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This is a re-worked version of an earlier image. Middlesbrough and Stockton Corporation both bought small batches of Leyland Panther Cubs, which may have passed to Cleveland Transit on its formation in 1974 (clarification welcome). The Panther Cub was a shorter and more robust version of the Panther, which was plagued by structural problems, particularly on dual-door buses. This fictional image, which is based on Chesterfield Corporation ENU 93H, supposes that Transit had inherited some of the problematic Panthers, in this case with Northern Counties bodies (updated 25-May-24).
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About a mile west of Gilchrist a woods road crossing was a nice spot for a shot of SOO morning eastbounds as they slogged up a long grade from the Millecoquins River. 757 and 4411 are leading 910 as they grind up the hill. They have already been informed the west switch is lined and locked by they crew on train 909 so they will power right into the siding for the meet with there westbound counterpart. Early in the WC era trees were planted here and by the end of WC they were already becoming problematic for this shot. Now the place is completely grown in but CN doesn't normally operate an eastbound here now in prime shooting hours anyway. February 10, 1983.
Here's a change of scenery.
On a typically dreary day 9279 is seen at the helm with another DL class Chinese built locomotive as it accelerates away from Midhurst. The service was a Wellington bound container train. Sadly a little like in the UK where the class 66 dominates freight duties the DL locomotives of New Zealand do exactly the same. I believe that when they were first introduced they were problematical, however as time has passed Kiwi Rail has order further batches so it appears that these issues are now resolved.
Today our Minister of National Defence published the first project of the description of the "Photography forbidden" sign, which is to be hung out on strategically important objects/infrastructure. Most of you might already have figured out what that means for most of railfans :)
The sign is to be a square of 60x60cm with the text ZAKAZ FOTOGRAFOWANIA (height of letters 7,45 cm and 3,35 cm respectively), three pictures of a camera, a phone and a video camcorder of 16cm in diameter and the ban is to be translated into 4 languages (English, German, Russian and Arabic).
It is to be hung out on fences guarding strategically important areas (with a maximal distance of 300 meters between signs) or directly on buildings or pieces of infrastructure which are to be protected.
This is truly a very sad day for photographers all around Poland, but we will have to live with it somehow. It is still uncertain, how many buildings or pieces of infrastructure are to be marked with this sign. Executing this law might also prove very problematic AND some private enterprises might also start hanging out simmilar signs without an official reason or allowance from the state (each area will theoretically have to "apply" for an allowance for the signs).
Keep in mind that this is only a project, it can still be rejected on one of the 14 stages of processing it. Though unlikely, and even if, the topic will most likely come back like a boomerang in the upcoming days.
The penalties for breaking the law in this case might include:
-getting your photography equipement taken away
-a fine of up to 5000 PLN
-getting arrested for up to 30 days.
There is a way of getting around it, though! You only need to write a special application for the minister stating where, when and for what reason you will be photographing. You will receive an answer in up to 14 days (but it doesn't have to always be positive).
For the interested, here's the project (page 9 contains the sign).
Photo by Piotrek/Toprus
Astrobin Top Pick
This is a joint discovery with expert galactic prospector Dana Patchick. This is the first ever image taken. It is believed to be a possible planetary nebula, but getting confirmation of this via spectroscopy is going to be challenging as it is so faint. Capturing this required almost 60 hours of data shot at bin 4x4. Processing was problematic in terms of separating the nebula from faint gradients. Luckily my two scopes are oriented 180 degrees from each other to avoid the cameras colliding during autofocus. This made it possible to detect the gradients by processing the data from each scope separately and then comparing the two images. Background subtraction was used to stretch the faint signal before re-adding the background.
Captured on my dual rig in Spain.
Scopes: APM TMB LZOS 152 Refractors
Cameras: QSI6120wsg8
Mount: 10Micron GM2000 HPS
Captured details:
Ha: 21x1800" bin 2x2
Ha: 59x1800" bin 4x4
Blue: 20x300" bin 1x1
Green: 18x300" bin 1x1
Lum: 34x300" bin 1x1
OIII: 54x1800" bin 4x4
Red: 17x300" bin 1x1
Total Integration: 74.4 hours
Tokyo Tower is a communications and observation tower located in the Shiba-koen district of Minato, Tokyo, Japan. At 332.9 metres (1,092 ft), it is the second-tallest structure in Japan. The structure is an Eiffel Tower-inspired lattice tower that is painted white and international orange to comply with air safety regulations.
Built in 1958, the tower's main sources of revenue are tourism and antenna leasing. Over 150 million people have visited the tower since its opening. FootTown, a four-story building located directly under the tower, houses museums, restaurants and shops. Departing from there, guests can visit two observation decks. The two-story Main Observatory is located at 150 metres (490 ft), while the smaller Special Observatory reaches a height of 249.6 metres (819 ft).
The tower acts as a support structure for an antenna. Originally intended for television broadcasting, radio antennas were installed in 1961, but the tower is now used to broadcast signals for Japanese media outlets such as NHK, TBS and Fuji TV. Japan's planned digital television transition by July 2011 was problematic, however; Tokyo Tower's height, 332.9 m (1,092 ft) was not high enough to adequately support complete terrestrial digital broadcasting to the area. A taller digital broadcasting tower, known as Tokyo Skytree, was completed on February 29, 2012.
Where I live in the Pennines, Meadow Pipits are a very common breeding bird and often settle on walls and rocks. So I'd say more than 99.9% of wall-perching Pipits will be Meadow Pipits. But the very similar Tree Pipit can also perch on walls and rocks, and Meadow Pipits can perch in trees, so we cannot rely on that. The best plumage feature to separate Tree Pipit from Meadow Pipit is the flank streaking. In Meadow Pipit the breast streaking continues boldly down the flanks towards the tail, whereas on Tree Pipit the flanks are more finely streaked than the breast, which identifies this problematic pipit as a Tree Pipit. This one called a drawn out, buzzing "speez" to confirm its identity, quite unlike the sip-sip-sip of Meadow Pipit. Tree Pipit's bill is slightly stronger, and appears to angle upwards from the face, and if you could see the hindclaw it would look normal, whereas Meadow Pipit has an abnormally long hindclaw.
The name Pipit comes originally from the Latin verb pipio, meaning to chirp, and "Tree" because their parachuting song flight usually ends with them landing on the top of a small tree, though they are not woodland birds. The scientific name is Anthus trivialis. Anthus was a grassland bird mentioned by Pliny. Trivialis literally means where roads meet (tri via), but then came to mean ordinary or commonplace (and trivial). I photographed this migrant recently in the Peak District in South Yorkshire.
This was one of the images I was taking during a recent shoot on Georgian Bay Islands National Park, being captured by the camera on the left in yesterday’s behind-the-scenes selfie.
It’s funny, I carefully set up this shot and spent a while in post to get it into this shape, but I like the behind-the-scenes image more! The selfie has a narrative, which can be an unbelievably strong component in a successful image. A deep understanding what makes a great image is one of the core points of discussion in my upcoming “Vision Beyond Seeing” talk on September 10th in Windsor, Ontario. For only $40, you get a full day of photo knowledge and inspiration! Register here:
The reason why I enjoy the night sky is because the camera can capture it in ways that I can only imagine. Photography then becomes a tool to see the world differently, and the process of creating the images is as enjoyable as the end result. As a person constantly seeking the next creative idea, I’m always pushing beyond what I can see with my own eyes. Star trails and astrophotography fit firmly into the realm of “the unseen world”!
This image was a fun “test” of sorts. I was test-driving the Canon 5DS R and the Canon 11-24mm F/4L. Being impressed with the field of view of the 11-24, I found it somewhat difficult to use in architecture because the stretched proportions of objects at the edges of the frame didn’t look completely “real” to me, all for the goal of completely straight lines. It seems to handle the night sky well enough, but the F/4 aperture becomes problematic. Pushing the ISO to 6400, the 5DS R starts to let me down. I used a variety of techniques to clean up the image, including shooting a “dark frame” (lens cap on) after the sequence to help cancel out some of the noise in addition to traditional noise reduction techniques, but I’m still not terribly satisfied. The image is great when I scale it down, but at 50MP it falters a little. This is a rolling target, however – the successor of this camera will likely perform better with the same optics, but with many ultra-wide-angle options available at F/2.8, I’m left with the feeling that I won’t necessarily be buying either of these pieces of gear. They sure were fun to play with, though. :)
For more insights into my understanding of camera gear, light, physics, psychology, human perception and of course creativity, you should really attend the September 10th seminar Vision Beyond Seeing. I promise you it’ll be worth your time.
Using my Nikon d3500, I took the 3rd consecutive 100 images of this lightning storm (~25x8s used) to see if I could develop the best stacking from the best lightning discharges. The final image turned out so-so. As conditions darkened after sunset, light scattered onto clouds by lightning becomes very problematic. There are techniques to improve on this stacking but it requires considerable post-processing to achieve.
Note limited cloud to ground strikes. Two sets of crawlers at top left criss-crossed each other within 3 minutes.
Storm was 14 to 25 miles distant.
Piri-Piri Burr / acaena novae-zelandiae. Suffolk. 28/06/18.
A close-up view of Piri-Piri Burr, a non-native problematic plant in the UK :-
*highly invasive
*widespread from S.England to S.Scotland
*favours coastal areas like dunes, sandy heathland/fields
*spreading inland increasingly
*forms dense mats smothering native plants
*has sharp, backward pointing barbs
*barbs attach easily to animal fur and bird feathers
*poses a serious threat to wildlife/threatened UK flora
*proven cases of injury or death of bird species
BEST VIEWED LARGE in order to see detail of the formidable white barbs on each flowerhead. A highly efficient method of seed dispersal by animals and birds......but often at an appalling cost to unsuspecting victims.
LA STRADA PIU' BELLA DEL MONDO
Il Canal Grande è una delle vie più belle e conosciute al mondo oltre ad essere la principale via d’acqua di Venezia. Si snoda a forma di “S” per la città attraversandola e dividendola in due parti, ognuna delle quali raggruppa tre sestieri. Il canale è lungo quattro chilometri e attraversato da quattro ponti. A sud c’è il Ponte dell’Accademia, Rialto in posizione centrale. Alla stazione il Ponte degli Scalzi ed il moderno Ponte della Costituzione a Piazzale Roma. La larghezza del Canal Grande varia dai 30 ai 70 metri e la profondità massima è 5 metri.
Ai suoi lati si diramano ben 45 canali. Il Canal Grande è sempre molto trafficato: vaporetti, motoscafi, gondole, imbarcazioni di servizio, taxi. E’ l’arteria pulsante della città e il moto ondoso è problematico perché corrode le fondamenta dei palazzi che lo circondano.
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THE MOST BEAUTIFUL ROAD IN THE WORLD
The Grand Canal is one of the most beautiful and well-known streets in the world as well as being the main waterway in Venice. It winds its way through the city in an "S" shape, crossing it and dividing it into two parts, each of which includes three districts. The canal is four kilometers long and spanned by four bridges. To the south is the Accademia Bridge, Rialto in a central position. At the station the Scalzi Bridge and the modern Constitution Bridge in Piazzale Roma. The width of the Grand Canal varies from 30 to 70 meters and the maximum depth is 5 meters.
45 canals branch off to its sides. The Grand Canal is always very busy: vaporettos, motorboats, gondolas, service boats, taxis. It is the pulsating artery of the city and the wave motion is problematic because it corrodes the foundations of the buildings that surround it.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
Coming into Death Valley NP from Bakersfield up over some high mountain pass we saw this collection over a fence. I had to crop it to square because there was so much more junk collected in the yard it was difficult to isolate the truck.
Happy Truck Thursday
Will be gone from Flickr for a time as our travels continue and connection to the great information air wave is very problematic in most areas we visit. Be chilly :-)
The next look at what I have going on over here. This section was particularly problematic. It's much heavier than it looks. I am pretty happy with how it turned out. In case you're wondering, I am trying to go against my own instincts and leaving a bunch of exposed studs and jumper plates. Also, I have a title for this work. It's the Vengeful Spirit. Thoughts?
The Searles turn passes the piles of trona at Searles Valley Minerals' Westend Facility after maintenance work delayed their departure until just after 6 PM. This day would prove to be a problematic one, as the engines would later overheat in the 110+ degree heat, forcing the train to stop for over an hour at Spangler.
The web has revolutionised the way in which we communicate and interact in many ways. In particular social networking sites have enabled you, with just a couple of clicks, to see countless different artist from around the world. It can be a bit intimidating sometimes, how on earth can you place yourself up against the world’s photographic talents and come even close to being of interest in such talented company. (Can you tell I’m competitive? :o)
The statement that there are so many excellent landscape photographers out there isn’t anything new or illuminating. But what I do find sparks my curiosity, is contemplating how this ease of access is shifting, the very way we interact with art (landscape photography in my case). And I wonder if this ease of consumption is altering the popular definition of what is considered good? Am I being unduly influenced by my preferred method of viewing photography? Don’t get me wrong here, (pausing to reflect), this ease of access is fantastic, for many reasons, not least as a method of sparking creativity, but I fear its also problematic. We now seem to inhabit a split second culture where value judgments are made with haste. Thumbnails have to ooze impact in order to be given the privilege of deeper scrutiny and subtleties are being eroded and unobserved. I suppose its only natural that we, as busy working people, will try and utilise our time, but at what cost?
As an art student I went to the Tate in London (for those of you not from the UK, its one of the big classic art galleries) and as an impressionable student, I was very excited to view the original paintings of many famous iconic artists, Da Vinci, Picasso, Turner, and Rembrandt. In the space of a few hours I was being faced with probably the top ten percent of what the world considered great art. Now Surprisingly what developed in me, faced by this overwhelming experience, was a distasteful trophy collecting behaviour. I had oversaturated myself with masterpieces until they became meaningless, totally missing the point of being there, to stand before pieces of art in order to be moved, inspired, even challenged! The over saturation actually worked in a negative way to degrade the experience. I feel this personal example draws strong parallels to the way many of us view images today.
I would then speculate that the art of reflection seems to on a retreat, ironically eroding from its own popularity. So why is this a problem? Surely it is better to pause and reflect on subtler things in order to progress. Better to dive deep than to skim the surface. Is it not better to challenge and divert conventional thinking in order to develop? Can we not learn more from slowing down and concentrating on depth? I personally think so; it makes the experience much more enriching. I also wonder if it’s just me? Am I alone in this belief working against the powerful tide, or are the youth of today laser than we were, are they more likely to take the path of least resistance? Am I just turning into an old git?
Anyway this shot was a result of being forced to an evening in Padstow! (Not in its self a bad thing, in fact the opposite is true, but alas no west facing beach!!!), nevertheless as I’ve mentioned many times before, life cannot revolve around photography and compromises have to be made.
Regarding the shot, I must admit I did struggle here to compose something to fit all the elements that I wanted to capture into the shot. I particularly like the surreal feel to this one embellished by the water movement and the colour, but the cloud formation kind of unbalances the compositional flow up from the foreground into the top left area. I did consider a square crop to boost the composition, but pandering to the ‘viewer’, I would have been. Regardless of the imperfect world, (I have cheered up a bit from my last post), I have a growing fondness to this and I feel it will need some time to unfold on me. Those thumbnail trophy hunters will no doubt pass by bagging “wow’s”!
We were happy to see many Starlings on the telephone wires in Woodbridge Reserve. Widespread and abundant in much of North America, the introduced European starling is arguably and problematically the most successful bird on the continent. Often characterized as bold, this bird is actually fairly wary and can be difficult to approach, as it was with this bird, hard to find and hard to photograph.
The beautiful demoiselle (Calopteryx virgo) like this male has both a fitting and a problematic name.
Fitting, in that they are absolutely ridiculously beutiful, but also having "beautiful" being part of the name sometimes make it awkward. "Compare this beautiful banded demoiselle to that beutiful demoiselle makes for a weird sentence when one "beautiful" is a descriptive adjective and the other is a part of the name.
Either way, they are marvellous and if you find them at the right time, they are so interested in finding a good perch to look for other males to chase and females to seduce that they will, like here, land on your outstetched hand and finger.
For another shot of the same specimen - with excellent eye detail - have a look here: www.flickr.com/photos/tinyturtle/52523232660/
Cypress Point is an iconic vista just south of Monterey, California. Another favorite spot of ours that we used to get to every year in January. The fog can be problematic for the photographer, but it usually burns off by 10AM.
So, having "exposed" you to Big Sur and the Monterey Coast, what's your favorite? Although I love the "Breaker, Breaker" shot from a couple of days ago, I think #1 is Point Lobos below. It took over an hour to compose that shot, waiting for waves and the marvelous colors that are afforded in the morning.
It's a wonderful dilemma, deciding what's the best scene.
An Ogden to Roseville manifest train slithers west through the blackened Feather River Canyon at Rich Bar, California. The train is seen passing through Tunnel 25. At under 200’ in length, Tunnel 25 is one of the shorter tunnels along this route.
Much of this region was severely damaged by the 2021 Dixie Fire. Originally sparked by a tree contacting power lines, the Dixie Fire burned over 900,000 acres (1,500 square miles) and destroyed more than 1,000 structures. Railroad infrastructure was damaged as well, briefly halting operations and requiring the construction of new bridges and signals.
The high severity burn left many hillsides void of life. This has become problematic as flash floods and mudslides have impacted the region over recent months. Through all of this, Union Pacific has managed to keep trains moving along the Canyon Subdivision. The hard-working railroaders in these mountains truly are the “Pride of the Sierras”.
UP 6610 — MOGRV 05 — Rich Bar, California
April 6th, 2022
jakemiillephotography.com
Autumn Trees, New Hampshire. © Copyright 2022 G Dan Mitchell.
A dense wall of trees with autumn leaves, New Hampshire.
This vignette of one small bit of White Mountains autumn color is somewhat indicative of the intensity and variety of the color there. My baseline for considering autumn color is California, which means the aspens (and a few other things) of the Eastern Sierra, the maples and oaks and dogwoods of the west slope of the range, and the mixture of native and non-native trees another areas of the state. It is rare to fine large, continuous hardwood forests with a mix of trees in California — almost unheard of, in fact. Yet that seems to be the norm in New Hampshire and other parts of New England we visited. It seems like the period of time with best color may be shorter here, but during the window the variety and intensity is remarkable.
The circumstances of the photography often seemed different in New England, too. (In fairness, this was my first visit, and I can see how my process might adapt to this different landscape over time.) Once I found color in New Hampshire — and, believe me, it was not hard! — in some cases photographing it was almost too easy. Here, for example, I had stopped at a popular roadside pull-out to photograph an open landscape view to the north. When that view turned out to be problematic I turned around and basically looked for colors and patterns to photograph in a large “tree wall” across the roadway!
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
The town has 1,585 inhabitants as of December 31, 2002, and is the seat of the township association (Verbandsgemeinde) Loreley. With the villages Ehrental, Wellmich and Heide, the number of inhabitants is over 2,000.
The most important economic areas for St. Goarshausen are tourism and wine making. In earlier times was the town an important place along the Rhein for fishing and as an embarcation area. Today, the formerly very busy town is losing its importance and relies more and more on tourism. Especially problematic for St. Goarshausen is the short distance to the larger city Nastätten, that has replaced St. Goarshausen as the regional centre.
In tourism, the biggest competitor is the twin city St. Goar on the other shore of the Rhine. St. Goar is only reachable by ferry, as the closest bridge is 30 km away. While there is an established need for a bridge across the Rhine, plans for connecting the towns have not yet been realised.
Belmont Pond, Kelowna, BC.
A set of 3, starting with the full shot —lots of context, too much, in fact, and with problematic white contrast, which is why the next two have been pared down. The difference between them is in the processing.... Different takes for different tastes....
FWIW, I wasn't even stalking this guy. He simply flew in just after I finished with the WODUs, grabbed onto a cattail and dared me to get him before he got away!
the veggie roast beastie loaf removed from the slow cooker and cut in half, garnished with parsley
veggie roast beastie loaf some of the ingredients flic.kr/p/2pwTPew
recipe by Thomas Cizauskas flic.kr/p/2ps6zuL with thanks
tinned pinto beans and ready cooked beetroot can be used but i cooked the raw pinto beans and fresh beetroot in preparation for this recipe
i substituted the oven for the slowcooker as my oven would have been problematic having electric bars top and bottom flic.kr/p/2m3gaso i was worried i might overcook the base and undercook the rest - very uncertain
using the slowcooker
i had a few centimetres of water at the bottom so that the slowcooker wouldn't dry out
placed kitchen paper towels across the top to soak up condensation (i didn't want moisture finding it's way into the loaf)
then covered with the lid
the slowcooker was on for five hours on low from start to finish
a couple of times i did wipe moisture off the inside of the lid but never removed the paper towels. whether that was a good idea i don't know but it made me feel happier
when i finally removed the loaf from the slowcooker there was no water left in the bottom of the bowl
next time
maybe add a few extra centimetres of water at the beginning
check and top up during the cooking process
cook the loaf for slightly less time
or maybe do all three options :)
something for me to think about as and when
Seitan made with Vital Wheat Gluten
www.elephantasticvegan.com/seitan-made-w-vital-wheat-gluten/
Vital Wheat Gluten
amybakesbread.com/all-about-vital-wheat-gluten-and-why-it...
Seitan: A Plant-Based Meat Alternative
www.healthline.com/nutrition/seitan
What Is Vital Wheat Gluten And How To Use It
happyherbivore.com/2012/01/what-vital-wheat-gluten/
another veggie loaf recipe
nigel slater’s christmas vegetarian loaf www.theguardian.com/lifeandstyle/2016/dec/11/nigel-slater...
displayed on a marble chopping board latest charity shop find
ps i'm not recommending any of these cookery adventures. they suit my personal taste. photographing to encourage myself to eat more healthily ...
i've created a new group www.flickr.com/groups/cooking_is_my_hobby/ to gather ideas and encourage myself to continue with healthy eating by learning from others if you're interested in cooking, sometimes or a lot, or enjoy the cooking of others, you're always welcome ...
Five years ago, shooting with an astro-modified camera or using a tracking mount was considered extremely advanced. Stacking for noise reduction was little known outside the deep sky astrophotography world and low level lighting was associated with interior-design. Today, trackers are widely used and stacking has become a standard procedure. Astro-modified cameras are now available directly from manufacturers and low level lighting has found its deservrd place in night photography.
Refining known techniques and equipment or shooting from ever more exotic places is great, but where are the future game changers? As deep sky astrophotography has been a constant source of inspiration, future innovations in nightscape photography are likely to come from there again.
In DSO photography, specialized astro-cameras have mostly replaced conventional cameras. They are more sensitive and can be cooled for lower noise. Traditionally however, dedicated astro-cameras have been a bad choice for nightscapes, because their monochrome CCD sensors require long exposure times for each sub. This translates into heavy mounts, the need for filters, a computer and an external power source. All this makes a conventional deep sky imaging rig too complex, heavy and slow for nightscapes, but things are changing:
Several companies are now offering cooled astro-cams with CMOS sensors - the same as those used in the latest photo cameras. Compared to CCDs, they still have drawbacks, but thanks to the lower readout noise, exposure times can be kept much shorter. This allows the use of a simple tracker. Many CMOS astro-cams also come as one shot color cameras (OSC). This lowers their sensitivity compared to their monochrome cousins, but it also simplifies image acquisition.
Furthermore, there now are several solutions to control astro-cameras (and even complete imaging rigs) with tiny raspberry pi computers, through a smart device. You can leave the laptop computer at home and while you still need external 12V power, lightweight lithium power banks are available today.
As there are no obvious showstoppers anymore, I have been waiting for the first astro-cam nightscapes to appear. To my surprise, this did not happen.
I have recently bought a cooled monochrome CMOS camera with a motorized filter wheel for my telescopes. I now have the possibility to try it myself and a few weeks ago, I finally got the chance to abuse it for nightscapes. I made many rookie-mistakes that night and the result is far from perfect, but I consider it a proof of concept, showing the potential of dedicated astro-cameras for nightscapes.
One advantage of such a setup, apart from lower noise and higher sensitivity, is the possibility to shoot through narrowband filters. Despite all my mistakes, the addition of just 15 minutes of narrowband H-alpha data to the image, reveals nebula details I have never been able to record with my astro-modified Canon EOS 6D.
I am not going to put away my beloved 6D anytime soon, but I will certainly continue to experiment with my astro-cam. I still have to find out how it performs with wide angle lenses. These could produce problematic gradients with some filters. However, for longer focal length, close-up nightscapes, it has huge potential and narrow banding should enable me to shoot scenes from heavily light polluted sites, which are impossible to capture in broadband light.
I hope to see a lot more such ‘deepscapes’ in the future. Think out of the box and if you have access to a specialized astro cam or if you have other innovative ideas, start doing some pioneering work with them. I would love to hear about your experiences!
EXIF
ZWO ASI 1600MM Pro
ZWO EFW 36mm motorized filter wheel with Baader HaLRGB filters
ZWO ASI AIR computer for camera control with a Samsung Galaxy S7
Canon EF 70-200 f/2.8 L IS USM @ f/4 and 135mm (resulting focal length 270mm)
iOptron SkyTracker Pro
Celestron Powertank Lithium
Foreground: 5 x 60s Luminance / 5x60s RGB
Sky: 5 x 180s H-alpha / 20 x 30s Luminance / 10 x 30s RGB
Found this shot I took in Sydney years ago. Its a bit problematic (the backgrounds don't match up), but otherwise I like it.
Nikon F4. Kodak Ektar 100 35mm C41 film.
- Martin Luther King, Jr.
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While we were at the Valley of Fire state park, we did the white domes trail on the first day. This scenic loop hike traverses through some interesting sights and a short but very beautiful slot canyon. The trail starts right by the parking lot and soon descents through a narrow boulder filled pathway to a sandy basin. This location and the various giant boulders present here gives you access to some amazing views. There is also an old ruin of a movie set here to explore. I was more interested in getting to the slot canyon part of the trail and it didn’t disappoint. It started out wide but rapidly narrowed to a point it was a struggle to get a level foothold on the canyon floor.
For this shot, I placed the camera and the tripod close to the entrance of the slot canyon and composed the shot closer to one of the walls to give the interesting holes that were present in the canyon walls a bit more prominence. One of the major challenges in shooting canyons is balancing the light above the canyon with the deep shadows within the canyons and this becomes a lot more problematic with slot canyons as this difference is often greater. So the general guideline is to omit the sky or the brighter top edges of the canyon walls from your composition. I only stray from this rule when the patterns on the canyon walls or other structures clearly leads the eye of the viewer up. While today’s image is an example of me following the rule, this image is an example where I shot an exception to the rule.
Part of my Wildlife Shoot out at "The Arsenal." My friend and I swopped lens for a bit. Pam was shooting with the Sigma 150-600mm f5.6-6.3 HSM Contemporary lens on her Canon EF 7D MKII.
I was thinking about getting this lens.
I wanted to see if it was gonna work. There are a lot of reviews out there saying its problematic on RF bodies like my R7.
So I pushed this lens hard trying to get it to mess up doing the one thing it supposedly hates the most, close focusing at its MFD on a R7. This was one of many successful shots I got using this lens on my camera at or near its MFD. And when it didn't want to focus, I just moved back a foot or two and the lens worked perfectly fine. I was inside it's minimum distance.
I think this lens could still be a possibility for me, but I would like more than just a half hour using it.
On the way home from Page, we stopped at the Navajo Bridge. This is the Visitor Center. Those are the Vermilion Cliffs in the background.
www.nps.gov/places/navajo-bridge.htm
en.wikipedia.org/wiki/Navajo_Bridge
Navajo Bridge crosses the Colorado River's Marble Canyon near Lee's Ferry in the US state of Arizona. Apart from the Glen Canyon Bridge a few miles upstream at Page, Arizona, it is the only roadway crossing of the river and the Grand Canyon for nearly 600 miles (970 km). Spanning Marble Canyon, the bridge carries northbound travelers to southern Utah and to the Arizona Strip, the otherwise inaccessible portion of Arizona north of the Colorado River, which includes the North Rim of Grand Canyon National Park.
Prior to the construction of the first Navajo Bridge, the only river crossing from Arizona to Utah was at nearby Lee's Ferry, where the canyon walls are low and getting vehicles onto the water is relatively convenient. The ferry offered only unreliable service, however, as adverse weather and flooding regularly prevented its operation.
Construction of the original Navajo Bridge began in 1927, and the bridge opened to traffic in 1929. It was paid for by the nascent Arizona State Highway Commission (now the Arizona Department of Transportation) in cooperation with the United States Department of the Interior's Bureau of Indian Affairs, as the eastern landing is on the Navajo Nation. The steel spandrel bridge design was constructed by the Kansas City Structural Steel Company. The bridge is 834 feet (254 m) in length, with a maximum height of 467 feet (142 m) from the canyon floor. Its roadway offers an 18-foot (5.5 m) surface width with a load capacity of 22.5 tons (although the posted legal weight limit was 40 tons). During the design phase, a wider roadway was considered, but ultimately rejected, as it would have required a costly third arch to be added to the design, and the vehicles of the time did not necessitate the wider road.
In 1990, however, it was decided that the traffic flow was too great for the original bridge, and that a new solution was needed. The sharp corners in the roadway on each side of the bridge's approach had become a safety hazard due to low visibility, and the deficiency in the original design's width and load capacity specifications were becoming problematic. The bridge had also become part of U.S. Route 89A.
Deciding on a solution was difficult, due to the many local interests. Issues included preservation of sacred Navajo land, endangered plant species in Marble Canyon, and the possibility of construction pollution entering the river. The original proposal called for merely widening and fortifying the bridge, but this was ultimately rejected since this could not possibly bring it up to current federal highway standards. Replacement was then the only option, and it was eventually decided to entirely discontinue automobile use of the original bridge. A new bridge would be built immediately next to the original and have a considerably similar visual appearance, but would conform to modern highway codes.
The new steel arch bridge was commissioned by the Arizona Department of Transportation and the Federal Highway Administration, and was completed in September 1995, at a cost of approximately $15 million.
The original Navajo Bridge is still open to pedestrian and equestrian use, and an interpretive center has been constructed nearby to showcase the historical nature of the bridge and early crossing of the Colorado River. Bungee jumpers are frequently seen using the span. The original bridge has been designated as a Historic Civil Engineering Landmark. The bridge was placed on the National Register of Historic Places on August 13, 1981.[3]
Vermilion Cliffs
en-academic.com/dic.nsf/enwiki/2493240
The Kayenta Formation is a geologic layer in the Glen Canyon Group that is spread across the Colorado Plateau province of the United States, including northern Arizona, northwest Colorado, Nevada, and Utah. This rock formation is particularly prominent in southeastern Utah, where it is seen in the main attractions of a number of national parks and monuments.
The Kayenta Formation frequently appears as a thinner dark broken layer below Navajo Sandstone and above Wingate Sandstone (all three formations are in the same group). Together, these three formations can result in immense vertical cliffs of convert|2000|ft|m or more. Kayenta layers are typically red to brown in color, forming broken ledges.
Navajo Nation 2025
Shirburn, All Saints
The long history of this church is partly obscured under its drastic and unsympathetic restoration by Wyatt. The north transept was built in C19 for the Macclesfield family and is surrounded by blind stone panels, the north chapel (which now contains the Victorian organ) is probably Georgian and became the family mausoleum, however the whole building has a rather neglected air about it. There are dotted about one or two monuments of note; however the bleak stucco and the Georgian top to the tower
make this church something of a curiosity, and each succeeding age of church architecture seems to jar uncomfortably against each other; unlike at the nearby church of Wheatfield where the Georgian and the medieval happily co-exist.
Shirburn All Saints is now a redundant (though still a consecrated church) situated behind Shirburn Castle. It is now in the care of the Churches Conservation Trust, however as many church visitors have found, access during these past three years has been problematic to say the least, the gate into the churchyard has often been locked at reasonable daylight hours for no apparent reason. There is no signpost to the church unlike at Nuneham Murren to attract passers by. It is hoped that this situation will be addressed for the benefit of all who love historic buildings and enjoy visiting churches. Please do contact CCT if you feel concerned central@tcct.orguk These buildings should , by law, remain open to all , and the trust needs to be alerted to any problems of access. Happily John Ward (Oxfordshire Churches) had made a prior arrangement and our band of photographers went forward and probably took more photos, on this St George’s day, collectively of this church’s dusty interior than it may well have had in its entire history.
It's nice to get a slightly different shot of Beaumont's Hill at sunrise. This morning my normal shot of this scene, down the farm track, was just a bit samey, so I continued on my walk just another 10 - 15 yards and got this totally different sunrise shot. The lack of a leading line is a little problematic, but you can't have everything!
On previous visits to this falls I had visualized this exact shot, but knew handling the contrast between the upper trees and sky would be problematic. There was no way I could pull it off using a grad or even by blending exposures (at least with my PS skills). Photomatix (yes, Photomatix) has a feature called Exposure Fusion that has now changed the way I approach shooting high contrast scenes such as this. Before I go on -- this is NOT HDR! I don't do HDR period. It's a two exposure blend, one for the falls/ vegetation and the other for detail in the sky. All in all I think the program handled the scene rather well. The gap between what I want to capture and what I can capture just got a little smaller.
Kind of curious what others think. Feedback on this image is welcome. The key for me is making sure the dynamic range between the two exposures looks nearly natural.
DC Rail's 60046 'William Wilberforce' crawls through Wash, Chinley on 6Z26, Chaddesden Sidings to Peak Forest Cemex Sidings.
First time photographing 046, and the rake of blue box wagons certainly help the consist cut through the abundant greenery surrounding Cowburn Tunnel. Indeed the lineside vegetation comes close to being problematic at this time of year.
On a cloudless day in Yosemite National Park, composition along the Merced became a little problematic requiring a bit of experimentation. The dynamic range was pretty extreme with this framing so I did a digital blend of two bracketed images, the -1 ev for the upper-right blending into a +1 ev image in the lower-left.
Camera Nikon D800
Exposure 0.04 sec (1/25)
Aperture f/16.0
Focal Length 14 mm
ISO Speed 200
View the entire - San Francisco - Yosemite 2012 set.
View my - Most Interesting according to Flickr
"Our project "Identikit" deals with the matter of immigration and hence with identities and the issue of clichés. Identities are highly complex and always different, however clichés work by simplification. Under the view of immigration, more and more families and individuals have a patchwork-identity, which is often encountered by others with stereotypes. To visualize this problematic issue we have made portraits of well known German, French and American personalities, which have a migration background. Based on a technique, that is known from Childrens books or phantom view catalogs, the faces are horizontally cut in stripes, so that you can rearrange them in endless variations. In addition there are a series of words on the backside so that you can replace some parties of the face. There are so many options, some make sense, some don´t, some invoke images and even stereotypes in your head, but they give no concrete answer. It´s all in the viewer."
Various & Gould 2008
Check this gallery for more photos of the Identikit series!
www.flickr.com/photos/urban-art-berlin/galleries/72157622...
This little crystal is from one of the warm snowfalls earlier this season. It’s difficult to shoot them before they melt, with the outer features fading first. The inner details however are something to marvel at. View large!
Warm snowfalls are very difficult to photograph in, but I’m out there every chance I get; You never know when something interesting and unusual is going to appear in front of you! This plate-turned-dendrite has one of my favourite forms, providing interesting fern-like branches with strong geometry in the center. The center here also has a bit extra: a snowflake inside a snowflake.
Not exactly, but it’s a fun example of a “skeletal form” type crystal. The smaller top snowflake shape has “bones” that run up the center of the branches and connect the top plate to the bottom plate. This kind of snowflake is a unique variant of the split-plate or capped column, where the stunted growth of the secondary plate (the one that lost the battle for access to water vapour) continues to grow outward, albeit at a slower pace than its bigger half. You don’t see these structures often!
This likely means that the side containing the smaller plate was facing the direction of wind, and thereby was still able to have some access to “building blocks” for continued growth. This can be backed up by the smaller rounded trapezoidal shapes on the inside of the larger plate. These indicate inward crystal growth, showing that the plate is “filling in” from thicker edges. This only happens when the inner area of the crystal is able to still receive water vapour.
Editing these snowflakes becomes a bigger challenge as well. As these subjects are so very fleeting, from the first frame to the last frame the snowflake might have completely melted. Focus-stacking is the technique used to combine multiple frames at different focus points to get the entire snowflake crisp and sharp from tip to tip… but what happens if the subject is actively changing while you shoot? The answer is a bit of a headache.
The center of the snowflake would remain largely untouched by the melting process, but the branches are tricky as they start to melt first. I usually pass forward and back across the snowflake, hoping to get as many needed images as possible in a single pass. I might make 4-5 passes across the crystal, making sure that I haven’t missed anything, as there are always images missing from the sequence due to the hand-held approach I use… it’s the missing slices that prove problematic.
If I need to take the missing slices from a second or third pass across the crystal, it won’t line up properly with its neighbouring focus slices. The later image will have degraded further; edges would be more rounded and the tips would be shorter. Making them fit together again is a manual process that takes a fair bit of time in Photoshop. On average my snowflake images take about 4 hours to edit, but these kinds of issues usually add an hour onto that process. I think it’s worth the extra time, and I hope you agree!
Snowflakes form in very interesting and beautiful ways, and understanding where these shapes come from has always fascinated me. If you like these posts, you’ll absolutely love the 304pg hardcover book “Sky Crystals: Unraveling the Mysteries of Snowflakes”: skycrystals.ca/book/ - it’s everything a science and photography geek could hope for. :)
To marvel at more of these winter wonders, check out “The Snowflake” print, which is the culmination of over 2500 hours of work with the subject funneled into a single image: skycrystals.ca/poster/ - the perfect image to make winter a little more tolerable!
#snow #snowflakes #macrophotography #winter
While new all-diesel locomotives are gradually becoming taboo in our region, this isn't so problematic in other countries, as evidenced by the ТЭМ18ДМ-3551, which was commissioned by the Беларуская чыгунка in November 2024. The locomotive was built in Bryansk. On May 27, 2025, the still-new locomotive shunted in Homel.
A little over a month ago, I uploaded a photo of these Ozark falls noting that I had taken photos from a different position (this one) but that those photos had proven problematic due to extensive flaring as I was shooting into the sun. I had tried to protect my lens from said sun but flaring occurred anyway. Well, yesterday, I tackled one of those photos and managed to reduce that flaring to near zero with the bag of tricks Lightroom provides.
The original photo can be seen here: www.flickr.com/photos/80014607@N05/51676285024/in/datepos... which is still a better photo to be sure.
Situated near the cliff-tops, overlooking an often tempestuous North Sea, is the small Seaham church dedicated to St Mary the Virgin.
It may look a little lonely these days, but it was once at the centre of the original settlement of Seaham, long before there was a 'Seaham Harbour'. Because of the geography of the coastline, Seahm was originally at the end of an east/west route. Travelling directly north or south was problematic because of the coastal denes, deep naturally occurring ravines formed after the end of the ice age. It was only towards the end of the 19th century that a coastal road was created connecting Seaham north to Sunderland via the village of Ryhope.
The church meanwhile, is a Grade 1 listed building and has been described by historians as one of the earliest Anglo Saxon churches in existence.
Regular worship still takes place every Saturday morning at 10.30am and on the first Sunday of the month at 11am.
Over the last few weeks I’ve squeezed every possible spare moment to get out in the snow. now usually in the uk the snow only lasts for a couple of days and that’s your entire winters helping, so every time I’ve gone out over the last few weeks I’ve really savoured the experience, viewing it as my last of the season. This way of approaching photography can be problematic, as it places deeper expectations on you not to waist the opportunity, but ironically helps you deeper appreciate the moment. Anyway, it has made me get out more than I would usually, and as it seems, more than your usual amount of photographers have been wondering around, wide eyed, like kids in a candy shop...
So what is it about snow that is so special? Everything just looks just so fresh, clean, unspoilt and different to normal. I love the crunching sounds fresh snow makes when you walk through it, I love the smiles on kid’s faces, I love the way it stimulates my inner child. I love the way light changes, reflects, the unusual subtle hues in the sky after sunset. I love the rawness, the coldness, the innocence...it just makes me want to live in an icy country...
Anyway, talking of snow, sadly due to the adverse conditions I’ve had to amend the Malham workshop this Sunday to Bolton Abbey . It’s ironic that the weather that is most treasured by landscape photographers, has rendered the workshop unsafe. Anyway I’m looking forward to visiting lower Wharfedale again, but this time to help others realise their vision(o:
Cool temperatures, low water at Fall Creek Falls and Snake River, and the trees beginning to turn yellow herald the change of season in Swan Valley, Idaho.
The L1.0 ISO setting of the D850 got me to an ISO of 31 which allowed a 1 sec exposure without an ND filter. This was very helpful since filter use with the 14-24mm lens is problematic.
View the - Idaho Set
View the - Snake River Set
View my - Most Interesting according to Flickr
Now that you've heard the back story on my 1972 vacation, it's time to fire up the Way Back Machine and take a look at some pictures from that trip.
You've all seen the television commercials where they get you all fired up about something and then lay this massive disclaimer on you at the end. I'm going to flip the script and give you the disclaimer first.
Rail photography in mid-to-late June can be somewhat problematic with the high sun and the hazy skies. Add to that a camera with an inconsistent light meter and some low budget Fotomat processing and you get not the greatest picture quality. Hopefully the subject matter will make up for all that.
Traveling across Nebraska in 1972, Interstate 80 is still under construction and you're going back and forth between it and old US 30, the nation's first transcontinental highway. Just North of Lincoln, the Burlington Northern passes beneath I80. As I pass over the BN, I can see the headlight for a westbound in the distance, so I hop off I80. The westbound has BN 6430 (ex-GN 400) the one-of-a-kind "Hustle Muscle" SD45 in the lead. Talk about finding a needle in a Nebraska haystack!
IMG_0314c 2021 06 12 001 file
exploring urban alley ways.-----Power Lines sometimes perceived as problematic for photographers....but they do make our lives better in other ways,,,,
@Epping Forest, LDN
First proper outing since the lockdown, so obviously took the 28 Summaron* for a run. I've been trying the Aerochrome inspired editing for a while but have never taken many photos in a forest before.
*Had the 1963 vintage summaron for a while now, but never found its niche. It likes trees I think, so might take this one out on more hikes from now on. Although at f5.6, it's very much a sunny lens, which is problematic in the UK :)
The water was unbelievably beautiful today. Off shore breeze slightly problematic at surface level but everything was serene beneath .
All species in the genus Lestes are very similar and are hard to separate in the field. The shapes of the anal appendages are characteristic. In L. sponsa the anal appendage is black with the superior appendage (which are the ones on the outside) with two internal teeth. The inferior appendage is elongated and cylindrical. In northern Europe five species of Lestes occur whilst in Europe as a whole there are six species, so identification can be problematical and it is best to look at as many features as possible.
L. sponsa is a typical member of the genus with a green metallic body and wings held away from the body at rest. The abdomen is 26-33mm long and the wings are 19-23mm long. Mature males have a powder blue colour on the prothorax and on segments 1–2 and 9–10 of the abdomen. Mature males have blue eyes. Females lacks the blue colour. Immature males also lack the blue pruinescence and have greeny brown eyes. The pterostigmata of immature males are almost white.
Problematical polar bears hanging around town are taken here and typically held for a month, given water and cared for but no food - not wanting to reward them - then taken and released well out of town. Kal Barteski did the painting.
To view more of my images, of Audley End House and gardens, please click "here" !
Audley End House is largely an early 17th-century country house just outside Saffron Walden, Essex, south of Cambridge, England. It was once a palace in all but name and renowned as one of the finest Jacobean houses in England. Audley End is now only one-third of its original size, but is still large, with much to enjoy in its architectural features and varied collections. It is currently in the stewardship of English Heritage though remains the family seat of the Lords Braybrooke. The nearby Audley End railway station is named after Audley End House. Audley End was the site of a Benedictine monastery (Walden Abbey), granted to the Lord Chancellor Sir Thomas Audley in 1538 by Henry VIII. It was converted to a domestic house for him, known as Audley Inn. This dwelling was later demolished by his grandson, Thomas Howard (the first Earl of Suffolk and Lord Treasurer), and a much grander mansion was built, primarily for entertaining King James I. The layout reflects the processional route of the King and Queen, each having their own suite of rooms. It is reputed that Thomas Howard told King James he had spent some £200,000 on creating this grand house, and it may be that the King had unwittingly contributed. In 1619, Suffolk and his wife were found guilty of embezzlement and sent to the Tower of London. However, a huge fine secured their release, but Suffolk died in disgrace at Audley End in 1626. At this time, the house was on the scale of a great royal palace, and soon became one after Charles II bought it in 1668 for £5 for use as a home when attending the races at Newmarket. It was returned to the Suffolks in 1701. Over the next century, the house was gradually demolished until it was reduced to its current size. However, the main structure has remained little altered since the main front court was demolished in 1708, and the east wing came down in 1753. Some rooms have been substantially remodelled, though, especially the huge Hall. Sir John Griffin, later fourth Baron Howard de Walden and first Baron Braybrooke, introduced sweeping changes before he died in 1797. In 1762, Sir John commissioned Capability Brown to landscape the parkland, and Robert Adam to design new reception rooms on the house's ground floor, which he did in the style of the 18th century with a formal grandeur. The Great Drawing Room proved problematic as it had to be the grandest room for receiving guests, but it possessed a very low ceiling, and this was considered most undesirable at that time. Robert Adam solved the problem to a large extent by making the furniture unusually small and lowering the chair rail. His design of the Little Drawing Room for the Ladies was exceedingly odd, based on the style of ancient Rome, and Lady Griffin had difficulty moving between the columns when dressed in her evening gown. The third Baron Braybrooke, who inherited house and title in 1825, installed most of the house's huge picture collection, filled the rooms with furnishings, and reinstated something of the original Jacobean feel to the State Rooms. Audley End was offered to the government during the Dunkirk evacuation but the offer was declined due to the lack of facilities at the house. It was later requisitioned in March 1941. It was initially used as a camp by a small number of units before being turned over to the Special Operations Executive. The SOE initially used the house as a general holding camp before using it for the Polish branch of the SOE. A memorial to the 108 Poles who died in the service stands in the main drive. After the war, the ninth Lord Braybrooke resumed possession, and in 1948 the house was sold to the Ministry of Works, the predecessor of English Heritage. Lord Braybrooke moved to the Abbey House in the grounds of Audley End, an irregular L-shaped two-storey house with an early 17th-century timber-framed and 19th-century brick core. It was remodelled by Sir Albert Richardson and Eric Houfe in the 1950s and then enlarged to three times its former size by Philip Jebb in 1967-70 for the Hon. Robin Neville. Symmetrical north front with two canted bay windows in the centre. The building history is most apparent from the south, where the gables of the first house can be seen behind those of the 19th-century rear wing. The house has interior decoration in Classical style by Dudley Poplack. The Capability Brown parkland still includes many of the mock-classical monuments, although some are not in the care of English Heritage. The grounds are divided by the River Cam, which is crossed by several ornate bridges, and a main road which follows the route of a Roman road. The park beyond the river is frequently used for open air concerts. There is also a miniature circular railway in the grounds. The walled kitchen garden in its grounds was painstakingly restored by Garden Organic, the UK's leading organic growing charity, in 1999 from an overgrown, semi-derelict state. Renovated to its former glory it now looks as it would have done in late Victorian times; full of vegetables, fruits, herbs and flowers.
I wish the sky had been better for this image.
Can't say i'm happy with it really but for the time its taken I thought I should at least upload it.
This is a 5 shot vertical panoramic taken at sunset. Its also HDR - 25 frames in total!
I did intend on blending just a couple of exposures using luminosity masks. I've been trying to practice luminosity techniques with Jimmy McIntyre Easy Panel (free). However I just couldn't get to grips with this shot.
Getting the light trails in were problematic too, if the those exposure were added to the final count I think I'd be up to 30 plus. There has got to be an easier way!!!
Taken using;
Canon 6D
17-40 USM F/4 @ F11
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Shirburn, All Saints
The long history of this church is partly obscured under its drastic and unsympathetic restoration by Wyatt. The north transept was built in C19 for the Macclesfield family and is surrounded by blind stone panels, the north chapel (which now contains the Victorian organ) is probably Georgian and became the family mausoleum, however the whole building has a rather neglected air about it. There are dotted about one or two monuments of note; however the bleak stucco and the Georgian top to the tower
make this church something of a curiosity, and each succeeding age of church architecture seems to jar uncomfortably against each other; unlike at the nearby church of Wheatfield where the Georgian and the medieval happily co-exist.
Shirburn All Saints is now a redundant (though still a consecrated church) situated behind Shirburn Castle. It is now in the care of the Churches Conservation Trust, however as many church visitors have found, access during these past three years has been problematic to say the least, the gate into the churchyard has often been locked at reasonable daylight hours for no apparent reason. There is no signpost to the church unlike at Nuneham Murren to attract passers by. It is hoped that this situation will be addressed for the benefit of all who love historic buildings and enjoy visiting churches. Please do contact CCT if you feel concerned central@tcct.orguk These buildings should , by law, remain open to all , and the trust needs to be alerted to any problems of access. Happily John Ward (Oxfordshire Churches) had made a prior arrangement and our band of photographers went forward and probably took more photos, on this St George’s day, collectively of this church’s dusty interior than it may well have had in its entire history.