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My second slightly brighter version of previous image from St. Marys as I was looking at it and decided that it was a bit too dark so i tweaked it a bit. I think it looks a bit better. Let me know what you think (if you want:)) Thanks for looking, all comments and faves are greatly appreciated.
"In my view the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture" Ridley Scott (Director of Blade Runner, Alien, Gladiator, The Martian, and others).
What a scrumptious mix!
Couché de soleil à la corniche de Sète
Lee 0.9 GND filter + Lee 0.6 GND filter
1 exposure (RAW)
Lightroom CC
PS CC
Color Efex Pro 4
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Réf. B2016-68 - Photo non libre de droits -
Pour tout achat (fichier numérique, tirage papier ou tableaux) merci de me contacter en privé.
La présente œuvre d'art est protégée par le droit d'auteur, en vertu du Livre 1er de la Partie 1 du Code de la propriété littéraire et artistique (articles L 111-1 et suivants dudit code).
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This body style was used for the 1966-67 Chevy II models. The two parallel horizontal grille strips just below the headlight centerline indicates 1967 as the model year although it appears that some parts of the grille have been painted.
Closer view of the Cylindromyia introduced in the previous post.
Stack info: Canon 5D Mark II, Canon MP-E 65 lens
45 natural light exposures, aperture f5.0, ISO 200
Magnification: 1.4X
For this shot I had the full moon behind me. I was amazed how well lit the foreground is by using the moon light.
I posted Star Trails I last week.
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Miranda Sensorex II with Auto Miranda 1.8/50
and Critical Focuser VFE-3
In 1967 Miranda introduced the Sensorex (I), an early SLR with TTL-metering at open aperture. It has interchangeable viewfinders, and, like on Topcon cameras, the CdS-cell is placed on the mirror, so the exposure meter can be used with every viewfinder, or even without one, just with the viewer screen.
In 1972 the Sensorex was updated with the Sensorex II with only minor changes. Let's speak just of "I" and "II". I: dial for lens speed on the front II: dial around the rewind crank. I: back opened with dedicated shifter II: opened by pulling out the rewind crank. I: X- and FP-sync II: X-sync only. I: cold shoe on standard prism II: hot shoe. The viewfinders are not compatible. You can use prism-I on body-II, but it looks somehow ugly, but you can't use prism-II on body-I.
The built quality of those Mirandas is fantastic, but in the end a mechanical overkill. Exposure metering works with the match-needle procedure: a straight needle in the viewer is directly connected with the coil instrument ("meter needle") and gives a position according to the light condition. For a correct exposure you have to match that needle with a second one, the "follower needle", marked with a "o" at its tip. The follower needle can be moved by adjusting 1) the shutter speed, 2) the film speed, 3) the lens speed and 4) the f-stop. All those settings are led to a marvelous system of levers in the bottom of the camera body, which finally is connected with the follower needle. There is a nice exploded view from that in the instruction manual.
Think about, that in 1976 in a Canon AE-1 most of that things are done by an integrated circuit. Not only that, at that time Miranda still offered the Auto Sensorex EE, a camera which features shutter priority automatic exposure - fully mechanically. So you can imagine how Miranda found its end.
Also the range of available lenses was somewhat limited. There were 11 Auto Miranda lenses from 25 to 200 mm for open-aperture metering; Soligor lenses which can be used via T4-adapter from 21 to 300 mm; 20 lenses with preset aperture from 25 to 800 mm. But Miranda offered some interesting adapters, which with you can use lenses with following mounts: M42, Exakta/Topcon, Nikon F, Leica/Canon M39, Contax/Nikon S rangefinder (standard) and Contax/Nikon S rangefinder (wide angle or telephoto).
The mounted viewfinder has two eyepieces, one for 5x and one for 15x magnification. There is no prism, so the view is always from top and the image is mirror-inverted. In the picture the viewer is folded out to use the 5x eyepiece, it is like using the loupe of a common waist-level finder, the entire frame is visible. If you fold the viewer back, the smaller 15x eyepiece appears, it is directly beside the 15x tag. With it you can only see the center of the frame, inclusive the split-image focusing aid.
On the box is written, that the VFE-3 fits the Auto Sensorex EE and the Sensorex II, and it perhaps fits some following models. It does not fit the older Sensorex, a part of the camera body (the front of the "prism housing") inhibits the prism to be pushed in completely. The standard prism finder with the Miranda tag also doesn't fit the older Sensorex.
The camera came in a fine condition, but with one fault: the mirror doesn't return when I use shutter speeds of 1/30 s or slower, it always returns when I use shutter speeds of 1/125 s or faster. This behaviour is absolutely reproducible; at 1/60 s, the sync-speed, the mirror returns sometimes and sometimes not. The shutter works always correctly. Opening the bottom and observing the mechanics brought no insight. Then I found out, that the bottom in the mirror box can be removed easily. There I spotted the responsible hook which failed. So I could follow the chain of movements back to .. the first shutter curtain. At slow shutter speeds the first curtain does not reach its final position, about 0.5 mm are missing. I don't find out the reason so far, and I don't like to play around with the tensioning of the shutter curtains, it's somewhat delicate. I find that behaviour a bit strange, because at fast shutter speeds the first curtain is slowed down a bit, because some of its energy is used to start the second curtain. At slow shutter speeds nothing brakes it, because the second curtain is started by the escapement.
shot with a fujifilm x-s10 and a canon ef 50mm f/1.8 stm lens, on a fringer ef-fx pro ii adapter
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my thoughts on this lens:
Sur la place de la Victoire, face à la cathédrale ND , Urbain II trône sur sa fontaine . La statue en bronze a été réalisée en 1898 par Henri Gourgouillon .
Elle couronne une majestueuse fontaine . Le tout pour commémorer le huitième centenaire de l' appel à la première croisade , lancée par le pape Urbain II lors du Concile de Clermont en 1095.
Ce monument est aussi appelé par les clermontois : Monuments des Croisades.
Mon petit doigt me dit que l' idéologie woke , si elle a atteint Clermont, ce que je ne doute pas , est déjà en train de fourbir , masses, clefs à molette, bombes de peintures , banderoles vengeresses...Car , bien évidemment , c 'est un affreux islamophobe cet Urbain II , qui voulait reprendre le tombeau du Christ aux musulmans , et qui encouragea les rois de Castille et de Leon à la "reconquista" ! ! heureusement nous avons aujourd' hui le pape François ! un anti Urbain II assurément !
The Church of Saint Joan of Arc (French: L'église Sainte-Jeanne-d'Arc) , Rouen, France.
Design (1969): Louis Arretche.
The church of Saint Joan of Arc was completed in 1979 in the centre of the ancient market square, known as the Place du Vieux-Marché, the place where Joan of Arc was burned at the stake for heresy in 1431. A small garden, Le Bûcher de Jeanne d'Arc, marks the spot.
The modern church Sainte-Jeanne d'Arc and the adjacent market halls were designed by the architect Louis Arretche, who was commissioned in 1969. The sweeping curves of the structure are meant to evoke both the flames that consumed Joan of Arc and an overturned longship. Many early Christian churches were designed in the shape of an overturned boat. The market halls simultaneously resemble smaller overturned boats and fish with gaping mouths, which are also rich Christian symbols. The tiled roof echoes this theme and forms a covered walkway over the square.
The Universal Mercury II camera, first released in 1946. An American-made camera with a unique rotary shutter design allowing for 1-1000 shutter speed. The first camera to feature a hot-shoe for a flash on the camera. Made of an alloy of aluminum and magnesium.
This camera still works after 75 years with no maintenance! It takes half-frame photos on 35mm film with an f2.7 Tricor 35mm lens. 72 photos on a 36-exposure roll. This camera was passed on to me by my father-in-law who bought it new while stationed in occupied Japan just after WWII.