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Seen at the site of the former Boughton station the new Network Rail HOPS (High Output Plant Systems) makes its way from Ollerton back to High Marnham for the night.
This wagon holds the massive metal tubes witch create the holes for the pylons.
The Dymo tape output has much higher contrast, but has an unfortunate bow, and will not lie flat.
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still re-exploring the classics,... this time using geomerative library for getting the font outline.
I admit I disliked fuji when it started. From the X100 to the XPro1, the camera system, despite its completely seducing color science output, was completely out of sync with my practice in terms of autofocus speed and file. Now the X system has matured into something that I find very hard to match for mirrorless camera photography.
The XT1 comes to solve pretty much all the problems I had with the system: AF and Camera Operations (once u get used to the nobs, hard to go back to menus) are reliable and quick, Lightroom 5.7 renders the file beautifully (with Classic Chrome) and the viewfinder is bigger than that of a full frame dSLR. Not only the camera is now a great camera, the lens system is superb in its consistency: the 14, 23 and 56 are great highly recommended lenses and perform equally marvellously in sharpness, colors and BOKEH while also looking darn good with the Fuji design language. Image quality wise, you get clean files at most of the modern ISOs 200-6400 (you can push the 6400 raw up to 12800 if u want without much penalty or color shifts).
The running cost of ownership is also even more interesting. The body goes for around 1K$ and the rest of the "super prime lenses" (you'd want to shoot prime with this one) go for 1k$ or less each. You can get yourself up and running for less than a full frame camera with equivalent quality lenses.The XT1 ain't still sunshine and rainbow though: It requires the extra grip to enjoy shooting with it, it is not light, the battery lasts as much as a film roll, you can't use exposure compensation on "manual" mode to shift the auto-ISO values, the RAW files are HUGE 30-40mb a piece, low-light AF works fast as long as you have a contrast zone to hunt for but then you also have a magnificent manual focus experience. Classic Chrome (also available in LR 5.7) redefines the fuji photography experience by offering a raw file free of color distorsions and true of natural colors as well as a butt load of great micro-contrast off the file.
All in all, I have to say that I fell in love with it. It is truly the best enthusiast mirrorless system I've come across and it's now well matured.
If you use a full frame dSLR: switching to fuji will depend if you want the premium lenses or the full frame IQ but can't afford the steep 2K$ per lens or 2-4K$ per body, also if you want to sacrifice the extensive "flash system" that dSLRs have.
If you are using a crop sensor dSLR: switching to fuji will depend if you want to keep investing in photography lenses and equipment and don't have to shoot unpredictable fast moving subjects, like birdies.
If you use a Sony: switching to fuji will depend if you are fed up with the teenage identity crisis unpredictability of the system's evolution (new tech = new "test" camera = no "conclusion" camera = less lenses for existing cameras = change the name). The A7 system will flourish to lead the mirrorless trend one day but before that day comes, you have at least until 2016.
If you use a m43 camera: switching to fuji will depend if are willing to drop a bunch of practical technical features: super fast AF (fuji is DARN FAST but m43 cameras are INSTANT FAST), video (I don't shoot video) or image stabilisation or clinical sharpness (fuji images are sharp! but not as pixel sharp as m43... I mean no camera is as pixel sharp as the m43 an) or the touchscreen af point selection... all this for an upgrade in image aesthetics that's a compromise of m43 compactness (somewhat) and passionated lens designs (m43's got good lenses but no "omg wow what the heck" lenses, sorry)
If you shoot film: This is IT. Film nobs, Film look, Film grain, Film output… on digital. This is fujifilm making a camera with the color science they apply on their negatives, all of it.
Testing the Lytro Illum camera in the White Mountains of New Hampshire.
Camera seems novel, but there are limited options for outputting images that showcase the unique features possible.
Aston Martin Virage (1989-00) Engine 5340cc V8 4 cam Production 1050
ASTON MARTIN SET
www.flickr.com/photos/45676495@N05/sets/72157623759800132...
Launched in 1989 as a replacement for the decade old V8 design, the Virage was a 2+2 Coupe with a Lagonda like appearance with a de Dion tube rear suspension, located by triangulated radius rods and a Watts linkage, and a double wishbone unit at the front.and with an all aluminium body shell, despite this it was a heavy car powered by a 32 vlave 5340cc V8 engine with its Callaway-designed heads and Weber-Marelli fuel injection and an output of 330bhp, an upgraded version with 349bhp was launched at the 1996 Geneva Motor Show. A less extreme V8 Coupe was also built from 1996, replacing the defunct Virage. Lacking the superchargers and the more aggressive body style of its big brother Vantage, the V8 Coupe produced 349 hp
Racing in the RAC Tourist Trophy race for Pre. 1963 GT Cars
Thanks for 17.4 Million views
Shot at The Silverstone Classic 28th July 2013 Ref 95-113
This is the output of the 2015 workshop that I recently joined.
Happy with the outcome and still exploring other workflows. :}
Camera: Sony IPELA SNC-CH260
Output resolution: 1920x1080
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