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I Never Promised you a Rose Garden - 3 (of 17) - Nikon F80 (2000-2009) with Nikkor (2005) DX AF-S 55-200mm 1:4-5.6 G ED non-VR Zoom (F mount) & Fuji ISO 400 Film - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
GARDINER (IMO: 9275048) is a Container Ship and is sailing under the flag of Liberia. Her length overall (LOA) is 210.03 meters and her width is 30.23 meters.
Pictured here about to enter Southampton Water on her passage to the cities International Port.
Iso Fidia (or Iso Rivolta Fidia), initially Iso Rivolta S4, was a four-door sedan from the Italian automobile maker Iso Automoveicoli S.p.A.. The Fidia, first presented at the Frankfurt Motor Show in September 1967, and produced between 1967 and 1975 was the only four-door model from Iso. Production only got underway some time after the initial presentation of the car, and its European press launch which took place in Athens, came more than a year later, in February 1969. At the time of the press launch 15 cars had already been built, but it was only in February 1969 that the car swapped its "S4" name for the more euphonious "Fidia". The car was marketed as a unique combination of comfort and sporting performance, and the slogan that appeared in sales material was "Le quattro poltrone piu veloci del mondo“ ("the four fastest seats in the world")
The choice of Athens for the press launch was connected to the car's new name, Fidia, which was the name (commonly spelled "Phidias" by anglophone classicists) of the artist who some 24 centuries earlier had supervised creation of the friezes which originally decorated the Parthenon (and which in 1816 turned up in the British Museum, following their controversial removal in 1802 by Lord Elgin). In some ways, Athens was not a good choice for a press launch: locally available fuel was of too low an octane for the (single) car made available to journalists and the brief test drive round the city suburbs was characterized by "horrible pinking".
The body design was the work of Giorgetto Giugiaro (then at Ghia). The interior featured polished wood and hand-stitched leather. High development costs drove the purchase price higher than that of a Rolls-Royce. The Fidia's main competitors were other luxurious and sporty sedans like the Maserati Quattroporte. The second Fidia made (and the first with right hand drive) was purchased by English rockstar John Lennon: the car had celebrity appeal.
In 1971 the car received a new interior, which essentially brought it into line with the Iso Lele. The wooden dashboard was replaced by a leather one, which commentators found more elegant but also less practical. The instruments now appeared more randomly scattered than on the earlier cars, and were partially obscured by the Nardi steering wheel.
The Fidia, like other Iso cars, was originally powered by a Chevrolet V8 engine, and was quite quick off the line (0-60 in around 7 seconds). By 1973, after General Motors demanded payment in advance of shipment, the engine supplier had been switched and cars were delivered with a Ford 5.8 litre V8, matched with a ZF five speed manual gear box or with Ford's own 'Cruise-O-Matic' automatic gear box.
In the rarefied market segment that it occupied, the car tended to find itself overshadowed by the Maserati Quattroporte, itself never a mass seller. Until Maserati in effect retreated from the market in response the economic shock that saw massive oil price increases, the Fidia was comfortably outsold by its Modenese competitor. In 1971 Iso produced just 15 Fidias, which rose to 21 in 1972 and slid to 20 in 1973. In total 192 were built.
Yes, I know, they all look the same!!!! But look closer/read on and they are in fact all different, and all the same!!!!.......................
I thought I would do something a bit different and start sharing a few basic photography tips, which will hopefully be of use to someone. I aim to keep things simple and concise in subsequent uploads but I need to ramble on a little bit here to set the scene. No doubt some of you will know all of this already, but I'm willing to bet there are also plenty who don't. Including those with high-end equipment who don't know how to use it!! :-))
A brief introduction
Every photograph has an exposure value (EV) which is dependent on three things: Aperture, shutter speed and ISO sensitivity; often referred to as the exposure triangle. In fully automatic mode a camera will choose the most "suitable" values for each variable for a given scene and calculate the "correct EV" accordingly.
With DSLR and bridge cameras the user can have direct control over aperture and shutter speeds but this is rarely the case with compact "point and shoot cameras". However, these usually allow the user to adjust the ISO sensitivity so ISO seems like a good place to start. And to keep it very simple I am only going to look at ISO here.
What is ISO sensitivity?
ISO is a measure of how sensitive the camera sensor is to light. The higher the ISO, the more sensitive it will be. OK, but what does that actually mean in practice? Put simply, when the ISO is increased the shutter speed must also be increased (faster) so the final image still looks the same. Camera manufacturers and retailers will often draw attention to how high the ISO will go, and how great a camera is in low light conditions. "Get sharp images even in low light" etc. Faster shutter means less camera shake.
So that's it then, we just crank up the ISO and hope for the best? Or is there more of a pattern to it? Yes, there is a pattern and it's incredibly simple. The images above reveal the pattern!....................
All eight images were shot in Aperture Priority mode (camera calculates shutter speed), with aperture fixed at f/8. Lighting was from a lamp to ensure a constant light source. The only thing which was manually changed each time was the ISO. But the resulting images all look virtually the same. As can be seen above, when the ISO is doubled from 100 to 200, the shutter speed also doubles from 1/5 seconds to 1/10 seconds. That is, the shutter is twice as fast. "But 1/10 is half of 1/5, not twice!" I hear you cry. Hmmm, yes, we are dealing with fractions. Put another way, at 1/10 seconds, the shutter is only open for half as long as at 1/5 seconds. i.e the speed doubles. Or from ISO 1600 to 3200, the shutter speed doubles from 1/80 to 1/160.
The key point here is: DOUBLE ISO = DOUBLE SHUTTER SPEED
A good analogy to this relationship between ISO and shutter speed is to think of worker bees gathering nectar. Assume all the bees work at the same rate; If 100 bees can collect 1kg of nectar between them in an hour, then 200 bees can get the job done twice as quickly. They can collect 1kg in half an hour! I've no idea if the numbers are realistic, but that's not the point!! :-))
All 36 Exposures From Nikkormat FTN (1967) with Ilford film: Minolta Maxxum 7000 SLR (1985) - 36 images - Nikkormat FTN (1967) with Nikon Micro-Nikkor-P・C Auto 1:3.5 f=55mm (F mount) Prime & AstrHori AH-M1 light meter & Ilford XP-2 ISO 400 Black & White 35mm film - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Billy Lewis Centenary Garden - 9 (of 17) - Manual Pentax K1000 SLR (1976) with Quantaray Aspherical 28-80mm 1:3.5-5.6 Zoom (PK Mount) and Hoya Cross Screen Filter and ISO 400 Fuji Film - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Buttertubs Trail I - Nikon F80 (2000) with Nikkor 35-70mm 1:3.3-4.5 Zoom and ISO 400 Fuji Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
1965 Iso Grifo A3/C, Catarsi Competition Berlinetta.
This is Chassis 80222, which became the most successful factory race car from Iso Grifo.
The A3/C model was the "competition" version of the A3/L, which was the GT road model.
Using a 5.4 L Chevrolet V8 engine, this car was clocked at 186 mph on the longer Mulsanne straight during the 24 Hours of Le Mans race in 1965.
Cars designed by Giotto Bizzarini were one of the featured Marques this year @ Pebble Beach Concours d'Elegance, 2016, and this is one of those cars.
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Nikon D5100 samples from ISO 800-6400
read more @ nikonrumors.com/2011/04/18/nikon-d5100-review.aspx
Along the Steep Ravine trail last Saturday. Canon 10-22mm lens, ISO 100, 3 exposures: f/16 for 15 seconds, 30 seconds, and 1 minute. It would be nice if that twig weren't sticking into the left edge of the frame, but I didn't feel like altering the scenery.
looks better on a black background
cf. the non-HDR version. i like this one better.
Victoria Day I - Timberlands Lake I - Olympus (2003) All-Weather Stylus 150 QD Date (aka mju III) & Long-Expired RAVE ISO 200 Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Graflex Speed Graphic 5x4 • Fomapan 100 • 100 ISO • 2 sec • f/8
Developed in HC-110 • Dil. H • 9 mins • 20 degrees C • Scanned with Epson V700
My second ever 5x4 sheet exposed! This was going to be the first subject, but I liked what the light was doing outside so I quickly changed my mind and shot the view from our bedroom first! Back to the still life... I intended to use flash to light the subject but the window light (although rapidly fading) looked nice and it was easier than setting up the flash gear. Checking the focus and depth of field on the ground glass I decided on f/8, which gave me about 4cm DOF. The exposure time was getting a little long - 2 seconds. I have very little experience with manual long exposures. Anything in the past has always been <30s and taken care of automatically by Canon electronics. But I decided to give it a try with a stop watch. My mistake? Reciprocity failure... I've heard all about it, but it's no where near the forefront of my mind that it didn't even occur to me to check it. I didn't realise I'd be shooting so slowly until shortly before doing so. With hindsight I should have shot 2x the exposure, so around 4 seconds.
Subsequently, when pulling the sheet out of the tank I could see really obvious highlights - they were really dark - and that was about it. I was sure it was a failure. It's AMAZING how much shadow detail film can retain, even with a low key scene like this and when underexposed. To the naked eye I can hardly see anything on the negative. The scanner, fortunately, saw a lot more!
Can't wait to shoot some more sheets now!
I avoided high ISO for so long worried about the "noise". I realized after some night shots what my camera could really do. A little noise is worth not missing the shot. Opens up a whole new world.
I am a very early riser. So is this guy, our seven-year foster, Grey Cat. Every morning Grey Cat eats early and heads out to lay on our porch railing to survey our very dark backyard.
This morning, I noted how great his green eyes looked with just the light coming from my office. which is off the porch. He would have not enjoyed a flash for sure.
Had to crank up the ISO and take the shot with just the office light from the window for lighting.
Taken in the city of Marseille, France.
All of them taken in RAW 14bits without compression, noise reduction, and ISO noise reduction inactivated. The conversion in JPEG made with Lightroom Classic which automatically managed the noise. (© Michael Fisquet)
Sandy Point: HDR (from negative scan) - Pentax MZ-5 SLR with Pentax-A 50 mm 1:1.7 Prime and Kodak ISO 200 Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
www.fiskens.com/cars-for-sale/Iso-A3-C/10292.htm
^^for more info and pictures, click link above ^^
Chassis B O216 was sold new in 1965 to an Italian customer of Bizzarrini as one of approximately 15 examples of the Iso A3/C aluminium riveted cars originally built with left hand drive steering. As a very early production example its features were very similar to the Le Mans Competition variants, namely riveted alloy body construction and side vents.
Originally delivered in the stunning and quite possibly unique period colour of ‘Mela Verde’ which later became more commonly known as ‘Miura Green’, which was discovered only recently during its comprehensive restoration when its black paintwork was stripped.
It is understood that at some stage in the late 1960s / early 1970s, this car was involved in an accident and was sent back to the factory where it was rebuilt and modified using some updated body and interior features inline with the standard 5300 GT Strada. The rivets were filled in, the body was painted black and it was given a new chassis number (noted as IA3 0283) and most likely re-sold as a new car.
The Iso remained in this configuration for many years later during restoration in 2003, at which time evidence of its’ beautiful and rare early features hidden underneath its skin were discovered.
According to UK Iso/Bizzarrini expert Chris Lackner, he was told the car was sold from Italy, on to Germany and then to the USA in 1978, brokered at that time by Fantasy Junction.
Mr Lackner notes ‘I first saw B 0216 at the Monterey classic car festivities in 1990. It was at that time black and had the appearance of a later Bizzarrini Strada, and in fact, for some unknown reason it was at that time known by chassis number IA3 0283.’
In 2003 the Iso arrived at the world renowned Ferrari and exotic car restoration shop of Chuck Wray and Kendall Merritt, son of noted Bizzarrini collector Dick Merritt. A thorough inspection was completed by Wray on the car and he soon discovered evidence for some rare early features including body rivets beginning to show underneath the shrinking paint and the very early chassis number stamping and it was at this time the car regained its rightful identity of B 0216.
At some point the appearance of the car has been returned to the way it would have looked as B 0216 – early-type dash layout, early wing vents (though more like the factory race cars than the style #216 would have had), early door handle design, visible rivets, etc.
In 2010 the Iso was the subject of a comprehensive body off restoration commissioned by current private owner and completed by one of the worlds leading marque restorers to beyond concours condition. Stripping of black paint revealed the amazing original colour throughout the body and in the door shuts.
All running gear, suspension, braking system and electrical system were completely restored to as new condition. The interior was completely re-trimmed in correct black leather and the restoration has been fully documented and is absolutely outstanding in every respect.
A full inspection was completed by UK leading Iso/Bizzarrini expert Chris Lackner who was very impressed with the car and confirmed both him and his colleague Jack Koobs de Hartog are in agreement the car is unquestionably B 0216.
Fujifilm Single Use Camera
ISO 400
This series was taken using single use cameras; the scanned photos were edited in Lightroom, though I left many aspects of the original film images intact (e.g., the grain/unsharpness, and lens defects). It is often said that a photographer should be able to create effective images with any camera, but one rarely puts oneself to the test. One function of this exercise was thus to force myself to practice seeing using a very humble instrument: a camera for which the ISO is fixed, the aperture is fixed, the focal length is fixed, and even the point of focus is fixed (and, at that, often of poor calibration). Like the image of an object underwater, the subject through the viewfinder on such a camera is not quite where it appears, and one must guess at the true field of view. A far cry from a modern digital camera, though an echo of the sorts of cameras I had access to as a child! To be effective with such an instrument demands that one's craft transcend the limits of the tool. Different audiences may or may not agree on whether I accomplished that, but it is a task worth attempting every now and again.
In all honesty, another - more petty - reason for this series was fatigue with the endless cycle of hardware critique. I love tools, and the distinctive affordances of different tools, but tools suffice for neither craft nor art. As wonderful as it is to have fancier lenses, better sensors, and other modern conveniences, the great photographers of earlier decades did amazing work with technology that is in some ways eclipsed by a modern cell phone camera. To tell eager new photographers that they need $20,000 worth of the latest gear to make acceptable art is at best a cruel hoax, and at worst a way of keeping them from realizing their potential. Being of perverse bent, such debates motivated me to see what I could do with the worst possible equipment. I hope that the results reinforce the eternal point that the camera does not make the image, and that art can be done with whatever instrument is at hand.
Chantilly Arts & Elegance Richard Mille
Château de Chantilly
Chantilly
France - Frankrijk
September 2024
Water pipe in a forest. Old expired Tudorcolour ISO 100, 135/24 made in E.C., shot last year and developed on September 16th 2019, in expired and replenished with further expired, chemicals. - standard disclaimer: © Giuseppe Lancia - usage without permission is not allowed
Sweets Seductive Dress Philadelphia Studio Photo Shoot Kodak TMY 5053 Tmax 400 ISO 35 mm B&W Contact Sheet Proof Print December 1995
JoJo’s Bizarre Adventure All Star Battle (USA) PS3 ISO Download
isoworld.modsdlfree.com/jojos-bizarre-adventure-all-star-...
Exposure: 30 minutes, 18mm, f/3.5, ISO 100, plus light painting with a couple of flashlights. (The startrails look better large, they look too pixelated in the smaller versions).
Ever since I saw this waterfall, this is the one shot that I envisioned, but it has not been easy. Not only does this shot require a low tide during the night with clear skies (which is difficult enough on the Oregon Coast), but Mother Nature has also picked her battles with me carefully. Most of the time she stands there smiling as I photograph her..., but for some reason, whenever I choose to photograph at hug point, she turns on me! Now..., I'm not one to complain. I feel blessed to be able to take photographs at all, so it's not such a bad thing having a photographic nemesis...
It all started about a year ago..., I had a half day off, so I said to myself, "why not take a drive on some coastal mountain back roads, and hit up hug point for sunset?" It seemed like a good idea at the time. Well..., about 4 hours later I was lost, and beginning to wonder if I would ever find my way back to the coast before I ran out of gas. This was of course a serious blow to to my masculine ego. And as if being out of cell phone reception, getting short on gas was not enough..., I started to see the most spectacular sunset EVER begin to develop in the West. No amount of nascar driving, yelling at nature, or whimpering could get me there on time. And yes..., I did go through all of those phases. I finally ended up emerging onto hwy 101 at Garibaldi, gas tank nearly empty, and with absolutely zero chance of making it to hug point in time for the show. I pulled out my camera just in time to watch the spectacular light slip away. It has been that way every since...
Whenever I make plans to go to Hug Point.., I miss the light, or the light doesn't show up. Mother nature has also attacked me in more physical ways..., I've left soaked and defeated almost every time I've shown up (which is probably mostly my fault, but I still think hug point has it out for me). I've been scraped, bruised, and one time I even ended up walking around the point in waste deep water, holding my camera gear over my head (long story). But worst of all, my shots have not turned out! All my rookie mistakes have shown up at the point (yes, my fault again, but all at hug point!?). These mistakes include exposure compensation issues, focus mistakes, not having the right filter on at the right time, etc, etc...
Well, a couple of weeks ago, I finally had a chance to try to shoot this shot with my friend Gary Loveless. As usual, our hug point experience was full of peril and botched shots (botched for me, but not for Gary). I still maintain that I made Gary fully aware of all the dangers of accompanying me on this trip, but you can read his side of the story here: www.flickr.com/photos/gaarfoto/5310368213/ . But two nights later, we went again, and I finally nailed the shot!
Victory at Last! I checked my LCD twice for sharpness..., I can't believe it! Yes, I actually got the shot! As I walked back to my car, I couldn't help but be overwhelmed by feeling the thrill of photographic victory! We hiked back to our vehicle.
"Now all I have to do is call my wife and tell her I'm heading home" I thought to myself,.... But wait, where is my cell phone? Answer....., you guessed it: lost in the Pacific Oceane at Hug Point. I guess Mother Nature couldn't let me leave without getting in one more sucker-punch!
Thanks for looking! As always, your comments and suggestions are much appreciated!
Ilford HP5 Plus 400 esposta a 200 iso e sviluppata in Kodak HC110. Corpo macchina Pentax Spotmatic SP2, obiettivi:
Super Takumar 24/3.5 - 35/2 - 200/4 e Meyer Optic Gorlitz Domiplan 50/2.8
I would really love this entire line, but have never actually bought any for myself. I am always buying it for swaps, etc. Now, late in the game as usual, I want to begin my collection for a larger quilt.
Here's a link to my set of fabrics I have available for swap: www.flickr.com/photos/quiltergirl80/sets/72157626377108100/ Thanks!
Created with fd's Flickr Toys
Haslam Creek Trail - 5 (of 6) - Pentax Zoom 105-R (aka Pentax 105 Super) 38-105mm 1:4.0-7.8 and Fuji ISO 400 Film - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
fresh from the docks - no tags yet
Mazda RX-7 Twin Turbo - imported Japan model
Regina, Saskatchewan, Canada
Voigtlander Bessa R3A 35mm rangefinder camera
Voigtlander Color Skopar f2.5 35mm lens
Fuji Superia Xtra 400 ISO film
Noritsu minilab scan
f/4 | ISO 200 | 1/1600 second | 75mm | 180ppi | 20.8in x 14.14in | Traditional Photography
First shot for my AP Photo Class!!
The assignment was Shapes and Space and I decided to try space for this photo. My idea came from a previous photo I have done (below) in which I used a Scooter instead of a pogo stick. This is my dad attempting to jump on a pogo stick! For this shot, I had to do some preparation. The main part was creating the backdrop. This consisted of two chairs and a black bedroom sheet laying across them with five different clamps to keep any 'wrinkles' out. I then had my dad put on my Nike shoes because I think they have an interesting design that would be captured in the Photo. Also, I just like the color of them. I think the fun theme of the shoes ironically match with the fun theme of a Pogo stick (didn't think of that until after the editing). I originally planned on having my dad wear Nike socks to match the shoes but I didn't capture the socks in this photo. It was probably better that way because now I don't have any of his gross leg hair in the photo! Eww!
Editing was done in Paint.net. I did basic adjustments but the biggest thing was making the background a consistent black so I used levels to help me on that. Then I did a slight rotation to make the ground completely horizontal and then went in for a small crop.
Let me know what your thoughts are on the photo! The point was to use space efficiently to make a photo appealing. I think this photo accomplishes that goal.