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Olympus E-3
ZD 7-14mm f/4 ED
Aperture Priority Mode
f/8
ISO 100
7mm
1/250
Metering: Spot
White Balance: Cloudy
No Photoshop
No HDR
Buntspecht 2014 № 14
Belichtung: 1/320 sec.
Blende: ƒ6,3
Empfindlichkeit: ISO 1000
Brennweite: 750 mm
Distanz: 2,66 m
Stativ: Einbein
Chip: DX Format
Ausschnitt: allseitig
Seitenverhältnis: 5:2
hehe strobist 1/4 canon 580ex2 octabox from right for bit frontlight , canon 40d+ ef 50mm f1.8 ( i dont like and dont use it must bought 85mm f1.8) triggered by PW edited in aperture ( curves)
www.facebook.com/pages/Marek-Svancara-Photography/2156165...
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Dieppe-based Alpine, once an independent company specialising in faster Renaults, later a Renault subsidiary, established a fine competition history with the Alpine A110 winning the 1973 Monte Carlo Rally and World Rally Championship. The successor was the Alpine A310, initially powered by tuned 17TS/Gordini four-cylinder engine, still rear-mounted. The maximum power reaching 127 PS (93 kW; 125 hp), thanks to the use of 2 twin-barrel 45 DCOE Weber carburetors.
The first model of the A310, built 1971-1976, was a car with a four-cylinder engine and six frontlights. In 1976 the A310 was restyled by Robert Opron and fitted with the more powerful and newly developed 90-degree 2,664 cc V6 PRV engine, as used in some Renaults, Volvos and Peugeots.
(Wikipedia)
This is a scale model of the Aston Martin DB11. It has the folowing features:
- Independent suspension on all wheels
- Steering with functional steeringwheel and HoG in the back
- Swiveling frontlights (right lamp turns right when steering right, left light turns left when steering left)
- LED lights front and rear
- Sequential gearbox operated with paddles next to the steering wheel and HoG in the rear. It is an 8D+N+R gearbox (ie eight speeds forward, one reverse and one neutral).
- Highly detailed V12 fake engine
- Adjustable front chairs (forward, backward and tilting backrest)
- Aerobrake in the back coupled to the gearbox
- Opening doors, bonnet and tail
Instructions are available at
Colorful lighting in the Guler Ice Cave, Gifford Pinchot National Forest, Washington.
After making some images from this infrequently visited spot last year which were not terribly well received, it was back to the drawing board to figure out what was missing. We made some observations:
* While the cave was well lit in last year's experiment, the light didn't do much to the scene other than light it. It was flat. Colorless. Perhaps even a bit harsh. Just plain boring.
* This cave is hardly iconic or recognizable, thus one needs to work MUCH harder to make a compelling image. I've discovered there are good reasons why iconic locations are iconic. They just work. Easily. And the chances that you or I will find a yet undiscovered iconic location are pretty close to slim and none.
* Honestly, most cave pictures kind of stink.
* Most caves feature colored lighting.
* This cave lacks colored lighting. Or any lighting at all, for that matter.
* Ice formations transmit backlighting nicely, allowing us to backlight and frontlight with different colors and get some interesting effects.
So this time, John and I headed back, armed with three flash units, an assortment of flashlights and headlamps, and an even larger assortment of colored flash gels.
I guess you can let us know if this is any more compelling than last year. We can take constructive criticism. This was very much a combined effort which could not be pulled off with just one person. Actually, we really needed a third person. Oh well.
One note, the comps here can be a bit limited. We concluded this one was likely the best one due to all of the ground formations which were not present in such quantities deeper in. Hence the same comp as last year. And we both have similar comps this year as it is difficult enough to keep the lighting out of one camera, let alone two! There were only so many places for me to hide in the dark.
This is a copyrighted image with all rights reserved. Please don't use
this image on websites, blogs, facebook, or other media without my
explicit permission. See profile page for licensing information.
© Tom Schwabel, All rights reserved
Clean cockpit with full integrated wires for dynamo, front and rear lights. The welded on front rack is the home of wires, avoids you from loosing screws and hold the frontlight securely in place. My signature piece, as you expected.
... it was Tuesday and it was Guitarday. So Daniel and I went out again taking same Rock'n'Roll poser pictures.
This was the first time I got asked what I was doing. It happened a couple of times before, that people drove by and went slower to see what is going on, some even turned around to drive by again (I guess to check out if they had their picture taken do to speeding), but yesterday was the first day two girls actually stopped and came over to ask what we were doing... they were pretty shocked as I told them about the picture a day thing... for a whole year.
If they might run into this picture... Hello ;o)
... this photo is brought to you by the Letter - L - press it and enjoy!
22mm - f4.5 - 1/250 - ISO 400
Strobist Info:
SB-80dx (85mm - 1/4) bare from behind, flashes tiggered via Pocketwizard Plus IIs
Setup Picture here (sort of...)
Alternative Version with frontlight on...
© Image by Daniel Schneider | rapturedmind.com - All rights reserved
Images may not be used, copied or multiplied without my written permission!
Six little paper cocktail umbrellas.
These have different designs on each side of the paper. I wanted both to be visible here, so lighting was a balance of backlight and frontlight.
There is a very different photo of the same umbrellas here.
Set up and lighting
There's a setup pic in the comments below, or you can click here to open it in a new Flickr window.
Either way, here are the details:
Set up on glass with a layer of white paper. Umbrellas held upright with their stalks in little lumps of Blu-tack, and photographed from above.
Three hotshoe flashes fired by radio triggers.
Vivitar 283 in small softbox under the glass for a diffuse light from behind the umbrellas.
Snooted Vivitar 283 high camera-left.
Snooted Vivitar 283 just a little higher than the umbrellas, camera-right.
Triggers were Cybersyncs.
Learn how to light at Strobist
This is a scale model of the Aston Martin DB11. It has the folowing features:
- Independent suspension on all wheels
- Steering with functional steeringwheel and HoG in the back
- Swiveling frontlights (right lamp turns right when steering right, left light turns left when steering left)
- LED lights front and rear
- Sequential gearbox operated with paddles next to the steering wheel and HoG in the rear. It is an 8D+N+R gearbox (ie eight speeds forward, one reverse and one neutral).
- Highly detailed V12 fake engine
- Adjustable front chairs (forward, backward and tilting backrest)
- Aerobrake in the back coupled to the gearbox
- Opening doors, bonnet and tail
Instructions are available at
Galway Cathedral seen from the Salmon Weir Bridge, Galway City, County Galway, Ireland
Some background information:
The Cathedral of Our Lady Assumed into Heaven and St Nicholas, commonly known as Galway Cathedral, is a Roman Catholic cathedral in the Irish city of Galway. It is not as old as it perhaps looks like: Construction began in 1958 on the site of the old city prison. It was completed in 1965, lending it the designation of being "the last great stone cathedral to be built in Europe".
Around 1750, a parish chapel was built around 1750 on Middle Street at Lower Abbeygate Street. In 1821 the chapel was replaced with a limestone church built in the Gothic style, and dedicated to St. Patrick. When the Diocese of Galway was established in 1831, St. Patrick's became the pro-cathedral. But after the new cathedral was opened in 1965, St. Patrick's Church was deconsecrated.
Galway is a city in the West of Ireland, in the province of Connacht, one of the four historic provinces of Ireland. It is also the county town of County Galway. Galway City lies on the River Corrib between Lough Corrib and Galway Bay. With a population of roughly 86,000, it is the most populous settlement in Connacht, the fifth most populous city on the island of Ireland and the fourth most populous in the Republic of Ireland.
Erected on the site of an earlier settlement and a then little fishing village, a castle was completed on the spot in 1124. Its name was Dún Gaillimhe ("Fort at the Mouth of the Gaillimh") and it was built by the King of Connacht and High King of Ireland Tairrdelbach Ua Conchobair.
The castle served as a naval base from which his fleet operated. Subsequently, the settlement grew around it. During the Norman invasion of Connacht in the 1230s, Dún Gaillimhe was captured by Richard Mor de Burgh, who had led the invasion. As the de Burghs eventually became gaelicised, the merchants of the town, the so-called Tribes of Galway, pushed for greater control over the already walled town. This led to their gaining complete control over the city.
The Tribes of Galway were an oligarchy of fourteen merchant families (twelve who claimed to be of Norman origin and two of Irish origin), who ruled the town during the Middle Ages. In 1477 Christopher Columbus visited Galway, possibly stopping off on a voyage to Iceland or the Faroe Islands. In 1484, the town was granted a municipal charter, which allowed the citizens to form a council and mayoralty. Still comtrolled the Tribes of Galway, the city grew into a trading port and became the principal Irish port for trade with Spain and France.
However, Galway endured difficult relations with its Irish neighbours. A notice over the west gate of the city, completed in 1562 by Mayor Thomas Óge Martyn, stated "From the Ferocious O'Flahertys may God protect us". A by-law forbade the native Irish (as opposed to Galway's Hiberno-Norman citizens) unrestricted access into Galway, saying "neither O' nor Mac shall strutte nor swagger through the streets of Galway" without permission.
During the 16th and 17th centuries, Galway remained loyal to the English crown for the most part, even during the Gaelic resurgence, perhaps for reasons of survival. However, by 1642 the city had allied itself with the Catholic Confederation of Kilkenny in the course of the Wars of the Three Kingdoms. During the resulting Cromwellian conquest of Ireland, Cromwellian forces captured the city after a nine-month siege.
At the end of the 17th century, the city supported the Jacobites in the Williamite war in Ireland. Galway was captured by the Williamites following a very short siege not long after the Battle of Aughrim in 1691. Subsequently, the great families of Galway were ruined and later, under the Great Famine of 1845 to 1852, the city suffered even further.
In the upheaval in Ireland from 1916 to 1923 Galway City played a relatively minor role. Before the outbreak of the Irish Civil War, in March 1922, Galway saw a tense stand off between Pro-Treaty and Anti-Treaty troops over who would occupy the military barracks at Renmore. After fighting broke out in July 1922 the city and its military barracks were occupied by troops of the Irish Free State's National Army. Two Free State soldiers and one Anti-Treaty fighter were killed and more wounded before the National Army secured the area. The Republicans burned a number of public buildings in the centre of town before they abandoned Galway.
Today, Galway has a strong local economy with complementary business sectors, including manufacturing industry, tourism, retail and distribution, education, healthcare and services that include financial, construction, cultural, and professional. But Galway is also a renowned university city. There are two university campuses located in the city, the University of Galway and the Atlantic Technological University, and the city is popular among students from home and abroad.
Re-issue of the Dinky Toys / Meccano #530 from 1964, made by Norev and distributed by Éditions Atlas, Collection "Les Dinky Toys De Mon Enfance - La Saga Des Ouvrants"
The frontlights are modified, the Norev ones were too small.
www.aquitaine33.com/atlas/dinky2/index.html
The car>
engine (ds 19, 1963)> four-cylinder four-stroke in-line engine, front-wheel drive, water-cooled. capacity: 1898 cc,
bore x stroke: 78 x 100 mm, power: 59 kw [80 ps] at 4250 rpm maximum torque: 142 Nm [14.5 mkg] at
3250 rpm, 3 bearing crankshaft, bottom mounted camshaft, compression ratio: 8,5:1
transmission: four speed + 1r, steering wheel gearshift. chassis> front & rear: independent suspension, suspension, brakes, steering>
hydro-pneumatic, internal disc brakes, dual circuit braking system, body: platform frame welded to body,
non-load-bearing parts bolted, roof made of gfk. tyres: 165-400 (v), 155-400 (h)
dimensions> length x width x height: 4840 x 1790 x 1470 mm, wheelbase: 3125 mm, track v/h: 1500 / 1300 mm, weight: 1320 kg,
variable ground clearance: 169, 220, 280 mm. french price 1964: 14.240 ff
mileage> maximum speed: 140 km/h [ds 19, 1955] to 185 km/h [ds 23 ,1972]], consumption according to din 70030:
10.5 - 12 litres / 100 km [ds 19, 1965]. ds 23, 1972: 2300 ccm, 93 kw [126 hp], id models: without hydrop. steering / brakes
development> andré lefébvre, paul magès [hydropneumatics], flaminio bertoni [design]
previous models: 7cv, 11 cv/bl, 15 cv [1934-1957], successor model: cx [1974-1991], produced: 1.456.115 [4.10.1955-
24.04.1975]. presentation> paris salon, 05.10.1955, variants> ds 19 [1955-68], ds 20 [1968-75], ds 21 [1965-72], ds 21ie
[1969-72], ds 23 / ie [1972-75], id 19 [1957-69], id 20 [1968/69], dspécial [1969-75], dsuper [1969-72], dsuper5 [1972-45].
from 1964> pallas versions, serial convertibles [henri chapron, 1960-1971, 1219 ds, 106 id], chapron special models such as
le paris, concorde, le léman, le dandy [coupés], la croisette, palm beach, le caddy [convertibles, all: 1958-70], majesty,
lorraine [sedan sedans, 1965-1974], presidential [state limousine, robert opron, 1968].
strongest ds> michelin test vehicle ds break plr 'mille pattes', 1972, 2x chevrolet V8 engines with 313 kw each [425 hp].
sources> daniel puiboube: the great citroën the book, heel, königswinter 1991, isbn 3-89365-142-x, ulrich bethschneider-
kieser: cars, the history, made: citroën ds/id, motorbuch verlag, stuttgart, 1992, isbn 3-613-01436-x
dvd> design 1, danielle schirmann / anna-celia kendall, heinz peter schwerfel, idea: luciano rigolini, f 2005, 25min, artevideo /
artcore / centre pompidou © a2006/2007 arte france, distribution: absolut medien, 2008
NJ Pinebarrens.
Sunrise can be a slippery subject, photographically that is. More often than not I find myself fighting the backlight in an effort to retain highlights and contrast. Many times after an undesirable result I'll lecture myself aloud, "You should have turned around and captured the frontlight."
The advice of simply "turning around" is sound, if not too often ignored. I'd like to say that is why I took this image - that is that I listened to the advice - but, it was not. Rather, I wanted to capture the foggy landscape with my camera, because lord knows I can never articulate the beauty of it in words.
Mornings like this I feel like I am on the floor of some grand aquarium - be it atop the food chain and without predators, natural or otherwise - soaking in the beauty of my surroundings. In my mind's eye I want to remember these moments as they were, but in the event that my mind fails me, I have this to remind me of the still spring air, cool mist and the sounds of the spring forest.
Would this be more compelling if there were a mountain, waterfall or man-eating unicorns? Sure, I suppose. In the meantime, this is what I have.
Best in Lightbox.
As the sun burns the fog, a beautiful day is ahead of us. Hope the fish start biting! (For Zach's sake)
The Monument to Peter I (Russian: памятник Петру I) is a bronze equestrian monument of Peter the Great in front of the St. Michael's Castle in Saint Petersburg, Russia.
In 1716, emperor Peter the Great commissioned the Italian sculptor Carlo Bartolomeo Rastrelli to design an equestrian statue in commemoration of the Russian victories over Sweden in the Great Northern War. Rastrelli worked for eight years with a model of the monument before it was approved by the emperor in 1724. But as the emperor died the following year, work halted and the sculpture's casting was only completed after the sculptor's death, by 1747, only to remain in a local warehouse, and not to be erected until 53 years later. In the meantime, Catherine the Great had ordered another monument in memory of her predecessor Peter the Great - the Bronze Horseman, the most famous statue of Peter the Great in St Petersburg. At the base of the Bronze Horseman, Catherine even linked her name with Peter the Great, an expression of Catherine's attitude toward her predecessor and her view of her own place in the line of great Russian rulers. Catherine, who, having gained her position through a palace coup, had no legal claim to the throne, was anxious to appear as Peter's rightful heir.
Only in 1800, during the reign of emperor Paul I, was the Monument to Peter I finally erected. It was placed on a pedestal faced with green, red and white-shaded Finnish marble that is decorated with bas-reliefs depicting scenes of two Russian victories over Sweden during the Great Northern War, the Battle of Poltava and the Battle of Hangö, and also an allegorical composition with trophies. The Russian victories at Poltava and near Hangö, Finland helped Russia become the dominant power in the north of the continent. Peter the Great led his troops to both victories.
By order of emperor Paul I, the inscription "To Great Grandfather from Great Grandson" (Прадеду - правнук) was made on the pedestal, a subtle but obvious allusion to the Latin "Petro Primo Catherina Secunda", the dedication by Catherine the Great on the Bronze Horseman.
During World War II, the equestrian statue of Peter I was removed from its pedestal and sheltered from the 900-day German siege of the city. In 1945, the statue was restored and returned to its pedestal.