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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.
Morning rush hour scooter traffic in the centre of Taipei.
Over half of Taiwan's 23 million population own a scooter, with roughly 14 million of them on the roads of this tiny island nation. Thankfully electric bikes are starting to gain in popularity here, as you can imagine the noise and pollution are quite an assault on the senses during these heavy traffic flows through the city.
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Our last trip in 2018 was our Pure Persia photo tour to Iran, and it’s been an amazing mix of landscape, culture and architecture photography - by far the most diverse trip we’ve ever run.
And what a trip it was. Sure, the landscapes are incredible and the architecture is mind blowing, but what has made the biggest impression on me, are the people. Iranians are by far the friendliest and most welcoming people I have ever encountered on my travels.
Many of those Iranians are part of the Flickr community, and the amount of welcome messages I have received from them is heartwarming and humbling. Some of you have even tried to meet up with me in Iran. Everywhere I go, Iranians welcome me to their country, their city or their home. To all Iranians: thank you for an unforgettable experience.
This image is part of a series of four that won me a Bronze Award in the @oneeyeland competition.
Marsel | squiver.com
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©2018 Marsel van Oosten, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Black and white photography workshops, London, Iceland, Valencia, Venice, Frankfurt and Berlin
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New B&W long exposure photography workshop in Venice during November, December and January. 3 days of BW Long Exposure photography tuition and BW post processing
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ON SALE ! BW LONG EXPOSURE PHOTOGRAPHY WORKSHOP LONDON NOVEMBER 17TH - 18TH SAVE £150
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Gracias a todos por vuestros comentarios y reconocimientos...
Por favor, no use esta imagen en los sitios web, blogs u otros medios de comunicación sin mi permiso explícito - Todos los derechos reservados ©.
Please don't use this image on websites, blogs or other media without my explicit permission - All Rights Reserved ©.
Scanned print.
Zeiss Ikon Superikonta (531/16) w/ Novar Anastigmat. June 5, 2021.
Fomapan 100 in Adox Rodinal 1+100, semistand 1 h.
Printed on Bergger Prestige FB CB2, developed in Moersch SE2 and toned in Selenium (1+7, 45 sec).
PS borders.
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.
The beautiful 1928-built, 50 foot "Euphemia II" at this year's annual Classic Boat Festival. From the festival's website:
"Euphemia II" perfectly captures the aesthetic of west coast cruisers of its time. Its graceful lines and powerful presence is underpinned by fine materials and excellent craftsmanship.
"Euphemia II" was built in 1928 in Seattle, Washington by the Schertzer Brothers. The builders were involved in speed boat racing and had a boat shop on Lake Union for many years. The Schertzer Bros. built a significant number of boats, some as “stock” models and others as custom models.
This vessel has a tri-cabin layout. The forward cabin sleeps 2. The center cabin is the wheelhouse. The aft cabin contains the galley and the saloon. The saloon can dine 6 or sleep 2.
From another source, her original name was "Mary-Mar-Ann" and was built to participate in the "Capital-to-Capital" (Olympia, Washington to Juneau, Alaska) race. She competed and won the race in 1929.
Asdøljuvet Gorge, Norway. December 2009.
view Pleiades II larger at my website.
Read about this photograph here
- Check out my blog to see my Favorite Photos Of 2009
- Website: Seung Kye Lee - fine art landscape photography
- Blog: Seung Kye Lee Photography Blog
Copyright © Seung Kye Lee.
The photograph must not be used without permission.
DSC_4164
This is one image in a series I'm shooting on parking decks ... shapes and forms, light and shadow play, mood and atmosphere. Some images are minimalist; others representational; still others abstract. To see more in the series click Parking Deck Series
It's a narrow bend of the black water creek in the Kleinwalsertal. It's fantastic to see the sunlight breaking through the trees. The mossy green of the rocks in the creek shines bright amid the dark looking water.
Thank you so much for all your comments. Please also have a look at my profile on 500px.com/HausHimmelreich and facebook.com/HausHimmelreich
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 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.