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The formal language of the ceramic figures by Berry Holslag (1947) connects seamlessly with the leading visual language of the 1980s, in which the image of man is once again in the spotlight. (...)
Holslag's monumental and colorful ceramic figures are immediately recognizable and accessible due to the clear visual language she uses. 'What you see is what you get': it is what it is? Or not? (...)
Despite the recognisability, the size and the distance make it impossible for the viewer to identify with it. This subtle alienation raises questions for the viewer.
This is also the case with 'The Observer'. With this incorruptible figure in a timeless, gray suit, Holslag presents passers-by in the busy center of The Hague with an image that in turn perceives.
Another pic: "The Poet"
www.flickr.com/photos/145400672@N02/50542166641/in/album-...
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De vormentaal van de keramische figuren van Berry Holslag (1947) sluit naadloos aan bij de toonaangevende beeldtaal van de jaren 1980 waarin het mensbeeld weer volop in de belangstelling staat. (...)
Holslags monumentale en kleurrijke keramische figuren zijn direct herkenbaar en toegankelijk door de heldere beeldtaal die zij gebruikt. ‘What you see is what you get': het is wat het is? Of toch niet? (...)
Ondanks de herkenbaarheid, lukt het de toeschouwer door het formaat en de afstand niet om zich ermee te identificeren. Deze subtiele vervreemding maakt dat er vragen rijzen bij de beschouwer.
Zo ook bij ‘The Observer'. Met deze onkreukbare figuur in een tijdloos, grijs kostuum presenteert Holslag voorbijgangers in het drukke Haagse centrum een beeld dat op zijn beurt waarneemt.
Bron: www.stroom.nl/nl/kor/project.php?pr_id=7606250
en
Eurasian Siskin (Spinus spinus)
Meaning behind the name:
Spinus = Greek for "small bird" (seems like the original meaning could have been lost.)
The English name made its first appearance in 1544 and corresponds to German "Siesken" The name came about through the trade in cage birds from a Slavonic language, Czech. The English would call the bird "aves canaries" until Turner's book being written in Latin labeled them as "Siskin anglice"..
Other names include: Barley bird and Aberdevine.
Essaouira is a city in the western Moroccan economic region Marrakesh-Safi, on the Atlantic coast. In the Berber language, which is spoken by a sizeable proportion of the city's inhabitants, it is called "Taṣṣort", meaning 'the small fortress'. Until the 1960s, Essaouira was generally known by its Portuguese name, Mogador.
Archaeological research shows that Essaouira has been occupied since prehistoric times. The bay at Essaouira is partially sheltered by the island of Mogador, making it a peaceful harbor protected against strong marine winds.
Essaouira has long been considered as one of the best anchorages of the Moroccan coast. The Carthaginian navigator Hanno visited in the 5th century BC and established the trading post of Arambys.
Around the end of the 1st century BCE or early 1st century CE, the Berber king Juba II established a Tyrian purple factory, processing the murex and purpura shells found in the intertidal rocks at Essaouira and the Iles Purpuraires. This dye colored the purple stripe in the togas worn by the Senators of Imperial Rome.
A Roman villa was excavated on Mogador island. A Roman vase was found as well as coinage from the 3rd century CE. Most of the artifacts are now visible in the Sidi Mohammed ben Abdallah Museum and the Rabat Archaeological Museum.
In 1506, the king of Portugal, D. Manuel I, ordered a fortress to be built, named Castelo Real de Mogador. The fortress of Castelo Real of Mogador fell to the local resistance of the Regraga fraternity four years after its establishment, in 1510.
During the 16th century, powers including Spain, England, the Netherlands and France tried in vain to conquer the locality. Essaouira remained a haven for the export of sugar and molasses and as an anchorage for pirates.
Present city of Essaouira was built during the mid-eighteenth century by the Moroccan King, Mohammed III, who tried to reorient his kingdom toward the Atlantic for increased exchanges with European powers, choosing Mogador as his key location. One of his objectives was to establish a harbor at the closest possible point to Marrakesh. The other was to cut off trade from Agadir in the south, which had been favouring a political rival of Mohammed III, and the inhabitants of Agadir were forced to relocate to Essaouira.
For 12 years, Mohammed III directed a French engineer, Théodore Cornut, and several other European architects and technicians to build the fortress and city along modern lines. Originally called "Souira" ("the small fortress"), the name became "Es-Saouira" ("the beautifully designed").
Mohammed III took numerous steps to encourage the development of Essaouira including closing off the harbour of Agadir to the south in 1767 so that southern trade could be redirected through Essaouira. European communities in the northern harbour of Rabat-Salé were ordered to move to Essaouira through an ordinance of 21 January 1765.
From the time of its rebuilding by Muhammad III until the end of the nineteenth century, Essaouira served as Morocco's principal port, offering the goods of the caravan trade to the world. The route brought goods from sub-Saharan Africa to Timbuktu, then through the desert and over the Atlas mountains to Marrakesh. The road from Marrakesh to Essaouira is a straight line, explaining the king's choice of this port among the many others along the Moroccan coast.
The language of Moths
In the chrysalis of existence, I surrender to the dance of transformation, shedding old skin to embrace the rebirth that lies within. Life and death intertwine in a delicate tapestry of existence, each a facet of the same eternal cycle.
As the caterpillar dissolves into oblivion, I emerge from the cocoon, wings unfurling to greet the dawn of a new day. Death becomes the midwife of rebirth, guiding me through the labyrinth of existence with gentle hands.
In the symphony of creation, I find purpose in both the fleeting moments of life and the silent embrace of death. For in the dance of existence, there is no distinction between the two — only the eternal cycle of transformation and renewal.
And so I soar on the wings of eternity, embracing the beauty of each moment, knowing that in life and death alike, I am but a vessel for the cosmic dance of creation and destruction. Life and death have the same purpose...
by me
Photography and editing; LC Nevermind(Luis Campillo)
Artistic direction, MUAH, props, caption and model; Lis Xia
Gear; Hasselblad 503CWD, CZ Distagon 50mm, Digital Back CFV-50, Profoto B500
"The language of friendship is not words but meanings."
~ Henry David Thoreau
memories, memories, memories... a friend's garden...
Textured experimentally in oil.
An old lady sat right in front of me, by a window side of a train compartment. She wore aristocracy like no other; around 75-80 years old, travelling alone from Kolkata. Her son would receive her from the station. She was communicating with her son over the cell phone. She was on the edge of her mood, at times relaxed and sometimes fidgety, as the train was running late. She was an expressive woman, as her gestures reflected her mood. She was ignorant about everything happening in the compartment, as she was eager to reach the station on time. I took a few shots of her gestures with my cell phone camera, secretly. They turned out to be pretty productive, as natural documentation of one’s body languages.
Direct scan from album. Rollei 6008i, 50mm lense, self-timer, ran like crazy to sit beside her.
I like this because it makes me look much more handsome than the real me, whilst she is less bueatiful in this pic! ; )
Leica M Monochrom (Typ 246)
Summilux-M 35mm ƒ1.4 ASPH FLE
ND 3 Stop Filter
Street Photography
London, UK
A good friend has this wee beauty parked in his garage awaiting some restoration work , I have hoped to capture it many times in the past however on this occasion the light was right and he had her parked in his drive , this photo is one of a few I took .
Vehicle details
Vehicle make: VOLKSWAGEN
Date of first registration: January 1973
Year of manufacture: 1972
Cylinder capacity (cc): 1584 cc
CO₂Emissions: Not available
Fuel type: PETROL
Export marker: No
Vehicle status: SORN in place
Vehicle colour: ORANGE
Wheelplan: 2-AXLE-RIGID BODY
The Volkswagen Beetle—officially the Volkswagen Type 1, informally in German the Käfer (literally "beetle"), in parts of the English-speaking world the Bug, and known by many other nicknames in other languages—is a two-door, rear-engine economy car, intended for five passengers, that was manufactured and marketed by German automaker Volkswagen (VW) from 1938 until 2003.
History of the Volkswagen T1 Beetle
Introduction
The VW Beetle has become an iconic vehicle worldwide, and has built a huge loyal following. It is known by numerous names, for example, in Germany it’s a Kafer, in the USA a Bug or salon, England a Beetle etc. As the floor pan and running gear can be used without the body being attached, they became a firm favourite of the kit car builders. They were turned into Porsche 356 replicas, beach buggies, and Nova kit cars to mention just a few. When production stopped in 2003 in Mexico over 21 million air-cooled Volkswagen Beetles had been produced. During eight decades of manufacturing came a whole variety of models, ranging from 25Hp through to the 1303S or Super Beetle with its Independent Rear Suspension (also known as IRS). Salons, sunroof models, cabrios and even specialist versions as police cars, German post office delivery vehicles and in Mexico City, the green and white Beetle taxi, with its missing passengers seat, was a common sight until recently.
Personalisation and the custom scene
Fashions change and over the years the VW Beetle or Bug has seen styles come and go. The 1950’s saw shiny and standard Beetles as the common style. But by the 1960’s the trend to ‘soup them up’ and build street legal drag racers was taking hold in the USA, especially on the West Coast. This was the time of legends such as Gene Berg and cars such as the Empi Inch Pincher. In the UK, smaller tuning companies such as Speedwell developed carb tuning kits and alloy wheels. By the mid 1970’s the Bug was being used for time trials and autocross racing.
This was also the start of a ‘dark’ time for the Beetle customising scene, as the fat whale tailed body kits were fitted, so if you saw it on a dark foggy night, it could look a little like a Porsche 911! However as the whale tail was strapped on, in California they developed what has come to be known as ‘Calook’ or Californian Look. Lowered, smoothed out, de-chromed, alloys, neat interiors and performance engines were the main features of the Calook scene. Luckily by the mid 1980s in the UK, the body kits were out of fashion and the Calook scene took hold, initially from Essex. Since then there have been a variety of fashions, with the VW drag racing scene now in its fourth decade. We’ve seen ‘Old School’ lowered, lots of chrome and accessories, neat and tidy. ‘Rat look’ is almost the polar opposite, with flat mat paint, original and lived in interiors but shares the passion for vintage accessories! Calook in various rebirths has been a steady influence. However, today there seems to be strong move back to ‘stock’.
Please Note: When trying to identify a Beetle, bear in mind that on all models (except 1302/1303) most body panels are interchangeable, so if a Beetle has sloping headlights, don’t assume that it is a 1957>1967 model. Many late Beetles have early wings, lights, bonnet, engine lid and front and rear valances, making them, at first glance identical to a 1964 to 1967 model, but generally if it has an external fuel filler cap it is likely to be built between 1968 and 2003.
Production history and technical changes
Here are the main changes that took place to the Volkswagen Beetle during its eight decades of production.
1936 > 1952 ‘Splitscreen Beetle’ The Beetle story started in the early 1930’s, but production started officially in 1936. The Second World War all but stopped production until the British army rebuilt the factory and production commenced of the ‘Splitscreen’ Beetles (named after the shape of the small ‘split’ rear window). These were very basic cars with engines from 985cc (24bhp) to 1131cc (25bhp) but are rare and very desirable.
1953 > 1956 ‘Oval Beetle’ Very similar to the Splitscreen, but with the split removed from the rear window making it an oval. Small developments aimed at improving driver comfort and making the Beetle appeal to foreign markets, including a new 1192cc (30bhp) engine.
1957 > 67 Little difference in appearance from the Oval Beetle, the biggest being the rear window, which was enlarged in August 1957 to the large rectangular shape that would remain for the remainder of production. The windscreen and side glass were also enlarged in August 1964. These Beetles still retained the sloping headlights, long bonnet, link and king pin torsion bar front suspension and swing axle torsion bar suspension at the rear and 5 bolt wheels as previous models, but in Aug 1966 the link pins were replaced with ball joints and the wheels used four bolts instead of five. Engine options were now 1192cc (34bhp), 1285cc (40bhp) and in Aug 1966 the 1493cc engine with (44bhp).
1968 > 2003 August 1967 saw the first major styling change with upright headlights, a shorter bonnet and engine lid, plus an exterior mounted fuel filler cap. These models retained the torsion bar front suspension and swing axle rear suspension, which remained until the end of Brazilian production in 2003. The only exceptions were the semi-automatic Beetle which came with I.R.S rear suspension and the 1302 and 1303 models which used front coil springs... (see below). Engine options for these were 1192cc (34bhp), 1285cc (44bhp), 1493cc engine with (44bhp) and 1584cc (50bhp).
1971 > 72 ‘The 1302 Beetle’ In an effort to make the Beetle more practical and improve sales, VW offered a restyled version alongside the regular Beetle which was badged the 1302 (1285cc) and the 1302S (1584cc). This had a more bulbous front bodywork but retained the flat windscreen and the torsion bar front suspension was replaced with MacPherson struts with coil springs, similar to the VW Golf. The rear suspension was also the much improved I.R.S torsion bar system similar to the Porsche 911 of the same era. These changes improved the handling, ride comfort and stability, plus the front luggage area increased from 5 cu ft to over 9 cu ft, however, the styling proved unpopular and it was replaced after 2 years by the 1303 model.
1973 > 80 ‘The 1303 Beetle’ This was a revision of the 1302 Beetle and was available as the 1303A (1192cc) 1303 (1283cc) and the 1303S (1584cc). The only major change was that the flat windscreen was replaced with a more modern curved windscreen, which improved aerodynamics and interior space. This was also sold alongside the regular, torsion bar; flat windscreen Beetle, with the last 1303 was built in 1980.
The classic styling of the torsion bar Beetles helped them outlive the improved design of the 1302/1302 ‘Super Beetles’ and production was ended in 2003 to free up factory space for the front engined, water-cooled ‘New Beetle.’
German Beetle production chassis numbers
The chassis number is very useful when ordering parts for your Beetle as it gives the date of manufacture, model type. These can be found in two places. Firstly, in the front luggage compartment, by the bonnet lock and secondly, under the rear seat on the central tunnel.
EXPLORE: Dec 4/08 #183
glimpse: a fleeting view
___________________________________
A PASSING GLIMPSE (Robert Frost)
I often see flowers from a passing car
That are gone before I can tell what they are.
I want to get out of the train and go back
To see what they were beside the track.
I name all the flowers I am sure they weren't;
Not fireweed loving where woods have burnt--
Not bluebells gracing a tunnel mouth--
Not lupine living on sand and drouth.
Was something brushed across my mind
That no one on earth will ever find?
Heaven gives it glimpses only to those
Not in position to look too close.
This photograph is a copyrighted image. Please do not download this image to use or blog, or for any other purposes, without crediting me, and informing me of its use and whereabouts.
Explored..:D
21st February, International mother language day.
Central Shoheed Minar, University of Dhaka.
This photograph is a copyrighted image. Please do not download this image to use or blog, or for any other purposes, without crediting me, and informing me of its use and whereabouts.
Title in other languages:
English: View from railway station Brühl-Kierberg, Germany onto green and church St. Servatius
Nederlands: Zicht vanaf trein station Brühl-Kierberg (Duitsland) op groen en kerk St. Servatius
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
The language of flowers, or, Floral emblems of thoughts, feelings, and sentiments /
London ;G. Routledge,1869.
Title in other languages:
Deutsch: Blume an einem Feld in Dalmsholte, Ommen, Niederlande
English: Flower at a field in Dalmsholte, Ommen, The Netherlands
English:
Welcome and thank you for being here! This image forms part of a collection of photographs of moments on Planet Earth.
If you enjoy this work and want to support me financially, I’m glad to receive your donation via Paypal: paypal.me/jankohoener
If you intend to use this picture for your own purposes, please credit me with the following attribution line: Janko Hoener / CC-BY-SA-4.0. This is required by the license terms. A link back to this page and informing me about your usage via FlickrMail is appreciated.
Deutsch:
Willkommen und vielen Dank, dass Sie hier sind! Dieses Bild stellt Teil einer Sammlung von Fotografien von Augenblicken auf dem Planet Erde dar.
Wenn Ihnen diese Arbeit zusagt und Sie mich finanziell dabei unterstützen möchten, so freue ich mich über Ihre Spende via Paypal: paypal.me/jankohoener
Wenn Sie dieses Foto für eigene Zwecke nutzen möchten, geben Sie bitte Janko Hoener / CC-BY-SA-4.0 in der Bildunterschrift an. Dies ist per Lizenz gefordert. Über einen Link auf diese Seite und eine Benachrichtigung über die Nutzung via FlickrMail freue ich mich.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
We've recently adopted this English Language programme for school children, and are running demo lessons for local kids. This was the first. After the presentation activities, we took the kids off to a class for further teaching while the parents recieved more info.
© 2013 Thousand Word Images by Dustin Abbott
This one I love. I took this yesterday, and this scene out my window drew me as I went by (my little EOS M was on the seat next to me). I stopped to frame the scene, and the elements came together beautifully. Something about this country scene speaks to something within me. The season of harvest is a special time. We are beginning to see the early signs of autumn, and this marks my favorite season to shoot. There will be a smile on my face over the next few months!
Check out the now live review of the Canon EOS M system. Lots of information and photos!
Technical information Canon EOS M, Canon EF-M 22mm f/2 STM, Processed in Adobe Lightroom 5 and Photoshop CC
Personal Website | Facebook Fan Page | 500px Gallery | Order Fine Art prints | iStock | Getty Collection
Auschwitz, Poland
CONVERSACIONES EN SILENCIO- TALKING IN SILENCE
SERIES
Please, do not use this photo without permission
Por Favor no usar esta fotografía sin permiso
Urban Chronicles ~ Paris ~ MjYj
GettyImages | Tumblr | Flickriver | Twitter | Facebook | Ipernity | DeviantArt | Windows Live | 500pix | StumbleUpon | Myspace | Wordpress | Fluidr | SkyRock | Youtube | Google Buzz | Dailymotion | Artlimited | BlogSpot
Please don't use this image on websites, blogs or other
media without my explicit permission.
MjYj© DSC02085 All rights reserved
photos for the collage with Canon G12
in english language below
Wer heute - immer noch oder wieder – analog fotografiert, der steht oft vor dem Problem „wie bekomme ich das Foto auf den Computer, um es z.B. hier bei flickr zeigen zu können?“
Die schnellste und einfachste Lösung ist den Film in eine der großen Drogeriefilialen zu bringen und dort entwickeln zu lassen. Mit Foto-CD kostet ein 36er Film ca. 10€. Dieser Preis ist nur deshalb möglich, weil der gesamte Prozess mit modernster Technik vollautomatisch erfolgt.
An dieser Stelle will ich mit meinen Erfahrungen und meiner Lösung aufsetzen.
Der vollautomatische Prozess einer standardisierten C41 Filmentwicklung führt zu Resultaten, die ich mit einem C41 ChemieSet nicht besser und preiswerter hinbekäme. Zu einem anderen Ergebnis komme ich bei der automatischen Ausbelichtung von Negativen. Im besten Fall bekomme ich ein Ergebnis "state of the art" aktueller Scannertechnik.
Solche digitalisierten analogen Fotos sind damit hauptsächlich ein Resultat der eigesetzten Technik, vom "Klick" bis zum fertigen Foto. Ähnlich einem Digicamfoto im Automatikmodus, nur nicht so "gut".
Auch ein "Experte" wird anhand solcher Fotos nicht erkennen, ob mit einer Voigtländer CLR, Rollei 35, OM2 oder Leica fotografiert wurde.
Eine Eigenschaft von Automatiken ist, dass sie einen definierten Standard abdecken aber kaum Raum für Nuancen lassen. Letztere, sowie kleine charmante Fehler, werden nach vorgegebenen Parametern automatisch korrigiert.
Fazit: mein Beitrag zu einem "tollen Foto" ist übersichtlich gering. Er erschöpft sich in der Motivauswahl und einer rudimentären Bedienung der analogen Technik.
Dazu kommt, dass die niedrige Auflösung (ca. 1,5 MB je KB-Kleinbild Foto), kaum Spielraum für Korrekturen der automatischen Parameter, z.B. Tonwert, Farbe, Kontrast etc., bietet.
Absehbarer Frust für einen Sammler, der mit seinen „Schätzchen“ gerne auch mal fotografiert?
Muss nicht sein, wenn man den letzten Schritt des Laborprozesses, das Digitalisieren, selber macht.
Wie das einfach und sehr kostengünstig geht, will ich nachstehend aufzeigen.
Ich benötige also zunächst nur ein Negativ. Die Herstellung überlasse ich einem Großlabor, welches das viel besser und preiswerter kann als ich. Kosten dafür betragen ca. 2,50€, zusätzlich die obligatorischen Papierabzüge (im kleinsten Format). Gesamtkosten ca. 7,50€ je Film. Auf Erstellung einer Foto CD verzichte ich, weil ich ja selber scannen will.
Das Negativ scanne ich mit einem einfachen Photoscanner mit Durchlichteinheit im manuellen Modus mit der höchsten Auflösung (bei meinem scanner sind das 1600 dpi). Der Photoscanner ist dazu mit einem PC verbunden, der den Scanner steuert. Das Scan-Ergebnis bearbeite ich danach mit einer Bildbearbeitungssoftware. Fertig.
Soweit der Blick aus 10.000 Meter Höhe. Nachstehend eine kurze Beschreibung meines Equipment, welches sich aus meiner Vorliebe für Photoshop CS2 ergibt. Wieso das? CS2 ist ein professionelles Werkzeug von Adobe, das nichts mehr kostet aber „alles kann“, wenn man sich ausreichend mit dem Werkzeug beschäftigt.
Die erforderlichen Geräte setzen sich wie folgt zusammen: Ein alter Computer Latitude D520 mit Windows XP und Photoshop CS2, verbunden mit einem ebenso alten „Epson Perfection 1660 Photo“. Das Ergebnis sind scans mit >10 MB 2282x1550 pixel (je KB-Kleinbild Foto). Diese TIF-Dateien bieten ausreichend Potenzial für eine abschließende Bildkorrektur.
Der Arbeitsplatz ist nur beispielhaft. Entscheidend ist ausschließlich, dass alle Komponenten (Rechner, Scanner, Bildbearbeitungs-SW) von einem Betriebssystem unterstützt werden. Bei älterem Equipment ist Windows XP oft eine sehr gute Lösung. Prozessortakt und RAM sind eher nebensächlich.
Auch Photoshop CS2 muss nicht sein. Es gibt genügend andere Freeware, die gute Leistungen bei der Bild-Nachbearbeitung erbringen und einen Scanner ansteuern können.
Ein paar Anmerkungen zum scannen. Ich habe die Erfahrung gemacht, dass es für die Bildqualität egal ist, ob beim scannen die Emulsion oder die glatte Schicht des Negativs oben ist. Ggf. muss das Foto bei der Nachbearbeitung noch horizontal gespiegelt werden. Wichtiger ist, dass beim Einschieben in die Negativschablone eine Planlage verbogener oder gewölbter Negative erreicht wird. Ansonsten ergeben sich Unschärfen, die digital nicht korrigiert werden können.
Das scannen übernimmt die Scanner-eigene SW. Ich wähle dazu den manuellen Modus mit automatischer Belichtung, weil ich danach sowieso korrigiere. Ziel des scans ist nicht ein fertiges Bild, sondern eine Datei mit vielen BildInformationen. Deshalb wähle ich die höchste Dpi-Stufe und das Dateiformat TIF.
Abschließend noch ein paar Anmerkungen zur Bildbearbeitung. Die Anpassungen sind erforderlich, weil ich – wie oben beschrieben - die Scanner-Software (Twain) auf "Automatik" eingestellt habe. Damit passen erste wichtige Parameter wie z.B. die Helligkeit zumindest bei meinem Scanner einigermaßen.
Ab jetzt erfolgt der Prozess, den ich keiner Automatik der Welt überlasse und auch keinem kleinen professionellen scan-Service mit tollen Mitarbeitern. Denn "ich will eigene Ergebnisse".
Der erste Schritt ist ein Aufruf der „Gradationskurven“. Bei CS2 werden dort – neben den Kurven – 3 Pipetten gezeigt. Die rechte davon korrigiert das Foto auf Basis „weiß“. Gehen Sie an eine Stelle des Bildes, die eigentlich weiß sein soll, z.B. Sommerwolken. Dort anklicken und – wenn Sie ein Sonntagskind sind – haben Sie mit einem Klick ein wunderbar ausgeglichenes Bild. Ansonsten mehrmals ausprobieren oder den üblichen Feinschliff von Tonwert, Kontrast, Farbe etc. schrittweise durchführen.
Bei CS2 lassen sich die grundlegenden Anpassungen im Menue unter „Bild anpassen“ im oberen Block unter Tonwertkorrektur, Auto-Tonwertkorrekt usw. durchführen.
Das so entstandene digitale Foto trägt somit schon einmal meine "Handschrift". Der Grad einer eigenen "Handschrift" lässt sich unbegrenzt steigern. Grenzen setzten lediglich die eigene Phantasie und die Virtualität mit der man "auf dem Klavier", sorry der Software, spielen kann.
Übrigens, den oben beschriebenen Arbeitsplatz nutze ich nur zum scannen, denn für die digitale Nachbearbeitung ist deutlich mehr Rechnerleistung erforderlich. Die Kosten für die gebrauchten Geräte eines solchen Scan-Arbeitsplatzes sollten 50€ nicht übersteigen.
Gutes Gelingen, Alex
Anyone who takes analog photos today - still or again - is often faced with the problem "how do I get the photo onto the computer so that I can show it here at flickr, for example?
The fastest and easiest solution is to take the film to one of the large drugstore branches and have it developed there. With photo CD a 36 film costs about 10€. This price is only possible because the entire process is fully automated using the latest technology.
This is where I want to start with my experience and my solution.
The fully automatic process of a standardized C41 film development leads to results which I could not achieve better and cheaper with a C41 chemistry set. I come to a different result with the automatic exposure of negatives. In the best case I get a result "state of the art" of current scanner technology.
Such digitised analogue photos are thus mainly the result of the applied technique, from the "click" to the finished photo. Similar to a digicam photo in automatic mode, only not so "good".
Even an "expert" will not be able to tell from such photos whether a Voigtländer CLR, Rollei 35, OM2 or Leica was used.
The character of automatics is that they cover a defined standard but leave hardly any room for nuances. The latter and small charming errors are automatically corrected or ironed out according to predefined parameters. Conclusion: my contribution to a "great photo" is clearly small. It is exhausted in the choice of motifs and a rudimentary handling of the old analog treasures.
In addition, the low resolution (approx. 1.5 MB per KB small picture photo) offers hardly any leeway for corrections of the automatic parameters, e.g. tone value, color, contrast etc.
Predictable frustration for a collector who likes to take pictures with his "sweethearts"?
Not necessarily, if you do the last step of the laboratory process, the digitizing, yourself.
How this can be done simply and very inexpensively is shown below.
So I only need a negative first. I leave the production to the industrial laboratory, who are much better at it than I am. Costs for this are about 2,50€, plus the obligatory paper prints (in the smallest format). I do without the photo CD. Total costs about 7,50€ per film.
I scan the negative with a simple photo scanner with a transparency unit in manual mode with the highest resolution (in my scanner this is 1600 dpi) in manual mode. The photoscanner is connected to a PC, which controls the scanner. I then process the scan result with an image processing software. Done.
So much for the view from a height of 10.000 meters. The following is a short description of my equipment, which results from my preference for Photoshop CS2. Why is that? CS2 is a professional tool from Adobe, which doesn't cost anything more but "can do everything" if you spend enough time with the tool.
The rest of my tool is composed as follows: An old computer Latitude D520 with Windows XP and Photoshop CS2, connected to an equally old "Epson Perfection 1660 Photo". The result are scans with >10 MB 2282x1550 pixel (each KB small picture photo). These TIF files offer enough potential for a final image correction.
The workplace is only exemplary. The only decisive factor is that all components (computer, scanner, image processing software) are supported by an operating system. In case of older equipment, Windows XP is often a very good solution. Processor clock and RAM are rather unimportant.
Also Photoshop CS2 is not necessary. There are enough other freeware that can perform well in image post-processing and can control a scanner.
And a few more remarks about scanning. I made the experience that it doesn't matter for the image quality if the emulsion or the smooth layer of the negative is on top when scanning. You may have to flip the photo horizontally during post-processing. It is more important that a flatness of bent or curved negatives is achieved when inserting them into the negative stencil. Otherwise, blurriness will result which cannot be corrected digitally.
The scanning is done by the scanner's own SW. I choose the manual mode with automatic exposure, because I correct afterwards anyway. The goal of the scan is a file with a lot of image information. Therefore I choose the highest Dpi level and the file format TIF.
Finally a few remarks about image processing. The adjustments are necessary because - as described above - I set the scanner software (Twain) to "automatic". Thus first important parameters like e.g. the brightness fit at least with my scanner to some extent.
From now on, the process, which I don't leave to any automatic system in the world and also to a small professional scan service with great employees, will be done. Because "I want my own results".
My first step is to call up the "gradation curves". In CS2, 3 pipettes are shown there - besides the curves. The one on the right corrects the photo on basis "white". Go to a part of the image that should actually be white, e.g. summer clouds. Click there and - if you are a Sunday child - you will have a wonderfully balanced picture with just one click. Otherwise try it out several times or do the usual fine tuning of tonal value, contrast, colour etc. step by step.
With CS2, the basic adjustments can be made in the menu under "Adjust Image" in the upper block under Tone Value Correction, Auto Tone Correct etc.
The resulting digital photo will therefore already bear my "signature". The degree of your own "handwriting" can be increased indefinitely. The only limits are your own imagination and the virtuality on which you can play "on the piano", sorry software.
By the way, I only use the workplace described above for scanning, as for the digital post-processing significantly more computer power is required. The costs for the used equipment of such a scan workstation should not exceed 50€.
my photos overview
"examine her for motive
investigate the scene
in the ever present danger
keep the holster at your hip".
(If you were) in my movie,
Suzanne VEGA (99.9F, 1992).
- selfs -
Wilyakali:
Wilyakali lies in the east of the state of South Australia, crossing into New South Wales, including the town of Broken Hill. The Wilyakali people traditionally visited the Paakantji people on the Menindee Lakes in the Darling Riverine Plains Bioregion each year.
The three Major language groups for the Broken Hill Region are the Paakantji, Mayyankapa, and Nyiimpaa.
Wilyakali and Danggali both lie east of the Ngadjuri language and north of the upper River Murray languages.
Wilyakali and Danggali are part of the Darling River Language Group or Paakantyi / Paakantji language group. This is a group of closely related languages in South Australia and New South Wales, which can be subdivided into two groups: the “Northern Dialects” and the “Southern Dialects.” Wilyakali and Danggali are both part of the “Southern Dialects.”
Other “Southern Dialects” include Pulaali, Southern Pankantyi, Pantyikali, Wanyuparlku and Marrawarra. Some of these languages have been recorded more than others. Although each language has its own distinguishing features, they are so similar they can be understood by speakers of other languages in this group. Therefore, the following reference list will include Southern Paakantyi references that may be helpful. The language name is noted in square brackets after each reference, when known.
Today the Wilyakali people are still the main Aboriginal group in Broken Hill, though there are a number of Aboriginal people that come from other language groups.
The Aboriginal people of Broken Hill have established working parties to pursue their vision of a better future. They continue to look after their traditional lands and are joint managers of the Mutawintji National Park which is the first national park handed back to the traditional owners in New South Wales. There are many strong elders who continue to maintain and pass on their traditional knowledge to their young people and, today, share their stories with the wider community.
Danggali:
The Danggali nation is located across plains southwest of Broken Hill from near Tandou Lake, southwestward to Mount Bryan and Burra Creek, northwest of Morgan, South Australia, chiefly in the more arid country extending generally eastward to within a few miles of the Darling River.
For most of the year, Danggali people depended on water from the roots of water mallee trees but came in to the Anabranch of the Darling in dry times. Eyre (1845) gives the general term Paritke for these scrub dwellers west and northwest of the Murray. Their language name was Jakumban and they extended eastward to the Darling. They were known farther east as the Jokajoka or Jakojako, a term based on ['ja:ko] their word for 'no.' Richardson indicated them as extending westward, presumably in the scrub country north of the Murray, as far as North West Bend.
Walyakali is to the north of Danggali. Wilyakali and Danggali both lie east of the Ngadjuri language and north of the upper River Murray languages. Wilyakali and Danggali are part of the Darling River Language Group or Paakantyi / Paakantji language group. This is a group of closely related languages in South Australia and New South Wales, which can be subdivided into two groups: the “Northern Dialects” and the “Southern Dialects.” Wilyakali and Danggali are both part of the “Southern Dialects.”
Other “Southern Dialects” include Pulaali, Southern Pankantyi, Pantyikali, Wanyuparlku and Marrawarra. Some of these languages have been recorded more than others. Although each language has its own distinguishing features, they are so similar they can be understood by speakers of other languages in this group. Therefore, the following reference list will include Southern Paakantyi references that may be helpful. The language name is noted in square brackets after each reference, when known.
Source: Mobile Language Team (mobilelanguageteam.com.au/languages/danggali/), Aboriginal Housing Office, & South Australian Musuem (www.samuseum.sa.gov.au/collection/archives/language_group...).
800 Days Daily DuoLingo Fabulous Fun French Language Learning Lessons - IMRAN™
Finally, a lot later, but a tiny bit closer to another life goal. 800 days streak of learning French. How and why did that take so long?
Bedsides my late mother’s Urdu language, my late father’s Punjabi, and English learned as a student in Pakistan, I’ve always hungered to learn more languages. As a pre-teen, I was making some progress learning very basic German from Teach Yourself books in the mid 1970s. I won’t mention here BASIC, Pascal, FORTRAN, C, or C++ type programming languages I had also learned!
But then real tough Cambridge school certificate, then Cambridge A’ levels, and later professional electronics engineering degree studies left no time that was taken up being a student political leader in the 1980s. An engineering classmate from Lahore, Amir, did learn French at the Alliance Français and got me hooked on French movies around 1983.
In 1987 (West Germany) became the first country I visited, and fell in love with, followed by France. So, despite my love for Germany and the German people, French became my language learning goal.
Then 30 years of life, and history, flew by. I bought all the books, tapes, CDs, DVDs, and even apps, as the technology of language learning evolved. I even got the DuoLingo app when it first came out. But time remained the constraint.
Until the pandemic. When everyone was asking others what Netflix series to binge-watch, I took advantage of the time to get and spend time walking with my two German Shepherd Dogs, took off 32 pounds of weight I had put in 32 years living in USA, started work on my second music album, and more.
But what I am so happy I was able to pull off into a consistent habit was doing at least 10-minutes or more of French learning every day. Every day, at least once, before midnight.
By the grace of God I just hit 800 days of consecutive learning days, and my 75th week streak in the highest Diamond League of DuoLingo’s gamification system (which really incentivizes the competitive spirit in me).
Can I have a real conversation with my French neighbor, CFO of a major FinTech, Julien? … Pas vraiment, mais peut-être un peu…. But, my life’s journey to be a Learn It All continues. Je vous parlerai (en anglais, français, Urdu/hindi, Punjabi) bientôt!
© 2022 IMRAN™
#IMRAN #autobiography #languages #learning #French #English #prose #Urdu #Punjabi #Lahore #DuoLingo #TeachYourself #LearnItAll #learnandgrow #learningjourney #learnerforlife #languagelearning
No words needed when you speak the language of the herd. Witnessing a fleeting moment of raw, untamed interaction.
I thought a beer had finally been named after me, but closer inpsection proved otherwise. (See the one on the right)
A "cold snap" has descended on Brisbane, but the Sunday morning here is cloudless so sunny, and as soon as the ice melts it will be a lovely day.
Imagine these copper coils as my neck perhaps.
Grolsch Brewery is a Dutch brewery founded in 1615.
Starts With G Challenge
Containers Theme - Contains Beer
Louvre ~ Paris ~ MjYj
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