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Benefits: Massages the colon and can help to prevent constipation and irritable bowel syndrome. Helps to normalize production of stomach acid. Stimulates the liver, intestines and spleen. Improves flexibility of the hip joints and relieves lower back pain. Bikram Yoga Athlone
Following the EU-CELAC Summit 2015, the GMF held a roundtable discussion with representatives from the EU and LAC countries to discuss the trend of growing ties between the EU and Latin American and Caribbean countries, including other pressing issues, such as TTIP, U.S.-Latin American relations, and the importance of normalizing U.S.-Cuba relations.
Io Aircraft - www.ioaircraft.com
Drew Blair
www.linkedin.com/in/drew-b-25485312/
io aircraft, phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air-Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, defense science, missile defense agency, aerospike,
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
This is a rough normalized differential vegetation index, made using the same files that were used to make the corresponding color infrared photo.
I didn't put a lot of care and attention into calibration on this, so it's not useful for differentiating different kinds of photosynthesizing plants. It's basically good for "this part has stuff growing" and "this part doesn't". But it serves to illustrate the technique.
During UFG, Republic of Korea nurses were among more than 100 visitors to the 121st CASH, including Eighth U.S. Army Command Sergeant Major Robert Winzenried, (center) and the 121st CASH Family Readiness Group.
U.S. Army photo by Ken Hall
That is, a section of a cylinder where the planes intersecting are not parallel. The eye of the vortex appears to be one of the foci of the ellipse. Round objects added to stop the eye from normalizing the shape, as it will do, no matter how many times I've told it not to.
2021-03-13 Hambidge Second Saturday STUDIO TOUR at the Cross-Pollination Art Lab Lindbergh Center
SCHEDULE
• In the Cube Gallery (noon-4pm) you will find "The Space Between," a new project from Dr. Fahamu Pecou that works to dispel the pervasive myth of violence and discord within the Black male community, and seeks to both normalize expressions of care, concern, and compassion while challenging the pervasive image of Black violence and trauma.
• Jessica Brooke Anderson will be offering visitors (one at a time) an opportunity to select a gift from her collection of family objects. She recently inherited 3 houses worth of heirlooms, and is using this opportunity to redistribute these items to the community. In exchange for "adopting" a piece of her family history, she is asking to photograph each object with its new owner, in hopes of creating a new family tree, made up of strangers, all interconnected through the lives and objects that came before.
• Participate in a self-led writing exercise / creativity booster in the space outside of Arvin Temkar’s studio. Arvin is a writer and photographer whose work examines complexity, tension, and hope in a multiracial, multiethnic America, and has been published in major publications across the country. He will also be displaying some of his photography in the windows of his studio.
• Visit the Teller Productions Workshop to observe artist Scottie Rowell’s shadow puppet play time and experience Push. Press. Pull., an ever-changing art installation exploring human’s love of buttons. Only one family/group/pod allowed in the space at time.
• Jasmine Williams and Sierra King are excited to share with the public in progress works across both of their disciplines of printmaking and archiving. The public at large is welcomed into their space, limited to 2 at time, to view THROUGHLINE - where the lives of Black Women Artists intersect. Additionally there will be limited edition "I AM WOMAN" tote bags that were hand printed in the art lab and older edition prints available to purchase by Jasmine Nicole Williams.
• FRANK/ie CONSENT will present ‘Love Shrines,’ their first installation of shared things, in which their new album (collaborated with The Cradle) will play with casual, non-demanding events happening and video documentation of their recent love baptism. After the installation, there will be a live music performance by FRANK/ie CONSENT and the generosities of people they love. The performance will begin around 5:30.
• Floyd Hall will be presenting Seeing + Sounds, featuring a series of streaming recorded audio content in addition to visual projections.
• From 2-3:30, Matriarc Society will be providing a photo shoot session with a local femme music maker at no cost. Guests may observe the process from the windows on the corner of Magnolia Lane and Morosgo Drive.
• Dance Hub ATL residents are approaching this event as an open process with space to have conversations if visitors are interested in learning more. Four artists - Porter Grubbs, Catherine Messina, Frankie Mulinix and Nadya Zeitlin - will share glimpses of their current creations. In addition to performances, we will introduce a new addition to our Hub - installations by Dima Alekseyev. For more details and updates, check their Instagram page @dance_hub_atl. Donations are greatly appreciated and will support artists' further process.
Dance Hub ATL Performance Schedule - IN-PERSON and VIRTUAL
2:00 - Studio is open to live visitors (up to 16 people at the same time, 10 chairs in the seating area. Masks are required).
2:30 - Catherine Messina's process is a peek into the creation of phrasework for a large scale piece, and how to restage that work after a year away due to the Covid-19 pandemic. Two of the original cast of eight will share some of the prompts in creating duets, unison work, formations, and more. Online via Instagram Live and in-person.
3:00 - Nadya Zeitlin will show Alice, study #1 - the beginning stage of a new work that Bautanzt Here is designing inside Dance Hub ATL. Online via Instagram Live and in-person.
3:30 - The butoh piece performed by Frankie Mulinix is exploring memory, changing identity, and brain injury. Online via Instagram Live and in-person.
4:30 - Porter Grubbs will share some improvisation scores that they've been working on for Medium Collective’s summer series. Plus they will set up a layout with some of their Demon Body portraits and narratives that they've drafted. Online via Instagram Live and in-person.
2021-03-13 Hambidge Second Saturday STUDIO TOUR at the Cross-Pollination Art Lab Lindbergh Center
SCHEDULE
• In the Cube Gallery (noon-4pm) you will find "The Space Between," a new project from Dr. Fahamu Pecou that works to dispel the pervasive myth of violence and discord within the Black male community, and seeks to both normalize expressions of care, concern, and compassion while challenging the pervasive image of Black violence and trauma.
• Jessica Brooke Anderson will be offering visitors (one at a time) an opportunity to select a gift from her collection of family objects. She recently inherited 3 houses worth of heirlooms, and is using this opportunity to redistribute these items to the community. In exchange for "adopting" a piece of her family history, she is asking to photograph each object with its new owner, in hopes of creating a new family tree, made up of strangers, all interconnected through the lives and objects that came before.
• Participate in a self-led writing exercise / creativity booster in the space outside of Arvin Temkar’s studio. Arvin is a writer and photographer whose work examines complexity, tension, and hope in a multiracial, multiethnic America, and has been published in major publications across the country. He will also be displaying some of his photography in the windows of his studio.
• Visit the Teller Productions Workshop to observe artist Scottie Rowell’s shadow puppet play time and experience Push. Press. Pull., an ever-changing art installation exploring human’s love of buttons. Only one family/group/pod allowed in the space at time.
• Jasmine Williams and Sierra King are excited to share with the public in progress works across both of their disciplines of printmaking and archiving. The public at large is welcomed into their space, limited to 2 at time, to view THROUGHLINE - where the lives of Black Women Artists intersect. Additionally there will be limited edition "I AM WOMAN" tote bags that were hand printed in the art lab and older edition prints available to purchase by Jasmine Nicole Williams.
• FRANK/ie CONSENT will present ‘Love Shrines,’ their first installation of shared things, in which their new album (collaborated with The Cradle) will play with casual, non-demanding events happening and video documentation of their recent love baptism. After the installation, there will be a live music performance by FRANK/ie CONSENT and the generosities of people they love. The performance will begin around 5:30.
• Floyd Hall will be presenting Seeing + Sounds, featuring a series of streaming recorded audio content in addition to visual projections.
• From 2-3:30, Matriarc Society will be providing a photo shoot session with a local femme music maker at no cost. Guests may observe the process from the windows on the corner of Magnolia Lane and Morosgo Drive.
• Dance Hub ATL residents are approaching this event as an open process with space to have conversations if visitors are interested in learning more. Four artists - Porter Grubbs, Catherine Messina, Frankie Mulinix and Nadya Zeitlin - will share glimpses of their current creations. In addition to performances, we will introduce a new addition to our Hub - installations by Dima Alekseyev. For more details and updates, check their Instagram page @dance_hub_atl. Donations are greatly appreciated and will support artists' further process.
Dance Hub ATL Performance Schedule - IN-PERSON and VIRTUAL
2:00 - Studio is open to live visitors (up to 16 people at the same time, 10 chairs in the seating area. Masks are required).
2:30 - Catherine Messina's process is a peek into the creation of phrasework for a large scale piece, and how to restage that work after a year away due to the Covid-19 pandemic. Two of the original cast of eight will share some of the prompts in creating duets, unison work, formations, and more. Online via Instagram Live and in-person.
3:00 - Nadya Zeitlin will show Alice, study #1 - the beginning stage of a new work that Bautanzt Here is designing inside Dance Hub ATL. Online via Instagram Live and in-person.
3:30 - The butoh piece performed by Frankie Mulinix is exploring memory, changing identity, and brain injury. Online via Instagram Live and in-person.
4:30 - Porter Grubbs will share some improvisation scores that they've been working on for Medium Collective’s summer series. Plus they will set up a layout with some of their Demon Body portraits and narratives that they've drafted. Online via Instagram Live and in-person.
I'm happy to say that things seem to have normalized. Tabitha "produced" during the night and seems to be downloading with no problems. The downside is that we have created a monster with the addition of canned food to her menu. ;-)
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
This was just past the summit on the second part of the main track of Thompsons Track, close to Te Aroha.
This is a post edit version of
www.flickr.com/photos/denniskuhn/3205242226/
Opened in GIMP
- duplicated base layer, blur
- duplicated base layer, dodge, added inverted grayscale as layer mask
- duplicated base layer, burn, added grayscale as layer mask
-copied windscreen and normalized colours, faded in softly to show reflection instead just blue
Kids from a riverside community gather to check out Westerners in rafts.
Michigan Engineering graduate Frank Sedlar and PetaJakarta.org staffers participate in a "brown water rafting" down Ciliwung River in Jakarta, Indonesia.
They are documenting the consequences of the process of normalisasi ("normalization") that Jakarta government has been implementing along the banks of rivers that cut through Jakarta and empty into the nearby sea. The normalization policy turns heavily populated river banks in Jakarta, Indonesia into concrete and walled deserts after evicting local residents from the river banks.
For the next week we are following a Michigan Engineering graduate who helps map flooding in Jakarta using social media based data. Follow our blog at umjakarta.tumblr.com/
Photo by Marcin Szczepanski/Senior Multimedia Producer, University of Michigan, College of Engineering
O protetor solar que estou usando agora.
Comprei por indicação da minha tia.
Usava o Episol Water Gel, mas ele estava manchando MUITO o blush e ainda ficava com aquele aspecto de pele descamando ( porque ele parece uma proteção plástica sobre a pele).
Comprei o ADA TINA Normalize FPS 60 e fui rezando para não fazer minha pele virar um poço de sebo-mor.
Tem um mês e pouco que estou usando e só tenho coisas ótimas para dizer.
O cheiro é uma delíiiiiiiiiiiiiiiiiiiiiiicia, mas não interfere no perfume e some depois de aplicado ( cheiro de cosmético de gente rica). Espalha super bem e cumpre o que diz, o toque é seco. A embalagem diz que contém água termal e é livre de parabenos. A pele fica muito macia com ele também ( será que é por causa da água termal???)
Só sei que estou amando e super recomendo!
2021-03-13 Hambidge Second Saturday STUDIO TOUR at the Cross-Pollination Art Lab Lindbergh Center
SCHEDULE
• In the Cube Gallery (noon-4pm) you will find "The Space Between," a new project from Dr. Fahamu Pecou that works to dispel the pervasive myth of violence and discord within the Black male community, and seeks to both normalize expressions of care, concern, and compassion while challenging the pervasive image of Black violence and trauma.
• Jessica Brooke Anderson will be offering visitors (one at a time) an opportunity to select a gift from her collection of family objects. She recently inherited 3 houses worth of heirlooms, and is using this opportunity to redistribute these items to the community. In exchange for "adopting" a piece of her family history, she is asking to photograph each object with its new owner, in hopes of creating a new family tree, made up of strangers, all interconnected through the lives and objects that came before.
• Participate in a self-led writing exercise / creativity booster in the space outside of Arvin Temkar’s studio. Arvin is a writer and photographer whose work examines complexity, tension, and hope in a multiracial, multiethnic America, and has been published in major publications across the country. He will also be displaying some of his photography in the windows of his studio.
• Visit the Teller Productions Workshop to observe artist Scottie Rowell’s shadow puppet play time and experience Push. Press. Pull., an ever-changing art installation exploring human’s love of buttons. Only one family/group/pod allowed in the space at time.
• Jasmine Williams and Sierra King are excited to share with the public in progress works across both of their disciplines of printmaking and archiving. The public at large is welcomed into their space, limited to 2 at time, to view THROUGHLINE - where the lives of Black Women Artists intersect. Additionally there will be limited edition "I AM WOMAN" tote bags that were hand printed in the art lab and older edition prints available to purchase by Jasmine Nicole Williams.
• FRANK/ie CONSENT will present ‘Love Shrines,’ their first installation of shared things, in which their new album (collaborated with The Cradle) will play with casual, non-demanding events happening and video documentation of their recent love baptism. After the installation, there will be a live music performance by FRANK/ie CONSENT and the generosities of people they love. The performance will begin around 5:30.
• Floyd Hall will be presenting Seeing + Sounds, featuring a series of streaming recorded audio content in addition to visual projections.
• From 2-3:30, Matriarc Society will be providing a photo shoot session with a local femme music maker at no cost. Guests may observe the process from the windows on the corner of Magnolia Lane and Morosgo Drive.
• Dance Hub ATL residents are approaching this event as an open process with space to have conversations if visitors are interested in learning more. Four artists - Porter Grubbs, Catherine Messina, Frankie Mulinix and Nadya Zeitlin - will share glimpses of their current creations. In addition to performances, we will introduce a new addition to our Hub - installations by Dima Alekseyev. For more details and updates, check their Instagram page @dance_hub_atl. Donations are greatly appreciated and will support artists' further process.
Dance Hub ATL Performance Schedule - IN-PERSON and VIRTUAL
2:00 - Studio is open to live visitors (up to 16 people at the same time, 10 chairs in the seating area. Masks are required).
2:30 - Catherine Messina's process is a peek into the creation of phrasework for a large scale piece, and how to restage that work after a year away due to the Covid-19 pandemic. Two of the original cast of eight will share some of the prompts in creating duets, unison work, formations, and more. Online via Instagram Live and in-person.
3:00 - Nadya Zeitlin will show Alice, study #1 - the beginning stage of a new work that Bautanzt Here is designing inside Dance Hub ATL. Online via Instagram Live and in-person.
3:30 - The butoh piece performed by Frankie Mulinix is exploring memory, changing identity, and brain injury. Online via Instagram Live and in-person.
4:30 - Porter Grubbs will share some improvisation scores that they've been working on for Medium Collective’s summer series. Plus they will set up a layout with some of their Demon Body portraits and narratives that they've drafted. Online via Instagram Live and in-person.
During the shortage of supply earlier this year, somehow, the taste of roast duck of this particular stall has changed to herbal taste. We were told he got his supply from another source and not from his regular supplier. Really glad that the original taste is back since his regular supply is normalized!