The Highland Council will commence running buses via an in-house operation on 4 January 2023. 11 pilot services that will fall under a Section 22 community bus permit have been registered with the Traffic Commissioner. Seven will start from that date with the other four following five days later.

A report to The Highland Council’s Redesign Board on 28 November states that the local authority (LA) expects to realise a potential saving of £1.4m per year on the initial group of contracted services that it has taken in-house, although it notes that there will be an initial outlay and “a one-off cost for the procurement of a transport management solution.”

That report states that an in-house bus company “will mitigate some of the significant cost increases fro the recent retendering of passenger and school transport contracts.” It adds that the model “will also provide the potential for an improved and more inclusive service to be provided to support other Council objectives.”

A team of three Project Officers and a Bus Operations Supervisor is in place. Interviews for the 11 drivers required are underway, with six recruited already. Although the bus services will operate under a Section 22 permit, the team includes two members with Transport Manager qualifications, the LA has pointed out.

The Highland Council will lease an operating centre in Inverness for the operation. Seven single-decker buses are currently stored in Inverness and two of six double-deckers have arrived in the city, although the LA also says that it has invested in 12 buses. The services to be taken up are currently in the hands of other operators including Stagecoach.

This week in 2007, the space shuttle Atlantis, mission STS-117, landed at Edwards Air Force Base following the completion of a successful 14-day mission to the International Space Station. The primary mission objective was to deliver the second and third starboard truss segments, S3 and S4, and another pair of solar arrays to the station. Today, the Payload Operations Integration Center at NASA's Marshall Space Flight Center serves as "science central" for the space station, working 24/7, 365 days a year in support of the orbiting laboratory's scientific experiments. The NASA History Program is responsible for generating, disseminating, and preserving NASA’s remarkable history and providing a comprehensive understanding of the institutional, cultural, social, political, economic, technological and scientific aspects of NASA’s activities in aeronautics and space. For more pictures like this one and to connect to NASA’s history, visit the Marshall History Program’s webpage.

Image credit: NASA

Read more

Marshall History

For more NASA History photos

NASA Media Usage Guidelines

Vulnerable identity

The impressive photos of Rineke Dijkstra, often frontal portraits of growing young people and young adults, put the vulnerability and strength of people in development. Her approach results in pictures showing both the social background and the self-image of the portrayed. That can be a boy who joins the Aliens Legion (Olivier, 2000-2003), a girl who strives to perfect her ballet performance (Marianna [The Fairy Doll], 2014), the insecurity and branie of deceased pubs during a club Evening (The Buzz Club, Liverpool, UK / Mystery World, Zaandam, NL, 1995-1996) or just women who experience feelings of pain and happiness at the same time (Tia, 1994, July, 1994, Tecla, 1994 and Saskia, 1994) .

The magistrally composed portraits are a manifestation of universally recognizable truths about humankind as a social being, with all (s) of certainty and life experience. The work of Rineke Dijkstra is known for its beauty and its virtuosity: her striking compositions are created by balancing attitude, detail and coincidence. The photos of Dijkstra are characterized by their technical workmanship and combine the objective view of portrait photography, such as August Sander's, with a striking emotional dimension.

Great-horned Owls are desperate to avoid lengthy daylight flights during the months of May and June. This is nesting season for blackbirds which are among the most savagely protective members of the family Aves. The owls “hole up” deep in the recesses of willow trees preferably in a grove where they can avoid interlopers such as said photographer by tree hopping so to speak.

I can determine their flight path across “good light” by approaching a tree from a specific direction. When they make their escape to a neighboring willow, I raise my 600mm telephoto to my eye and fire away. I have a short window of time to find them, acquire focus, and fill the buffer.

On the two occasions that I did this, I accumulated a great many close-up flight-shots of Great-horned Owls. You can sample some of them on my Flickr pages. However, though I love flight photography, my heart is not in this. It is not that I am disturbing owls in a harmful way. By this time of year their fledging have started to fly. I also know when to quit before photography becomes harassment. It has something to do with forcefully making things happen in nature. It is oddly symbolic of a deeper meaning.

Put simply, getting the shot is not that big a deal to me. If it were, I would be missing the transitory wonder and beauty winging by me from moment to moment. The real magic and mystery is flying past undetected when I preoccupy myself with goals and objectives.

Recently, I stepped out of my truck and instantly became aware of the incredible silence. It was an unseasonably warm day, sunny and calm. In the distance, I could hear water spilling out of a culvert into the river. One of those feelings that seem to say “all is right with the world” came over me. I slung my lens and camera over my shoulder as an afterthought and started ambling down the road.

Suddenly, a big-tired 3/4 ton diesel truck turned and rumbled towards me. Out of thin air, it seemed, a “grey ghost” Northern Harrier appeared and flew directly between me and the oncoming truck. I raised my lens instinctively and let the shutter rip. It was like Zen archery — no beating heart nor widening eye. I had been two years looking for this shot and there it was like magic.

Microscope objective Amscope 4X mounted on Novoflex bellows, 31 stacked images

Close-up shot of Dr. Phikru Nornu's test subject, in the transition to becoming a super-soldier.

This is my entry for the public mission 20 of the 253rd Elite Legion RPG. Build time was four weeks.

My little macro heaven, getting even messier!

Fine print available at: www.JxnPx.com

Thank you for supporting my art!

Another POV from the Wood-boring Beetle ( Capnodis tenebricosa )

Tech info | 199 exposures stacked, exp.time 2.5sec, ISO200

Stacking soft / Zerene Stacker - Bugslabber

The scene lit by two IKEA Jansjö led lamp and diffused with a foam cup

5X Mitutoyo M Plan Apo NA 0.14 Infinity Corrected Long WD Objective | Raynox DCR-150 | Nikon PB-6 Bellows | Sony A7

LARGE version!

My appilcation for Dark times.

Floating free form style is inspired by people here on flickr that will be tagged.

This picture was taken in Yucatan Mexico . objectively with a Samyang 12mm .

Mag. X20, stack of 117 pictures, X20 microscope objective mounted on DSLR camera. Stacked with Helicon Focus, Camera mounted on Wemacro rail.

OLYMPUS DIGITAL CAMERA

1) Subject : De kleine runderdaas (Tabanus bromius)

2) Camera : Nikon D800 (Dx-mode)

3) Lens : Rodenstock Apo-Gerogon 240/9 as tube lens

4) Other : 48 mm Extension tubes

5) M/Obj : Generic 4 X Infinite Microscope Objective

6) Magnification:

7) Lens Settings: iso100, 1/30s, f9

8) Stack # : 106 @ 30 µm

9) Lighting : 3leds ( JANSJÖ ikea) +Flash SB700 @ 1/16

Popular tree in the Palouse at sunrise with Steptoe Butte

in background

Explore #336

The beautiful kingfisher looking for his breakfast in the early hours of the day.

First attempt with a microscope Objective.

Acrylic on paper

And road signs, double exposure on film.

Nikon FM

Nikkor 50mm ƒ/2 Ai

Objective Happiness: ƒ/2.8 at 1/60sec.

Road signs: ƒ/4 at 1/500sec.

Fuji Super G Plus 100 Color film

Expired, set to ASA 50

Taken with:

Nikkor-P.C Auto 105mm f/2.5

Nikon PK-3 Extension Tube

Fisher Scientific LWD Plan 4X / 0.10

Objective validity

Concrete actuality

Formative process

The series that I will upload here was produced for the Objectivity project at Nottingham Trent - it was my third project in the first year.

What do you think is captured here?

"Access; Superman. Command; Eradicate Kryptonion."

Based on the Young Justice and classic Brave and The Bold comic designs of Professor Ivo's Amazing Android, I present to you, Amazo!

The power absorbing super-foe created for science faces off against Supes over the city of Metropolis

I've really wanted to showcase Amazo for a while now. He's been built and sitting with other Legion of Doom members amongst my collection for months now, so I'm glad he gets to finally see the light of day.

Some, but not all, pollen grains of the musk mallow, Malva moschata, fluoresce under ultra-violet light (365nm). Image magnification 20X.

Nikon Z7, Mitutoyo objective 20x/0.42 Raynox tube lens, Zerene Stacker

2020.10.06 Moskuskattost Malva moschata; Malvaceae. Opptak i UV-indusert fluorescens (UVIVF). m=20X (i opptak). Orderudåsen, Sørum kommune, Akershus. © Birna Rørslett-NN/Nærfoto < M202010068695 M202010 M2020 202010068695 202010 UKJENT> 2.6 MB IMAGE 11.10.2020 22:13:39 GPS UTM:PM,PM25,PM2550,PM254500 [NIKON Z 7, Mitutoyo 20X/0.42]

One of the objectives of my latest London visit was to get some shots in of Big Ben before it is totally shrouded in scaffolding from early this year for the next 3 years. This is the last of the sequence for the moment. For this one I moved a very short way from the last shot to the start of the paths tunnel under Westminster Bridge. After setting uo with the tripod out of the way of walkers, cyclists and skateboarders I got this shot inbetween the passers by.

The picture was taken on a tripod with a Sony A700 with a Sigma 10-20 mm lens at 20mm. I took 3 shots for HDR but used the minus 2 EV image to process in the Develop Module of Lightroom 5. Adjustments were made to the whites and blacks and with the adjustment brush to get the correct exposure throughout. Then edited in Photoshop. Darkened just the clockface with a brightness adjustment layer and a layer mask. Cropped to suit and then further editing with Topaz Clarity and DeNoise. Some tidy up with the heal and clone tools. Worked very well to remove litter from the pavement.

For my Photography books see My Author Page USA or My Author Page UK

Please visit my â Facebook Page

For Galleries, Prints and Licences see Edwin Jones Photography

Lima / Peru

All rights reserved - Copyright © Joerg Reichel

All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.

A green fly from the garden.

Nikon 10x objective. Single Yongnuo flash. Manual focusing rail.

www.macroscopicsolutionscom

Aprofitant els caps de setmana de festa a la feina, vaig anar en més d'una ocasió a pel Tren Blanc. Una d'elles va ser aquesta, on el vaig fotografiar a la sortida del baixador d'Urtx-Alp.

Aprovechando los fines de semana de fiesta en el trabajo, fui en más de una ocasión a por el Tren Blanc. Una de ellas fue esta, donde lo fotografié en la salida del bajador de Urtx-Alp.

On Sunday evening I set out to take some late afternoon/sunset shots. As I was driving back from the spot where I had just shot 300+ HDR source images, I spotted this shiny dumptruck by the side of the road. Shooting this allowed me to put the versatility of my tripod to good use -- I had to adjust one leg out so that I could get a lower angle for the shot. So yes, like a fool I was on the asphalt in a very contorted position trying to get a shot. I have to say that I'm very careful when I shoot while crouching/lying down on the asphalt. I'm hoping being careful (and perhaps lucky) allows me to get good shots without getting run over. This is a blend of seven source images. Here's the process:

Thanks for your visit, and for any comments, critique and favorites. Please feel free to add notes to any of my images.

Press L to view in Lightbox / F to add to Favorites

=> All of my HDR photos can be found here.

=> IF you're interested in learning about HDR, I suggest you also check out Trey Ratcliff (Flickr handle: Stuck in Customs). Trey is widely considered an HDR guru/expert/pioneer. His website has a few free basic instructional videos on how to create HDR images, as well as information on how to learn more advanced techniques.

Google+ | gettyimages | Twitter | YouTube | Tumblr | 500px | Pinterest

Nearly two weeks ago, when I was starting this photo blog, I had premeditated only the first picture beforehand (day 1). It didn't come quite as I imagined, but I figured it was good enough. After that I was on my own and my quest for 'the 365' had started. I didn't know what to expect or wish for. I only knew I had carefully build myself a photo blog for my 365-project and searched for couple of forums where I could share my coming adventure. I had already invested a fair amount of work into it, so I couldn't turn away from it now (plus there was couple of good friends pushing me into it). In a sense, I had my concept and bones ready, but I knew nothing about how the 365 would change my photography. One picture per day might sound hard to achieve, but there is one very important aspect in it, which will refine your photography. It will give you a context for your photography. And having a predetermined context will quickly change the way how you approach photography.

First of all, the context will give you a guideline which to follow. Persistently diversified paths of endless possibilities and testing of different ideas you randomly found from the web will narrow down to something actually meaningful you can hope to realize some day. Once you throw out irrelevant substance, your goals become more clear. No more wandering around with camera hanging from your neck and just hoping to come across something to photograph. Having a context makes it possible for you to plan your photography and planning means that photographs are something you make, not just take from your surroundings. Once you have a context, your perception of environment will align to it.

Secondly, the context will determine if you are succeeding or not. It's soothing to have at least to some extent a clear indicator for succeeding. Of course you can make great pictures without a context too, but it's easy to shoot diverse stuff and not having a clear understanding of what makes them great in their entirety. Besides that, the context will open up different and perhaps new definitions for succeeding, which will transform the way you photograph.

Lastly, the context will make your work ready. It will define the borders when it's enough and when you've done your job. Without the context defining the limits, one will easily splash across different objectives and nothing gets done to an end. It can be frustrating experience to shoot great pictures but having no home for them. It's the predetermined context and the limits it carries that will eventually build a home for your pictures.

Ps. About the photograph, it's candies what Finnish call 'salmiakki' and others supposedly say 'salty liquorice'. My Japanese friends say they taste like medicine and I think that's actually a pretty good description. Without a context I would not have shot this shot either.

Year of the Alpha – 365 Days of Sony Alpha Photography: www.yearofthealpha.com

Just a test of a painting of me in different circumstance , a digital work.

Thanks for the visit

"Baroque Fragmentation - Objective Taste"

8x8 Oil over Mixed Media on Lasercut Panel

© Redd Walitzki 2013

Here's the "Baroque Fragments" triptych from the "Tarts, Trollops and Tramps" Benefit show at TASTY. Its a great show, go check it out if you haven't yet!

In southwestern Nova Scotia.

La meva dona i la meva filla a Roses/My wife and my daughter in the beach of Roses

using Ilford hp5. this is Al Misti, a prominent volcano outside the city of Arequipa, Peru.

Well, I guess I joined the SAS to get a little more action and respect compared to the standard military. Of course I had to train for it, They don't just let any average Joe or Dave into the most elite Task Force on Earth. My interests are of classic warfare. Much simpler wars they ahd back then. Only Atomic bombs. Nothing Nuclear like we have now."

Cpt. -CLASSIFIED- (1126) , 12th December 2079

Objective Two

You will notice less foliage around you 1126, You are drawing closer to the compound. Stay behind whatever cover you can get, There are constant Light APC patrols keeping an eye of the dirt roads leading to the compound. PMC's run these patrols, They are faithful to whoever can pay them the most. The rich European Ambassadors' pay them their wages for the PMC's 'services'. Get into the compound any way you can. Don't aleart anyone of this whole Mission is over"