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A typical scene on Nissequogue River by Old Dock Road. That's Short Beach on the background.
Goodnight everyone.
Spent time with my lovely wife so I wasn't able to see images of my precious Flickr friends today. I'll try to catch up tomorrow. :)
I wish th balloons didn't sway as much but it's a nice contrast to the sharp tents on the right. Still, 5 second exposure on manual exposure.
Good night! :)
Two further examples of jigsaws made for CE Clifford & Co Ltd, Picture Restorers, Carvers, Guilders, Print Sellers, Publishers & Framemakers, of 12 Bury St, St James' London SW are not cut in the smooth push-fit style of William Peacock. The cuts are interesting with rounded longarms and include line-cutting and traces of interrupted edges.
CE Clifford & Co Ltd An Old Time Encounter by Gilbert S Wright, 51x31cm, sold July 2014.
C.E. Clifford worked as an artists’ colourman 1849-1876 and also dealt in photographic materials manufacturer 1856-1865,
1870 Clifford advertised as a colourman and additionally as a ‘carver, gilder, looking glass and picture framemaker’
picture restorer from 1877;
C.E. Clifford & Co from 1887, printsellers; after CE Clifford retired aged 66.
C.E. Clifford & Co turned to print publishing, issuing prints 1887-1907 from the Clifford Gallery. It was carried on by William Batley (b. c.1853) until it was incorporated as C.E. Clifford & Co Ltd in 1909. It advertised as fine art publishers and printsellers and continued until voluntarily wound up in 1924.
C.E. Clifford & Co Ltd 1909-1924, fine art publishers, printsellers, framemakers, picture restorers.
At 30 Piccadilly, London WC 1848-1887, 12 Piccadilly 1887-1892, 200 Piccadilly 1892-1894, 21 Haymarket 1895-1911, 12 Bury St, St James's 1911-1914, 3 Regent Place, Regent St 1914-1924.
Another example has a similar longarm cut stated to be by WG Barton, but the print is recorded as from CE Clifford Gallery (252pc Old Tapestry 12x13in), sold in Aug 2015.
Wood selection for custom wedding frames down at Ironwood in Rozelle.
First round was for Kath - but I commissioned a local framemaker to make them. This time, I'm DIY!
Oh, and I've got some stunning Huon Pine to work with in 2013 too :)
Explore Interestingness: June 8, 2007
Bayard Cutting Arboretum - Long Island Shots 2nd Socials - June 2, 2007
Explore Interestingness: June 4, 2007
Taken at Bayard Cutting Arboretum. Shot with Nikon 70-200mm VR f/2.8 at 200mm f/4. That lens makes great bokeh. I use it almost all the time.
Click here for a better view. <-- Thanks Bob!
This is looking through the window of an artist and frame makers shop in the art district in Lynchburg, Virginia…
Mrs. William Loring Andrews
•Artist: George Augustus Baker Jr. (1821-1880)
•Date:1861-63
•Medium: Oil on canvas
•Dimensions: 30 × 25 in. (76.2 × 63.5 cm)
•Classification: Paintings
•Credit Line: Gift of Jane Elizabeth Decker, 1940
•Accession Number: 40.144
On view at The Met Fifth Avenue in Gallery 736.
This portrait has an unusual oak frame that appears to have been constructed by a cabinetmaker rather than a traditional framemaker. It was likely made to match the furnishings and architectural details of a room in the sitter’s home. Jane Crane Andrews (1840–1930), seen here around the time of her marriage, was later a member of the board of the Woman’s Hospital and the National Society of Colonial Dames. Her husband, William, was a trustee of The Metropolitan Museum of Art and organized its library in 1880.
Signatures, Inscriptions, and Markings
Signature:
[On Label on the Back by a Later Hand]: Mrs. William Loring Andrews-- / (Jane Elizabeth Crane Andrews) / By-- / George Baker-- / [execu]ted / [torn]--1861 – 1863
Provenance
William Loring Andrews, New York, by 1865-died 1920; his wife, the sitter, 1920-died 1930; descended in the Andrews and Crane families to the subject's niece, Jane Elizabeth Decker, by 1940.
MetPublications
•American Paintings in The Metropolitan Museum of Art. Vol. 2, A Catalogue of Works by Artists Born between 1816 and 1845.
Two further examples of jigsaws made for CE Clifford & Co Ltd, Picture Restorers, Carvers, Guilders, Print Sellers, Publishers & Framemakers, of 12 Bury St, St James' London SW are not cut in the smooth push-fit style of William Peacock. The cuts are interesting with rounded longarms and include line-cutting and traces of interrupted edges.
CE Clifford & Co Ltd An Old Time Encounter by Gilbert S Wright, 51x31cm, sold July 2014.
C.E. Clifford worked as an artists’ colourman 1849-1876 and also dealt in photographic materials manufacturer 1856-1865,
1870 Clifford advertised as a colourman and additionally as a ‘carver, gilder, looking glass and picture framemaker’
picture restorer from 1877;
C.E. Clifford & Co from 1887, printsellers; after CE Clifford retired aged 66.
C.E. Clifford & Co turned to print publishing, issuing prints 1887-1907 from the Clifford Gallery. It was carried on by William Batley (b. c.1853) until it was incorporated as C.E. Clifford & Co Ltd in 1909. It advertised as fine art publishers and printsellers and continued until voluntarily wound up in 1924.
C.E. Clifford & Co Ltd 1909-1924, fine art publishers, printsellers, framemakers, picture restorers.
At 30 Piccadilly, London WC 1848-1887, 12 Piccadilly 1887-1892, 200 Piccadilly 1892-1894, 21 Haymarket 1895-1911, 12 Bury St, St James's 1911-1914, 3 Regent Place, Regent St 1914-1924.
Another example has a similar longarm cut stated to be by WG Barton, but the print is recorded as from CE Clifford Gallery (252pc Old Tapestry 12x13in), sold in Aug 2015.
I first thought to wait until there was no people, but as that looked unlikely I thought wait until someone was lined up with the door and use slow shutter.
PEP Magni was a bike shop located in Baggio, Italy, and owned by Peppino
Magni, the former mechanic of the Italian Professional Team (Fiorenzo
Magni, the great "third man of Italian cycling," was a member of this
team)-thus the name "PEP" Magni. However, the framesets were made for
Peppino Magni during the period 1975-1980 by Giovanni Losa in Vittuone.
Losa is a very respected framemaker who produced bikes under his own name
and for others including Cinelli. Although Mr. Losa's firm still exists,
he suffered a stroke two years ago and, sadly, is no longer active.
According to Mr. Granzotto, the "top of the line" PEP Magni" framesets
were made with Cinelli lugs.
source: goo.gl/7qYEQl
Explore: August 22, 2007
This image was taken at Kings Park Bluff, one morning with scubapup.
I can still hear the cardinals outside from time to time. Even dropping by real close at one point so I placed some bird feeds in a container near my door. I don't hear them anymore. Just a lone dove on a neighbor's roof.
No editing done. 5 second manual exposure. Thanks jowy_e for the settings. :D
May mumu dito! (There is a ghost here!)
aw hey look at that, it's my desktop ("desktop," by the way, is a really strange word and hard to pronounce, even within one's head)
This is a close-up shot not macro as most people would think. A macro means 1:1 or closer. Nikon prefers to use the term micro but it is just the same as macro.
Another one of Doug's flower in color.
Testing his Tamron 90mm f/2.8. This was taken at f/8.
Regardless on how good my lens was (nikon 70-200mm VR 2.8), combining it with a 2x pro teleconverter significantly degraded the quality of my images hence my decision to buy a longer lens.
This was taken with a 400mm close to 10 feet and using a flash (at full power) as fill light but I think it didn't have enough reach (SB-600) but still it did improve it a bit. I bought a "better beamer" flash extender and see if that makes a difference.
First time to successfully use flash for macro. External SB-600 flash in shoe. Image is flat... Must find a way to move flash away from camera body to the side. Natural light is best but this is better than not having sufficient light. Real macro flash like the R1C1 Wireless Close-Up Speedlight System is also very good but costs a lot of money.
Handheld, 70-200mm VR 2.8@ f/10. The ISO is at 800 only because I failed to reset it back to 200! Don't consider the focal length since I use it to focus so it doesn't matter in this case. I try to get close as possible because the shorter the focal length, the closer I can focus. The beauty of this set up is that you can stay away if the subject is camera shy or get closer for near 1:1 image if possible.
Manual mode, I then set the aperture and shutter speed to almost ANYTHING i want then the flash compensates (flash priority? :P). In this case, I set it to f/10 @ 1/250th of a second. I also tried 1/350th of a second and I STILL got the same exposure. Pretty neat!
We went to an open house at a nearby college ... C.W. Post. Seems like Sunday is the day to fly a kite at Post!
They had a slide show their ... and asked "what did C.W. Post invent?" The answer: The cereal! I've asked a few people I know that go there - no one knew! Funny part is they say that the only cereal served is Kelloggs :)
In a frame
This photo shows the frame after the second of three layers of toning.
The first layer is a wash of Van Dyke Brown casien paint. The whole frame is painted thinly, then wiped back with a damp rag. This allows the paint to lay thickly in the crevices and details (places that would also hold accumulations of dust and grime) while giving a faint, darkening haze to the frame overall. After the paint is dry, I seal it with thin orange shellac.
Shellac, incidentally, is pretty interesting stuff. It's made from bug poop, you know! The Lac beetle is native to southeast Asia. It eats a particular tree sap, then craps out gobs of "lac". These gobs are gathered up and soaked in alcohol until they dissolve. It's then allowed to dry into thin brittle sheets. The sheets crumble into flakes, which is how I buy it. Unlike premixed shellac, I get greater control of color and consistency. The flakes are sold in a variety of colors from "Blond" which is nearly clear, to "Ruby Red". Mostly I use Orange and Amber. I soak it for 24 hours in denatured alcohol, then mix it again to the consistency I need.
The second wash, shown by this photo, is Burnt Sienna Casien. It is a thiner wash, but not wiped back so much. It gives a warm depth to the details. Again, it's sealed with shellac.
a new piece of felt...yipee....
I hope to put another piece up later, need to visit the framemakers.
as always remember my blog
I was fascinated by the curls on this plant. :)
www.theboylanzone.net/Bob/FrameMaker/FramedImage.htm?stri...
Inscribed on back "Mrs Broadhurst (Eliza Beveridge) and Robert H. Broadhurst"
Two photographs mounted on board with brown wooden veneer front mount
24.3 x 33 cm
Label adhered
D. Bernard & Co.
H. Goldman Proprieter
Fine Art Galleries
323-5 Bourke St
Melbourne
Reference No. (torn off)
Photos possibly taken c.1895 and reframed 1901-1920
D. Bernard and Co began business at 343 Bourke Street in 1895, moving to 323–5 in 1901. They were at 323 Bourke Street through to 1920 (Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999, pp. 13–24).
www.ngv.vic.gov.au/explore/collection/work/76417/
Enquiries: Yarra Plenty Regional Library
Permission to use or share this image is granted provided the orignal URL link is provided along with the image and an acknowledgement to Yarra Plenty Regional Library.
Digital creations by Pidgeoncoop
I'm a bit confused on this one... Either a Monarch or a Viceroy
Another part of the Bronx Zoo that I was very fond of is the Butterfly Garden. Butterflies are colorful and delicate, they are very nice to photograph. Outside captivity, they are hard to catch, let alone find one with very nice colo
I found out that it wasn't as easy as it seems to capture these beauties. You have to find the right angle to make sure everything, the wings in particular, remain in focus. Even at f/8, 200mm, the depth of field was so narrow, you need to stay parallel to their wings.
This was indoors with, again, very limited light. Handheld, VR on, 200mm at f/5. I would have opted for f/8 but settled on f/5 because of the slow shutter speed even at ISO 800! I didn't want to bump ISO to 1600 or else I would lose the intricate details on the wings.
What would have saved me is if I had a flash with me. Unfortuately, in my quest to lighten up my load, I left an important tool that I should always have with me.. my SB-600 flash! There were couple of times where it would have been beneficial.
I surely learned a lot from this trip. I had a long list of difficulties but overall, it turned out fine. If I can get about 10 good shots out of a thousand, that is very fine with me.
My philosophy is, pick the best, then throw out the rest. I know digital made it easy for us to take millions of pictures but what counts are the very few worth keeping. Let's keep quality alive people, and strive for the best!