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Maximize all the pleasure
Even with all this weather
Nothing can make it better
Maximize all the pleasure
Maximizing the tulips that my daughter gave to me yesterday.
Thanks for visiting, stay safe. Ontario has put on an Emergency Brake and we are back on lockdown during this third wave!
Renamed - Maximizing capacity following the curves - conversion to B&W on my walk April 8, sculpted by the farmer 👍 and captured through my lens
Thank you for commenting, favoring and visiting me on this N°311 position in today's Explore celebrating patterns! (May 28, 2025) ... proud and happy to have been selected amongst all these other great photos today
As far as I can tell, sea otters have a well-refined process for eating crabs: (1) eat the legs first, so it can't run away (2) snap off and eat the claws second, so they won't pinch your face (3) pop off the carapace to eat all the insides and (4) rinse and repeat with new crabs until naptime. Sea otter and kelp crab, Monterey, California.
A very unique design that I had never seen before, a dual face searchlight that has all of the heads at different levels, despite direction they face. Still displaying a clear indication for CSX Q328, the train hustles through Grand Ledge, MI. as they prepare to stop and work Ensel Yard in Lansing before continuing east.
Maximizing the tulips that my daughter gave to me yesterday.
Thanks for visiting, stay safe. Ontario has put on an Emergency Brake and we are back on lockdown during this third wave!
Maximize The Trip. On January 20, 2022, Amtrak 100 (P42DC, 50th Anniversary, Midnight Blue) brought Amtrak Train 43 (Pennsylvanian)/Norfolk Southern Corp 07T across the Susquehanna River over the Rockville Bridge in Marysville, Pennsylvanian. Both AMTK 100 and 108 had been operating on this route that week, bringing a lot of photographers trackside. Amtrak has added its 50th Anniversary logo to 7 locomotives in its fleet. A visit to the Bridgeview Bed & Breakfast was a great venue to capture the scene.
"Profondità percepita..."
(oil on canvas, 40x40 cm)
www.instagram.com/p/DVRlU5aEaQR/
(Traditional Painting Meets AI)
Image made using Grok - is a free AI assistant designed by xAI to maximize truth and objectivity.
1997 John Deere 'Maximizer' 9400 walker combine harvester
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Nikon Nikkor 18-135mm 1:3.5-5.6 G ED-IF AF-S DX
_DSC3308 Anx2 1200h Q90 0.5k-3k f25 f50
Great Smoky Mountains National Park
Single Exposure
From last weekend in GSMNP. I double processed a single image in RAW to try to maximize the shadow and highlight detail. Thanks for looking. More photos at www.EwertNaturePhotography.com
1997 John Deere 'Maximizer' 9400 walker combine
en.wikipedia.org/wiki/Combine_harvester
blog.machinefinder.com/22443/john-deere-combine-models-vi...
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Nikon Nikkor 18-135mm 1:3.5-5.6 G ED-IF AF-S DX
_DSC3330 Anx2 1200h Q90 0.5k-2k f25 f50
I love these windows angled in such a way as to benefit from morning and evening sunlight. Located in Richmond Centre, BC.
© Jeff R. Clow
Handheld shot taken with a Sigma 105mm macro lens coupled with a Nikon D300.
I focused on the nymph katydid's eye to maximize the limited depth of field that is present in a macro lens.
If you have the time, I hope you'll view this at the larger size linked below:
I know I am going crazy for this minimalism when it comes to the maximum strength?
This stalk is less than 1 cm long and it has four drops on it i.e. two more than the last one. I was thinking it may not be as minimalistic as the last one? :o)
The meaning of minimalism is the meaninglessness and emptiness ….
Have a great Friday and great weekend! We will have rain through the days!
The hardest thing in photography is to create a simple image. – Anne Geddes
Some of the best skies I have ever seen. On the exit road toward Beatty. Thanksgiving, 2009, my first trip with the Canon T1i. Death Valley has an amazingly beautiful array of brown shades. Thanksgiving weekend is very busy, as it is the first long weekend of the cool season.
This landscape does suffer from the lack of a foreground, but I just couldn't resist the sky.
Now I feel I have learned to work the system to maximize trips to the Explore pool. Makes it seem a bit less special.
Maximizing interior space by crossing the narrow streets in the abandoned fortified town of Al Qasr, in the Dakhla Oasis
"Kreative Kollaboration" Challenge No. 1 found in the Kreative People group, on the front page;
www.flickr.com/groups/1752359@N21/
Thanks to plumnutz for the starter image which you can see in the first comment box below.
I do love a picnic! Best viewed in fullscreen on black.
This is from another video I captured on May 20, 2017 showing Jupiter and two moon, Io and Europa. The original video capture was 10,000 frames over 3-minutes. I only processed the first 1-minute of the video stream (about 3,500 frames) for this image. Three minutes is simply too long unless you derotate the video images (from Jupiter rotating during the capture).
The next step is to refine the capture process to maximize the frames per second (fps) for a 1-minute video.
Tech Specs: Meade 12” LX-90 telescope, ASI290MC camera, Celestron CGEM-DX mount. Software included: FireCapture v2.5.10 x64, AutoStakkert! V3.0.14 (x64), Registax v6 and Adobe Lightroom. Date: May 20, 2017. Location: Weatherly, Pennsylvania.
Since the birth of our daughter one year ago my time trackside has been limited to a a few short hours in the month. With sunny skies finally in the forecast, I stole a couple of hours after work to intercept westbound A411 near Lamont Alberta. With a short train behind the single SD75I, A 411's crew will make it into Edmonton in good time, while I head for home after making the most out of the short time I had on this fall evening.
The Flatiron Building, originally the Fuller Building, is a triangular 22-story, 285-foot-tall (86.9 m) steel-framed landmarked building located at 175 Fifth Avenue in the eponymous Flatiron District neighborhood of the borough of Manhattan, New York City. Designed by Daniel Burnham and Frederick Dinkelberg, it was one of the tallest buildings in the city upon its 1902 completion, at 20 floors high, and one of only two "skyscrapers" north of 14th Street – the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street – where the building's 87-foot (27 m) back end is located – with East 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.
The building, which has been called "one of the world's most iconic skyscrapers and a quintessential symbol of New York City", anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature building, which has become an icon of New York City. The Flatiron Building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and was designated a National Historic Landmark in 1989.
In 1901, the Newhouse family sold "Eno's flatiron" for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of building construction except design, and they specialized in building skyscrapers. Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood. Black engaged Burnham to design the building, which would be Burnham's first in New York City, would also be the first skyscraper north of 14th Street. It was to be named the Fuller Building after George A. Fuller, founder of the Fuller Company and "father of the skyscraper", who had died two years earlier. However, locals persisted in calling it "The Flatiron", a name which has since been made official.
Once construction of the building began, it proceeded at a very fast pace. The steel was so meticulously pre-cut that the frame went up at the rate of a floor each week. By February 1902 the frame was complete, and by mid-May the building was half-covered by terra-cotta tiling. The building was completed in June 1902, after a year of construction.
The Flatiron Building was not the first building of its triangular ground-plan: aside from a possibly unique triangular Roman temple built on a similarly constricted site in the city of Verulamium, Britannia; Casa Saccabarozzi, Turin, Italy (1840); Bridge House, Leeds, England (1875); the Maryland Inn in Annapolis (1782); the Granger Block in Syracuse, New York (1869); I.O.O.F. Centennial Building (18760) in Alpena, Michigan; the Phelan Building in San Francisco (1881); the Gooderham Building of Toronto (1892); and the English-American Building in Atlanta (1897) predate it. All, however, are smaller than their New York counterpart.
Two features were added to the Flatiron Building following its completion. The "cowcatcher" retail space at the front of the building was added in order to maximize the use of the building's lot and produce some retail income. Harry Black had insisted on the space, despite objections from Burnham. Another addition to the building not in the original plan was the penthouse, which was constructed after the rest of the building had been completed to be used as artists' studios, and was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.
The Flatiron Building became an icon of New York City, and the public response to it was enthusiastic, but the critical response to it at the time was not completely positive, and what praise it garnered was often for the cleverness of the engineering involved. Montgomery Schuyler, editor of Architectural Record, said that its "awkwardness [is] entirely undisguised, and without even an attempt to disguise them, if they have not even been aggravated by the treatment. ... The treatment of the tip is an additional and it seems wanton aggravation of the inherent awkwardness of the situation." He praised the surface of the building, and the detailing of the terra-cotta work, but criticized the practicality of the large number of windows in the building: "[The tenant] can, perhaps, find wall space within for one roll top desk without overlapping the windows, with light close in front of him and close behind him and close on one side of him. But suppose he needed a bookcase? Undoubtedly he has a highly eligible place from which to view processions. But for the transaction of business?"
When the building was first constructed, it received mixed feedback. The most known criticism received was known as "Burnham's Folly". This criticism, focused on the structure of the building, was made on the grounds that the "combination of triangular shape and height would cause the building to fall down." Critics believed that the building created a dangerous wind-tunnel at the intersection of the two streets, and could possibly knock the building down. The building's shape was blamed for the 1903 death of a bicycle messenger, who was blown into the street and run over by a car. However, the building's structure was meant to accommodate four times the typical wind loads in order to stabilize and retain the building's iconic triangular shape.
The Flatiron was to attract the attention of numerous artists. It was the subject of one of Edward Steichen's atmospheric photographs, taken on a wet wintry late afternoon in 1904, as well as a memorable image by Alfred Stieglitz taken the year before, to which Steichen was paying homage. Stieglitz reflected on the dynamic symbolism of the building, noting upon seeing it one day during a snowstorm that "... it appeared to be moving toward me like the bow of a monster ocean steamer – a picture of a new America still in the making," and remarked that what the Parthenon was to Athens, the Flatiron was to New York. When Stieglitz's photograph was published in Camera Work, his friend Sadakichi Hartmann, a writer, painter and photographer, accompanied it with an essay on the building: "A curious creation, no doubt, but can it be called beautiful? Beauty is a very abstract idea ... Why should the time not arrive when the majority without hesitation will pronounce the 'Flat-iron' a thing of beauty?"
A 1919 image of the 165th Infantry Regiment passing through Madison Square's Victory Arch. The Flatiron Building is in the background.
After the end of World War I, the 165th Infantry Regiment passes through the Victory Arch in Madison Square, with the Flatiron Building in the background (1919).
Besides Stieglitz and Steichen, photographers such as Alvin Langdon Coburn, Jessie Tarbox Beals, painters of the Ashcan School like John Sloan, Everett Shinn and Ernest Lawson, as well as Paul Cornoyer and Childe Hassam, lithographer Joseph Pennell, illustrator John Edward Jackson as well the French Cubist Albert Gleizes all took the Flatiron as the subject of their work. But decades after it was completed, others still could not come to terms with the building. Sculptor William Ordway Partridge remarked that it was "a disgrace to our city, an outrage to our sense of the artistic, and a menace to life".
The Fuller Company originally took the 19th floor of the building for its headquarters. In 1910, Harry Black moved the company to Francis Kimball's Trinity Building at 111 Broadway, where its parent company, U.S. Realty, had its offices. U.S. Realty moved its offices back to the Flatiron in 1916, and left permanently for the Fuller Building on 57th Street in 1929.
The Flatiron's other original tenants included publishers (magazine publishing pioneer Frank Munsey, American Architect and Building News and a vanity publisher), an insurance company (the Equitable Life Assurance Society), small businesses (a patent medicine company, Western Specialty Manufacturing Company and Whitehead & Hoag, who made celluloid novelties), music publishers (overflow from "Tin Pan Alley" up on 28th Street), a landscape architect, the Imperial Russian Consulate, the Bohemian Guides Society, the Roebling Construction Company, owned by the sons of Tammany Hall boss Richard Croker, and the crime syndicate, Murder, Inc.
The retail space in the building's "cowcatcher" at the "prow" was leased by United Cigar Stores, and the building's vast cellar, which extended into the vaults that went more than 20 feet (6.1 m) under the surrounding streets, was occupied by the Flatiron Restaurant, which could seat 1,500 patrons and was open from breakfast through late supper for those taking in a performance at one of the many theatres which lined Broadway between 14th and 23rd Streets.
In 1911, the building introduced a restaurant/club in the basement. It was among the first of its kind that allowed a black jazz band to perform, thus introducing ragtime to affluent New Yorkers.
Even before construction on the Flatiron Building had begun, the area around Madison Square had started to deteriorate somewhat. After U.S. Realty constructed the New York Hippodrome, Madison Square Garden was no longer the venue of choice, and survived largely by staging boxing matches. The base of the Flatiron became a cruising spot for gay men, including some male prostitutes. Nonetheless, in 1911 the Flatiron Restaurant was bought by Louis Bustanoby, of the well-known Café des Beaux-Arts, and converted into a trendy 400-seat French restaurant, Taverne Louis. As an innovation to attract customers away from another restaurant opened by his brothers, Bustanoby hired a black musical group, Louis Mitchell and his Southern Symphony Quintette, to play dance tunes at the Taverne and the Café. Irving Berlin heard the group at the Taverne and suggested that they should try to get work in London, which they did. The Taverne's openness was also indicated by its welcoming a gay clientele, unusual for a restaurant of its type at the time. The Taverne was forced to close due to the effects of Prohibition on the restaurant business.
In October 1925, Harry S. Black, in need of cash for his U.S. Realty Company, sold the Flatiron Building to a syndicate set up by Lewis Rosenbaum, who also owned assorted other notable buildings around the U.S. The price was $2 million, which equaled Black's cost for buying the lot and erecting the Flatiron. The syndicate defaulted on its mortgage in 1933, and was taken over by the lender, Equitable Life Assurance Company after failing to sell it at auction. To attract tenants, Equitable did some modernization of the building, including replacing the original cast-iron birdcage elevators, which had cabs covered in rubber tiling and were originally built by Hecla Iron Works, but the hydraulic power system was not replaced. By the mid-1940s, the building was fully rented.
When the U.S. entered World War I, the Federal government instituted a "Wake Up America!" campaign, and the United Cigar store in the Flatiron's cowcatcher donated its space to the U.S. Navy for use as a recruiting center. Liberty Bonds were sold outside on sidewalk stands. By the mid-1940s, the cigar store had been replaced with a Walgreens drug store. During the 1940s, the building was dominated by clothing and toy companies.
Equitable sold the building in 1946 to the Flatiron Associates, an investor group headed by Harry Helmsley, whose firm, Dwight-Helmsley (which would later become Helmsley-Spear) managed the property. The new owners made some superficial changes, such as adding a dropped ceiling to the lobby, and, later, replacing the original mahogany-panelled entrances with revolving doors.
In 1959, St. Martin's Press moved into the building, and gradually its parent company, Macmillan, rented other offices as they became available, until by 2004, all 21 floors of the Flatiron Building's office space was rented by Macmillan. During its tenancy, Macmillan renovated some of the Flatiron Building's floors. for its imprints such as Tor/Forge, Picador and Henry Holt and Company. Macmillan, which is owned by Verlagsgruppe Georg von Holtzbrinck of Stuttgart, Germany, wrote about the building:
The Flatiron's interior is known for having its strangely-shaped offices with walls that cut through at an angle on their way to the skyscraper's famous point. These "point" offices are the most coveted and feature amazing northern views that look directly upon another famous Manhattan landmark, the Empire State Building.
Because the Helmsley/Flatiron Associates ownership structure was a tenancy-in-common, in which all partners have to agree on any action, as opposed to a straightforward partnership, it was difficult to get permission for necessary repairs and improvements to be done, and the building declined during the Helmsley/Flatiron Associates era. The facade of the Flatiron Building was restored in 1991 by the firm of Hurley & Farinella. Helmsley-Spear stopped managing the building in 1997, when some of the investors sold their 52% of the building to Newmark Knight-Frank, a large real estate firm, which took over management of the property. Shortly afterwards, Helmsley's widow, Leona Helmsley, sold her share as well. Newmark made significant improvements to the property, including installing new electric elevators, replacing the antiquated hydraulic ones, which were the last hydraulic elevators in New York City.
During a 2005 restoration of the Flatiron Building a 15-story vertical advertising banner covered the facade of the building. The advertisement elicited protests from many New York City residents, prompting the New York City Department of Buildings to step in and force the building's owners to remove it.
In January 2009, Italian real estate investment firm Sorgente Group, based in Rome, bought a majority stake in the Flatiron Building, with plans to turn it into a luxury hotel. The firm's Historic and Trophy Buildings Fund owns a number of prestigious buildings in France and Italy, and was involved in buying, and then selling, a stake in the Chrysler Building in Midtown New York. The value of the 22-story Flatiron Building, which is already zoned by the city to allow it to become a hotel, was estimated to be $190 million.
In July 2017, Macmillan announced it was consolidating its New York offices to the Equitable Building at 120 Broadway. By June 2019, Macmillan had left the building, and all 21 office floors were vacant. Following Macmillan's departure, the owners of the Flatiron Building, the family-owned GFP Real Estate, planned to use the absence of tenants to upgrade the interior of the building. GFP planned to install a central air and heating system, strip away all interior partitions – leaving triangular open floors – put in a new sprinkler system and a second staircase, and upgrade the elevators. The lobby would also be renovated. The cost would be $60–80 million and the project was estimated to take a year. The owners were interested in renting the entire building to a single tenant, hiring a high-profile real estate agency to find a suitable tenant. The executive director of the ownership company said: "The building was born as a commercial property, and we want to keep it as such." As of November 2020, the building is empty, and the full renovation is expected to take at least until 2022.
After not seeing the sun for at least a couple of weeks, I wasn't going to let frozen fingers keep me from capturing some nice sunrise images. I promise that this is the last sunrise photo for awhile :)
A coffee cup being used as an ashtray.
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Zuiko OM 35mm f/2.8 + Olympus OM-2sp : Kodak Tri-X 400 : Epson Perfection V850 Pro Photo Scanner.
Mobile phone cameras go along way towards making photography simple and easy, but as with any camera, there are a number of ways you can improve the quality of your results. Here are some of the steps I take with my iPhone 5S:
1. Control the exposure. Touch the part of the screen where you want the camera to sample it.
2. Leave HDR mode turned on. The small sensors in cell phone cameras have small pixels, so they don't gather a lot of light and don't operate well in low light. That reduces the dynamic range, of mobile phone cameras, the range of light that they can resolve detail in. In a single exposure you'll often end up with blown out white highlights or blackened shadows, but HDR mode takes multiple exposures and tries to bring detail from the lighter and darker exposures into a single image. If the single exposure works, by all means use it, but it's great to have the additional HDR result as a backup in case it handles shadows and highlights better.
3. Just like with film and DSLR photography, post-processing is important. For quick field editing and online sharing, try Google's excellent and free Snapseed app., which enables you to make critical adjustments to brightness, shadows and contrast, and you can post the results to a number of social media sites or for sites not yet supported, save the adjusted images to your iPhone's Camera Roll. For even more control once you get back to your computer, bring your iPhone images into Adobe Photoshop Lightroom and adjust them on a high resolution PC monitor, using even more features such as noise reduction which can help bring your image up to a printable quality. If you don't already have Lightroom, version 5.3 is available as a free trial.
Those are just some basic tips on getting a decent image, but the most important thing in your photography is your subject, and the composition you capture it with. So for even more photographic freedom and more compelling results, exercise as much control as possible over composition, as described in the rest of this post on my blog:
www.jeffsullivanphotography.com/blog/2014/03/14/maximize-...
As my first attempt at MOCing a building, I really wanted to make the most of it by maximizing the level of details and playing around with all sort of weird connections, particularly the facade of the front of the building. Also, as a huge fan of building words and logos, the word "ACE" is not only my favourite part of the model, but also the driving force behind this entire project.
Full Album: www.flickr.com/photos/legocityson/sets/72157677498548303
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