View allAll Photos Tagged Peripherals
This female LEO was so good, they made her shoot left-handed and blindfolded. Actually, the red blinders prevent her peripheral vision from picking up competitors on either side of her.
Explore 08-06-2017. My 93rd Explore.
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I never expected this photo to make Explore. Just something going on in Oklahoma to place in the "Oklahoma Through My Eyes" group. Since so many are viewing this photo, I'd like them to know a little about the man this pistol match is named for.
Sergeant Dale DeBerry
Norman Police Department
End of Watch: Tuesday December 1, 1998
I knew Dale and never saw the man without a big smile on his face. I always thought he was almost 'too nice' to be a police officer. But, that big smile never kept Dale from doing his job.
Dale suffered a massive heart attack while running an obstacle course at the Norman Police Range. Fellow officers did CPR on him, but he never made it to the hospital. I was acquainted with two Norman officers who died in the line of duty several years ago. It's fitting that they are remembered to this day because of how they died. But to those who knew these men, they are remembered for how they lived.
"Blessed are the peacemakers: for they shall be called the children of God."
Matthew 5:9
The Grand Canal is a channel in Venice, Italy. It forms one of the major water-traffic corridors in the city.
One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into the basin at San Marco; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3.8 km (2.4 mi) long, and 30 to 90 m (98 to 295 ft) wide, with an average depth of 5 metres (16 feet).
The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizens’ pride and the deep bond with the lagoon. Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta [it], are perpetuated every year along the Canal.
Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the controversial Ponte della Costituzione from 2008, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.
Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.
The first settlements
The Grand Canal probably follows the course of an ancient river (possibly a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly-named "Rio Businiacus" before the Roman age. They lived in stilt houses and relied on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".
Increasing trade followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. Drainage reveals that the city became more compact over time: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.
Along the Canal, the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.
A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The façade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.
The fondaco house often had lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.
More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire) and a mint. In 1181 Nicolò Barattieri constructed a pontoon bridge connecting Rialto to Mercerie area, which was later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.
The Venetian-Byzantine style
From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture, it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.
Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas. As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings, and rooms disposition formed a particular architectural taste that continued in the future.
The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.
Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.
The open marble fascias, often called "laces", quickly diffused along the Grand Canal. Among the 15th-century palaces still showing the original appearance are Ca' d'Oro, Palazzo Bernardo a San Polo, Ca' Foscari (now housing the University of Venice), Palazzo Pisani Moretta, Palazzi Barbaro, Palazzo Cavalli-Franchetti.
By the start of the 15th century, Renaissance architecture motifs appear in such buildings as the Palazzo Dario and the Palazzo Corner Spinelli; the latter was designed by Mauro Codussi, pioneer of this style in Venice. Ca' Vendramin Calergi, another of his projects (now hosting the Casino), reveals a completed transition: the numerous and large windows with open marbles are round-arched and have columns in the three classical orders.
Classical architecture is more evident in Jacopo Sansovino's projects, who arrived from Rome in 1527. Along the Canal, he designed Palazzo Corner and Palazzo Dolfin Manin, known for grandiosity, for the horizontal layout of the white façades and for the development around a central courtyard. Other Renaissance buildings are Palazzo Papadopoli and Palazzo Grimani di San Luca. Several palaces of this period had façades with frescoes by painters such as Il Pordenone, Tintoretto, Paolo Veronese, all of them unfortunately lost. Particularly noteworthy were the frescoes by Veronese and Zelotti on Ca Cappello, overlooking the Grand Canal at the intersection with the Rio de S. Polo.
In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs.
The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.
Longhena later designed two majestic palaces, Ca' Pesaro and Ca' Rezzonico (with many carvings and chiaroscuro effects), and Santa Maria di Nazareth church (Chiesa degli Scalzi). For various reasons the great architect did not see any of these buildings finished, and the designs for all but Santa Maria Della Salute were modified after his death.
Longhena's themes recur in the two older façades of Palazzo Labia, containing a famous fresco cycle by Giambattista Tiepolo. In the Longhenian school grew Domenico Rossi (San Stae's façade, Ca' Corner della Regina) and Giorgio Massari, who later completed Ca' Rezzonico.
The 16th and 17th centuries mark the beginning of the Republic's decline, but nevertheless, they saw the highest building activity on the Grand Canal. This can be partially explained by the increasing number of families (like the Labia) becoming patrician by the payment of an enormous sum to the Republic, which was then facing financial difficulties. Once these families had achieved this new status, they built themselves with impressive residences on the Canal, often inducing other families to renew theirs.
Neoclassical architectures along the Canal date to the 18th century: during the first half was built San Simeone Piccolo, with an impressive corinthian portico, central plan and a high copper-covered dome ending in a cupola shaped as a temple. Date to the second half Massari's Palazzo Grassi.
After the fall of the Republic of Venice in 1797, much of the palatial construction in Venice was suspended, as symbolized by the unfinished San Marcuola and Palazzo Venier dei Leoni (housing the Peggy Guggenheim Collection). The Patrician families, bereft of their hereditary role in governance and sometimes persecuted by revolutionary forces, sought other residences. Several historical palaces were pulled down, but many found other uses, and some restorations have saved their 18th-century appearance. By the late 20th century, most of the more prominent palaces were owned by the city, state, or civic institutions.
During the era of the Napoleonic Kingdom of Italy, the Napoleonic suppression of the monastic religious orders vacated large sectors of real estate in the city. It also freed large amounts of furnishings and works of art into the antiquarian market or into the possession of the state. Large monasteries changed functions: the Santa Maria della Carità complex became a museum, the Gallerie dell'Accademia); the Santa Croce complex, was converted into the Papadopoli Gardens area; and the Santa Lucia complex (partially designed by Palladio) was razed for the establishment of the Santa Lucia Station.
The Kingdom of Italy accession restored serenity in the city and stimulated construction along the Grand Canal respecting its beauty, often reproduced in Gothic Revival architectures like the Pescaria at Rialto.
Peripheral light falloff is controlled to retain brightness across the frame, and subjects located at the edge of the frame are sharp and well resolved, even when shooting at maximum aperture with focus set to infinity.
Photo © Drew Gurian
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
There’s something super special about a New Zealand hoar frost to me, these are unequivocally my favourite scenes to photograph anywhere on earth, ever !
I thought to myself, what is it you like so much about these scenes, and I think the answer is four things combined - the subtle colour palette, the contrast, the soft atmospheric feel, & the fact that these images are made to be fine art prints & hung on the wall.
“Peripheral” Winter 2024’
Prints available.
El ratón o “mouse” es un periférico informático que nos ayuda enormemente como usuarios de computadoras. Hoy en día sería inconcebible manejar un ordenador y muchos de sus programas o sistemas operativos sin un ratón. Creado en los 60 en la Universidad de Stanford California, no fue hasta 1984 cuando se haría popular con el lanzamiento de la computadora Macintosh, hasta hacerse imprescindible en nuestros días - "Mouse" is a computer peripheral device that helps us tremendously as computer users. Today it would be unthinkable to use a computer and many of its programs or operating systems without a mouse. Created in the 60s in California Stanford University, it was not until 1984 when it would be popular with the release of the Macintosh computer, to become indispensable in our days
Heading north from the trans line to Neale Junction in the two GSWA Land Rovers.
I was a good tree climber.. from childhood to years of caving and some rock Climbing!
Part of my early #roundaustraliawithspelio travels…. with the #GSWANullarbor
It is a wonder I was allowed to climb the tree in a very remote part of the Nullarbor in the outback. OHS then, for the whole year!
• She sits on the edge of maybe,
where dreams drift off and just begin.
No map, no compass in her hand,
but still the courage to stand still.
She softly says, “I do not know,”
and that is all she has to show.
But in that quiet, open name,
there lies a truth without a claim.
She is no riddle to be solved,
no path that must be clearly drawn —
but a story growing gently still,
in doubt, in hope, in morning’s dawn.
As always, a huge thanks to those who stop by to view, fave and or comment! It is truly appreciated... 🙏 ❤️
Sandhamn (Swedish for "Sand Harbour") is a small settlement in the central-peripheral part of the Stockholm Archipelago in central-eastern Sweden, approximately 50 km (30 mi) east of Stockholm. Sandhamn is located on the island Sandön ("Sand Island"), which is, however, colloquially referred to as Sandhamn.
One of the most important natural ports in the archipelago with easy access to the Swedish capital, Sandhamn has been popular for pleasure boating since the late 19th century. It is known for its tavern, its clubhouse, and its harbour.
The island is approximately 9 km (5.6 mi) long and 6 km (3.7 mi) and consists mostly of sand and is dominated by beaches, dunes and especially pine forests.
Sandhamn receives an additional 100,000 visitors annually.
"Viveca Stens" popular novels come to life in "The Sandhamn Murders", a perfect mix of Nordic crime & the beautiful surroundings of the outer Stockholm archipelago.
Sandhamn (le nom veut dire port de sable) est une petite île de Suède située sur la mer Baltique. La population de ce petit port de pêcheurs n'excède pas les 110 habitants. Le tourisme y est développé grâce à des liaisons maritimes Stockholm-Sandhamn régulières en été.
Cette île est le lieu où se déroule l'action du roman La Reine de la Baltique de l'auteur Viveca Sten. Une adaptation de ce roman pour la télévision est diffusée en France sous le titre de "Meurtres à Sandhamn".
This is a computer mouse that glows when it’s in use. The orange bit pulsates. There is also a dock that charges the mouse and that is the green light on the picture. HMM
The great gate (darwaza-i rauza) that leads from the north of the jilaukhana to the garden, and ultimately to the mausoleum of Mumtaz Mahal, is a large structure with triadic openings. Looking at the south elevation, the base of the gate measures nearly 38 meters and its peripheral walls, including the cupolas, are 30 meters in height. The central pishtaq, also including the cupolas, is 33 meters in height and 19 meters wide. The gate is composed of red sandstone with decorative panels and accents in white marble. The surface treatment of the pishtaqs is elaborate: it is framed in white marble and inlaid with precious stones. Its central arch is delineated by a triple rope moulding and surrounded by a frame containing the Daybreak Sura (Sura al-Fajr) in thuluth script. The entry iwan contains muqarnas in red sandstone, which contrast with the white plaster paint outlining each segment. (The northern elevation of the gate is identical to the southern one; the lower left corner of its framed inscription also contains the signature of the calligrapher, Amanat Khan). Topping the central pishtaq is a series of eleven arches in red sandstone, capped by a chajja; eleven white marble chhatris crown the chajja. A single column rises from the pishtaq to complete each end of the arcade; this column terminates in a finial above the chhatris. This same column runs in engaged form along the height of the pishtaq itself.
Taj Mahal, the pinnacle of Mughal architecture, was built by the Mughal emperor Shah Jahan (1628-1658), grandson of Akbar the great, in the memory of his queen Arjumand Bano Begum, entitled ‘Mumtaz Mahal’. Mumtaz Mahal was a niece of empress Nur Jahan and granddaughter of Mirza Ghias Beg I’timad-ud-Daula, wazir of emperor Jehangir. She was born in 1593 and died in 1631, during the birth of her fourteenth child at Burhanpur. Her mortal remains were temporarily buried in the Zainabad garden. Six months later, her body was transferred to Agra to be finally enshrined in the crypt of the main tomb of the Taj Mahal. The Taj Mahal is the mausoleum of both Mumtaz Mahal and Shah Jahan.
The mausoleum is located on the right bank of the river Yamuna at a point where it takes a sharp turn and flows eastwards. Originally, the land where the Taj Mahal presently stands belonged to the Kachhwahas of Ajmer (Rajasthan). The land was acquired from them in lieu of four havelis as is testified by a court historian, Abdul Hamid Lahauri, in his work titled the Badshah-Namah and the firmans (royal decrees). For construction, a network of wells was laid along the river line to support the huge mausoleum buildings. Masons, stonecutters, inlayers, carvers, painters, calligraphers, dome-builders and other artisans were requisitioned from the whole of the empire and also from Central Asia and Iran. While bricks for internal constructions were locally prepared, white marble for external use in veneering work was obtained from Makrana in Rajasthan. Semi-precious stones for inlay ornamentation were brought from distant regions of India, Ceylon and Afghanistan. Red sandstone of different tints was requisitioned from the neighbouring quarries of Sikri, Dholpur, etc. It took 17 years for the monument complex to be completed in 1648.
In all, the Taj Mahal covers an area of 60 bighas, as the terrain gradually sloped from south to north, towards the river, in the form of descending terraces. At the southern point is the forecourt with the main gate in front and tombs of Akbarabadi Begum and Fatehpuri Begum, two other queens of Shah Jahan, on its south-east and south-west corners respectively called Saheli Burj 1 and 2.
On the second terrace is a spacious square garden, with side pavilions. It is divided into four quarters by broad shallow canals of water, with wide walkways and cypress avenues on the sides. The water channels and fountains are fed by overhead water tanks. These four quarters are further divided into the smaller quarters by broad causeways, so that the whole scheme is in a perfect char-bagh.
The main tomb of the Taj is basically square with chamfered corners. The minarets here are detached, facing the chamfered angles (corners) of the main tomb on the main plinth. Red sandstone mosque on the western, and Mehman-Khana on the eastern side of the tomb provides aesthetically a clear colour contrast.
The Taj has some wonderful specimens of polychrome inlay art both in the interior and exterior on the dados, on cenotaphs and on the marble jhajjhari (jali-screen) around them.
In the beginning of August, while I was driving around Straumoya, I saw something orange in my peripheral vision. But I paid attention to the road and drove a bit further.
When I looked to the left again, I realized a fox was lying there, and a second later, that it must be a cub. It was lying there, basking in the sun!
I quickly ran to the back to grab my camera, and when I came back, it was still there, "thankfully."
But my camera wouldn't focus. "Damn, I hope it's not broken."
After a few more failed attempts, it finally clicked.
My autofocus was set to 10 meters and further, "Smart guy me!" After a few shots, I got out of my camper to take a closer shot. "I hope it doesn't run away."
"It's not running away at all, it's coming closer," so close that I have to zoom out to keep it in the frame.
He sits down, leisurely and curious, staring at me. He has certainly never seen such an old sock like me before!
When I look at this image now I still feel the marvel of this wonderful encounter and the joy of seeing such a curious little animal that didn't show any anxiety at that moment.
Yesterday evening I was driving into London when I came up to a red light, there was a fair amount of traffic so I figured it might be a wait. I saw motion in my peripheral so glanced to my left where I saw 4 men in a red van, they were looking worried and motioning to my wheel, I was worried and wound down my window. Initially I smiled at them, thankful they were warning me of whatever might be wrong with my car, my smile faded rapidly as they all looked at me and, instead, started berating me with verbal sexual abuse. Completely horrendous disgusting things that that said they wanted to do to me. I turned and stared forward trying to wind my window up, I remembered pretty quickly that my window had been broken for a while now and doesn't wind up to the top without help, so I had to leave it, with a rather large gap. For the next 5 minutes I was frozen in shock and fear holding into my steering wheel staring forward willing the light to turn green so I could leave.
I don't think anyone needs to hear the specifics of the things they were saying, in the realm of how they wanted to bend me over this or that and shove things in here or there. I had a deep visceral reaction to there abuse, I was instantly shaking and felt vulnerable and targeted. It all felt so invasive.
Luckily the light turned green and I drove off towards my destination, which fortunately was a restaurant where my family was.
On the drive home a thought more about the incident, it reminded me of the recent leaked video of Presidential candidate Donald Trump. He may have passed it off as locker room banter, or that it was just words, but what his actions and thoughts and voice, what it does it condone this kind of behaviour, that other men will think this is ok. It is not ok.
As I was sat there staring forward holding back tears as they spoke those horrendous words I didn't understand, I didn't understand why they kept talking, why they kept saying more predatory sexual things, how they kept objectifying me when I was so visibly scared and upset. What humans are these?
My incident was minor but had a horribly visceral reaction, more incidents are a lot lot worse, horribly so. On reflection I will come back to how damaging videos like the one of Trump perpetuate this behaviour. If you asked those men after what they were doing, they would just say they were just being a bunch of lads, it was just banter. It should never be passed of as any of these things, as a result you are making someone physically shake, you are making them scared, feel vulnerable and frozen with fear.
This isn't acceptable.
I did post about what happen on Instagram and will say this though, for every completely shit person out there, there is also a thousand amazing people and I can't thank you enough to all those people that commented to show their mutual outrage and to see if I was ok. I am, and you all helped, thank you so much.
El Mar Menor es una albufera o laguna litoral de agua salada del mar Mediterráneo, situada en la Región de Murcia en España. Se trata de la albufera española de mayor extensión y posee valores medioambientales que deben protegerse al ser el turismo su principal actividad económica.
La laguna y sus humedales periféricos, han sido designados por las Naciones Unidas como Zona Especialmente Protegida de Importancia para el Mediterráneo.
The Mar Menor is a lagoon or salt-water lagoon from the Mediterranean Sea, located in the Region of Murcia in Spain. It is the largest lagoon in Spanish and has to be protected environmental values to be tourism its main economic activity.
The lake and its wetlands peripherals, have been designated by the United Nations as Specially Protected Area of Mediterranean Importance.
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Thanks for taking the time to view my image. Your comments & faves are greatly appreciated.
"HAVE A GO AT OUR OPEN MONTHLY CHALLENGE"
The subjects for this month and details on how to take part can be found here.
Anyone, anywhere with any camera can take part.
Washington, Connecticut. Driving home from an errand my left peripheral vision caught these trees with the fog behind them and it took my brain about 1/4 mile to register that I should stop, get out of the truck, set up the camera on tripod and take a picture. Some days wanting to get home and warm up by the fire really gets in the way of photography, other days photography gets in the way of getting home. When these two forces hit simultaneously one is frozen and it's interesting to see what tips it one way or the other.
Best viewed large...
If you look closely at the reflection in the eye, it's actually of the racetrack.
One of the most rewarding joys of landscape photography for me is way it catalyzes calming, almost elementally humbling feelings. When in such locations as this shot, (Flambrough head at low tide) I feel profoundly immersed in nature and genuinely emotionally centred. It just feels ‘so right’ on many different levels. (Sorry to sound a bit like a new age eco warier so early in this post, but even the most emotionally hard street photographers amongst you, should just try at least once placing yourself in such environments to see how it feels...)
Anyway, not only does this environment help me feel calm and centred, but the very act of photographing it, offers the added caveat of immense exhilaration. Putting oneself into this dynamic environment, at dusk, at the very edge of acceptable safety, dodging waves, wading just that bit too far out and second guessing the incoming tide, has the stimulating ability to sharpen the mind. Let’s not forget dealing with the anxious feelings knowing that you’re mobile is out of signal and any form of human insurance left hours ago. Let’s not stress either, about the long slippery walk over wet seaweed encrusted rocks back to the car in the dark, (unless of course you slip within the tidal range), but your most probably going to end up alive in the morning.
But just reflecting for a moment, I’m sure that I wouldn’t make the considerably arduous effort and experience the feelings of excitement and anxiety associated with pushing oneself to the edge of acceptable risk, if I wasn’t doing it for a photographic reason. In part, it’s the very risk taking itself that inspires the deep humbling feelings of connectivity with the natural surroundings. I wouldn’t be doing this, (or experiencing what I am) if it were not for the fact that I am attempting to record the feeling photographically. Yes I could connect with my inner calma and tune my sharks in other ways and do yoga overlooking a setting sun to really connect with the oneness of nature, (believe me I’ve seen people doing it) but I wouldn’t be pushing myself towards feeling this unique type of exhilaration. It would be a little strange to be there at dusk sometimes a little too deep in choppy seas, really observing the natural rhythms of nature without having a reason for looking. The desire to seek out this in our environment, even with camera gear strapped to my back, has actually helped catalyse a deeper feel a oneness with the environment. It’s as close to a meditation experience I can admit to here in public. Anyway as I said, there are many reasons for my photographic obsessing, but in part anyway this exhilaration is often overlooked as one of those justifications.
Now turning to this shot in greater depth, the range of subtle colours generated in this location amazed me. Flambrough is fundamentally white chalk cliffs and this does wondrous things to the reflected and refracted light, especially in the water. Light just bounces around, even when there isn’t much around, creating much more depth and range of colours. With this particular evening the sunset didn’t really materialise, (shame as the previous evening there was a speculator dramatic light show but for the sake of my marriage, I only saw it through my peripheral vision) but in a gritted teeth mature way, I’m kind of glad that I ended up here on this evening. It offered me the opportunity to appreciate the subtler more calming experiences. Something that as I get older I’m enjoying much more, who knows I may even put the camera on timed release next time and adopt the lotus position to record my tree hugging development.
From my analog archives, the Sigma 3 was being used for real time data collection and analysis in life sciences R&D. It had 64k of IRON core memory. It was taken in September of 1978 in Skokie, illinois. Initially the Sigma line of scientific real time computers was used to collect and analyze telemetry data from early US satellites. On the far left of the frame, the papers are taped to a Xerox 530 which we used as the development environment.