB:Auto0
Picture Control:Neutral
Focus Distance:1.68 m
Dof:0.05 m (1.66 - 1.70)
HyperFocal:110.94 m
Re-posting from 9 years ago. Taken on January 17, 2016, with Panasonic ZS7 digital camera, 40mm equivalent.
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:8.0
Speed:1/1000
ISO:100
Focal Length:86.0 mm (35 mm equivalent 129.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame
VR:On
WB:Auto1
Picture Control:Standard
Focus Distance:28.18 m
Dof:54.52 m (17.52 - 72.04)
HyperFocal:46.15 m
n 1888 Queen Victoria granted Belfast the status of the city and it was agreed that a grand and magnificent building was required to reflect this new status. City Hall opened its doors on the first of August 1906, at a time of unprecedented prosperity and industrial might for the city.
The new City Hall was designed by Alfred Brumwell Thomas in the Baroque Revival style and constructed in Portland stone. The incredible building cost £369,000 to complete, the equivalent around 128 million pounds today but remains an extraordinary beacon of success and civic pride for Belfast.
City Hall has many connections with the famous ocean liner Titanic. Viscount William Pirrie who was Lord Mayor in 1896-1897 just before City Hall’s construction, was also managing director of Harland & Wolff Shipyard. He is the man credited as having the idea for both ambitious builds. He used many of his skilled workmen in the fit-out of City Hall which is why the interiors today are considered an incredible insight into the finish of Titanic’s lounges and suites, the ship’s carving panelling being very similar.
Cheilosia have been described as the hoverfly equivalent to the birders' 'little brown job'. With the exception of C. illustrata they are 'little black jobs' with small features of detail distinguishing them. In this case ID comes down to whether the hairs that can be seen around the rim of the eyes are 'projecting facial hairs'.
Photo ID requires ultimate quality (much sharper than this shot) from different angles. On the rare occasions when one of these flies sit relatively still I'm trying to do this but have yet to produce shots that convince the experts of a species-level ID.
Photographed at Goathland in the North Yorkshire Moors.
For my friend NatuurfotoRien/Rien in Holland, who loves corvids.
I had this odd notion that when I retire I would carve a totem pole, and so over the years, I learned more and more about northwest coast art, culture, and carving. One of the pieces I studied was this - a huge cedar sculpture carved by the great sculptor, Bill Reid, to whom the telling of this ancient story is credited.
Bill Reid was a Haida indian (Haida is their word for “human”). The Haida tribe lives in the Queen Charlotte Islands off the coast of northern Canada (below Alaska), in a special place they call Haida Gwaii. Bill is widely credited for reviving the arts of the northwest coast - he was an amazing sculptor. I am disappointed I will never meet him.
The northwest coast tribes have many gods - all animals. Raven is the Haida equivalent of “fox”. Tricky, playful, smart, inquisitive - these are all qualities of Raven, whose play and trickery created the stars in the sky, the sun, the ocean and man.
The man-size (literally) sculpture is inside the University of British Columbia museum in Vancouver, Canada. When it was installed, Bill had the children of Haida Gwaii come to the installation - each with bottles of sand from the beach at Haida Gwaii, so Raven, could be installed in his native soil.
Here is his telling of their genesis myth - one of the most sacred stories in Haida culture:
The Story of the Raven Creating Man by Bill Reid
The great flood which had covered the earth for so long had receded, and even the thin strip of sand now called Rose Spit, stretching north from Naikun village lay dry. The Raven had flown there to gorge himself on the delicacies left by the receding water, so for once he wasn't hungry. But his other appetites - lust, curiosity and the unquenchable itch to meddle and provoke things, to play tricks on the world and its creatures - these remained unsatisfied.
He had recently stolen the light from the old man who kept it hidden in a box in his house in the middle of the darkness, and had scattered it throughout the sky. The new light spattered the night with stars and waxed and wane in the shape of the moon. And it dazzled the day with a single bright shining which lit up the long beach that curved from the spit beneath Raven's feet westward as far as Tao Hill. Pretty as it was, it looked lifeless and so to the Raven quite boring. He gave a great sigh, crossed his wings behind his back and walked along the sand, his shiny head cocked, his sharp eyes and ears alert for any unusual sight or sound. Then taking to the air, he called petulantly out to the empty sky. To his delight, he heard an answering cry - or to describe it more closely, a muffled squeak.
At first he saw nothing, but as he scanned the beach again, a white flash caught his eye, and when he landed he found at his feet, buried in the sand, a gigantic clamshell. When he looked more closely still, he saw that the shell was full of little creatures cowering in terror of his enormous shadow.
Well, here was something to break the monotony of his day. But nothing was going to happen as long as the tiny things stayed in the shell, and they certainly weren't coming out in their present terrified state. So the Raven leaned his great head close to the shell, and with the smooth trickster's tongue that had got him into and out of so many misadventures during his troubled and troublesome existence, he coaxed and cajoled and coerced the little creatures to come out and play in his wonderful, shiny new world. As you know the Raven speaks in two voices, one harsh and strident, and the other, which he used now, a seductive bell-like croon which seems to come from the depths of the sea, or out of the cave where the winds are born. It is an irresistible sound, one of the loveliest sounds in the world. So it wasn't long before one and then another of the little shell-dwellers timidly emerged. Some of them immediately scurried back when they saw the immensity of the sea and the sky, and the overwhelming blackness of the Raven. But eventually curiosity overcame caution and all of them had crept or scrambled out. Very strange creatures they were: two-legged like the Raven, but there the resemblance ended. They had no glossy feathers, no thrusting beak. Their skin was pale, and they were naked except for the long black hair on their round, flat-featured heads. Instead of strong wings, they had thin stick-like appendages that waved, and fluttered constantly. They were the original Haidas, the first humans.
For a long time the Raven amused himself with his new playthings, watching them as they explored their much expanded-world. Sometimes they helped one another in their new discoveries. Just as often, they squabbled over some novelty they found on the beach. And the Raven taught them some clever tricks, at which they proved remarkably adept. But the Raven's attention span was brief, and he grew tired of his small companions. For one thing, they were all males. He had looked up and down the beach for female creatures, hoping to make the game more interesting, but females were nowhere to be found. He was about to shove the now tired, demanding and quite annoying little creatures back into their shell and forget about them when suddenly - as happens so often with the Raven - he had an idea.
He picked up the men, and in spite of their struggles and cries of fright he put them on his broad back, where they hid themselves among his feathers. Then the Raven spread his wings and flew to North Island. the tide was low, and the rocks, as he had expected, were covered with those large but soft-lipped molluscs known as red chitons. The Raven shook himself gently, and the men slid down his back to the sand. The he flew to the rock and with his strong beak pried a chiton from its surface.
Now, if any of you have ever examined the underside of a chiton, you may begin to understand what the Raven had in his libidinous, devious mind. He threw back his head and flung the chiton at the nearest of the men. His aim was as unerring as only a great magician's can be, and the chiton found its mark in the delicate groin of the startled, shell-born creature. There the chiton attached itself firmly. Then as sudden as spray hitting the rocks from a breaking wave, a shower of chitons broke over the wide-eyed humans, as each of the open-mouthed shellfish flew inexorably to its target.
Nothing quite like this had ever happened to the men. They had never dreamed of such a thing during their long stay in the clamshell. They were astounded, embarrassed, confused by a rush of new emotions and sensations. They shuffled and squirmed, uncertain whether it was pleasure or pain they were experiencing. They threw themselves down on the beach, where a great storm seemed to break over them, followed just as suddenly by a profound calm. One by one the chitons dropped off. The men staggered to their feet and headed slowly down the beach, followed by the raucous laughter of the Raven, echoing all the way to the great island to the north which we now call Prince of Wales.
That first troop of male humans soon disappeared behind the nearest headland, passing out of the games of the Raven and the story of humankind. Whether they found their way back to the shell, or lived out their lives elsewhere, or perished in the strange environment in which they found themselves, nobody remembers, and perhaps nobody cares. They had played their roles and gone their way.
Meanwhile the chitons had made their way back to the rock, where they attached themselves as before. But they too had been changed. As high tide followed low and the great storms of winter gave way to the softer rains and warm sun of spring, the chitons grew and grew, many times larger than their kind had ever been before. Their jointed shells seemed about to fly apart from the enormous pressure within them. And one day a huge wave swept over the rock, tore them from their footholds and carried them back to the beach. As the water receded and the warm sun dried the sand, a great stirring began among the chitons. From each emerged a brown skinned, black-haired human. This time there were both males and females among them, and the Raven could begin his greatest game: the one that still goes on.
They were no timid shell-dwellers these, but children of the wild coast, born between the sea and land, challenging the strength of the stormy North Pacific and wresting from it rich livelihood. Their descendants built on its beaches the strong, beautiful homes of the Haidas and embellished them with the powerful heraldic carvings that told of the legendary beginnings of great families, all the heros and heroines and the gallant beasts and monsters who shaped their world and their destinies. For many generations they grew and flourished, built and created, fought and destroyed, living according to the changing seasons and the unchanging rituals of their rich and complex lives.
It's nearly over now. Most of the villages are abandoned, and those which have not entirely vanished lie in ruins. The people who remain are changed. The sea has lost much of its richness, and great areas of land itself lie in waste. Perhaps it's time the Raven started looking for another clamshell.
Program:Manual
Lens:24-70mm f/2.8 G VR
F:16.0
Speed:13
ISO:100
Focal Length:36.0 mm (35 mm equivalent 54.0 mm)
Focus Mode:AF-S
AF Area:Contrast-detect (normal area)
Shooting Mode:Continuous, IR Control
VR:Off
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:17.78 m
Dof:inf (3.30 m - inf)
HyperFocal:4.04 m
AF Fine Tune:+11
They are the smallest and lightest birds in Europe. Their weight is roughly equivalent to a DIN A4 page!
Ever since I saw a really great picture of this little punk by Werner Lippert years ago, I've never been able to get it out of my head. Two years ago I started researching it, then I went to the relevant hunting grounds more often. And at the end of last year I finally saw them for the first time. They really aren't easy to photograph: they usually stay right up in the treetops, are super lively and very small.
Wintergoldhähnchen sind die kleinsten und leichtesten Vögel Europas. Ihr Gewicht entspricht in etwa einer DIN-A 4 Seite!
Seitdem ich vor Jahren mal ein ganz tolles Bild dieses kleinen Punkers von Werner Lippert gesehen habe, will er mir nicht mehr aus dem Kopf gehen. Vor 2 Jahren habe ich dann angefangen zunächst zu recherchieren, dann bin ich öfter in entsprechende Reviere gefahren. Und Ende letzten Jahres habe ich sie dann endlich das erste mal gesehen. Sie sind wirklich nicht einfach zu fotografieren: normalerweise halten sie sich ganz oben in den Baumwipfeln auf, sind super quirlig und sehr klein.
Ethics statement
- Free living animals
- Freilebende Tiere
Program:Manual
Lens:50mm f/1.8 G
F:2.2
Speed:1/400
ISO:100
Focal Length:50.0 mm (35 mm equivalent 75.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame, Auto ISO
VR:Off
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:0.50 m
Dof:0.008 m (0.497 - 0.505)
HyperFocal:56.73 m
AF Fine Tune:+5
Now are mountain cairns the equivalent to driftwood stacks on the beach? There's something that hoomans seem to always need to do and stack stuff into a formation or make a signal marker. I'm not a phycologist and want to begin to work it all out but will still photograph them although do know a few photogs who just hate them. Either way they do seem to appear all over the place...bit like that old meme - 'Leroy was here' maybe. Ponderous.
CALIFORNIA COAST IN ALL HER BEAUTY
Bixby Creek Bridge, also known as Bixby Bridge, on the Big Sur coast of California, is one of the most photographed bridges in California due to its aesthetic design, "graceful architecture and magnificent setting." It is a reinforced concrete open-spandrel arch bridge. The bridge is 120 miles (190 km) south of San Francisco and 13 miles (21 km) south of Carmel in Monterey County along State Route 1.
Prior to the opening of the bridge in 1932, residents of the Big Sur area were virtually cut off during winter due to the often impassable Old Coast Road that led 11 miles (18 km) inland. At its completion, the bridge was built under budget for $199,861 (equivalent to $3.5 million in 2016) and was the longest concrete arch span at 360 feet (110 m) on the California State Highway System. It is still one of the tallest single-span concrete bridges in the world.
Although designed as a 'standard' lens for 35mm film, these days the 50mm F1.8 is far more likely to be seen doing service on APS-C format DSLRs, on which it behaves like a short telephoto portrait lens (80mm equivalent). With its remarkably low (sub-$100) price, it tends to attract the interest of Canon SLR users looking to start experimenting with fast lenses for low light and shallow depth of field work, or simply hoping to get sharper results than those which can be provided by the kit lens bundled with the camera body. It's also a potential option for those seeking a near-disposable lens to use in adverse conditions. ( copied and pasted from www.dpreview.com/lensreviews/canon_50_1p8_ii_c16/ )
294 705 lifts a string of sliding-wall cars (essentially the equivalent to boxcars in America, just with a different opening mechanism) from Graeff Spedition along the Rhine River waterfront in Mannheim, Germany's Handelshafen. More than half a dozen of these large warehouses line the riverfront here, and three customers have kept the rails alive to serve some of them over the last few years with Graeff being the vast majority of the business. Graeff has been the main customer receiving the older two-axle sliding-wall cars at a warehouse beyond the bridge in the background generally a few times a week, but within the last year has added traffic in the larger four-axle cars which get spotted on the road-shared spur at the building pictured here. Schrott Wetzel occasionally loads out scrap beyond the bridge as well and Wetlog occasionally receives a car at the building right behind this one - as they did this day.
Here the crew can be seen returning from the Graeff warehouse beyond the bridge with four empty two-axle cars and four four-axle cars lifted from the building pictured. Interestingly, two of the two-axle empties were spotted at the Wetlog warehouse, which can be seen in the background, for loading immediately after having been pulled from the main customer Graeff. The crew will pull all the way out of the spur and shove loads for Graeff beyond the bridge down the front track, and re-spot four four-axle cars at the pictured location as well - having to switch tracks a few times to work around the two empties spotted at Wetlog in the background.
It's great to see more business come to an increasingly unique operation; however, with the increased traffic the small segment of cobblestone (not pictured here) that was still present in a portion of the road-shared spur was unfortunately removed during some track improvements. Mannheim Handelshafen, Germany
Edit: Apparently the four axle cars were for Wetlog and loaded with sugar, but the service was only temporary for about a month.
Program:Manual
Lens:24-70mm f/2.8 G VR
F:7.1
Speed:1/25
ISO:3200
Focal Length:24.0 mm (35 mm equivalent 36.0 mm)
Focus Mode:AF-S
AF Area:Single Area
Shooting Mode:Single-Frame, Auto ISO
VR:On
WB:Auto1
Focus Distance:11.89 m
Dof:inf (3.03 m - inf)
HyperFocal:4.05 m
AF Fine Tune:+16
The vessel MSC LONDON (IMO: 9606302, MMSI: 352853000) is a Container Ship that was built in 2014. It's sailing under the flag of [PA] Panama.
It has a gross tonnage of 165,000, its length is 399m, beam of 54m and a total of 15908 TEU (twenty foot equivalent units) containers.
White Tank at the Joshua Tree National Park
Even though smoke from the fires decreased the visibility, gazing at the stars and Perseid meteor shower was time well spent. I managed to capture a two meteors in this shot (there is a smaller one to the left of the larger one). This photo is a 4-row panorama consisting of 38 shots. The final image is roughly equivalent to a 187 megapixel photo taken with a 19mm f/1.0 lens.
EXIF
Nikon D600 with Nikon 50mm f/1.8 Series E
Exposure: 10 sec (x38)
Aperture: f/2.8
Focal Length: 50mm
ISO Speed: 12,800
The Wood Duck drake is the duck equivalent to the run-way model of the fashion world. The rich mahogany breast feathers, lovely tan side feathers, and of course the immensely colorful head feathers. When it comes to flash, pizzazz, and looks this duck has it all! Please view large for best experience.
Thanks for stopping by~
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:5.6
Speed:1/320
ISO:1400
Focal Length:130.0 mm (35 mm equivalent 195.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame, Auto ISO
VR:On
EV:-1/3
Metering Mode:Multi-segment
WB:Auto1
Picture Control:Standard
Focus Distance:4.47 m
Dof:0.26 m (4.34 - 4.60)
HyperFocal:150.66 m
Program:Manual
Lens:12-28mm f/4 G
F:7.1
Speed:1/25
ISO:100
Focal Length:12.0 mm (35 mm equivalent 18.0 mm)
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Exposure Bracketing, IR Control
VR:Off
EV:-4/3
Metering Mode:Multi-segment
WB:Auto1
Focus Distance:3.98 m
Dof:inf (0.81 m - inf)
HyperFocal:1.01 m