The notes for this negative read: 31417 at Norwich in June 1983

Class 31 31417 was a Brush Type 2 (Class 30, later Class 31) built by Brush Traction at its Falcon works, Loughborough, and entered service as D5856 in August 1962. Its problematic Mirrlees 12 cylinder power unit was changed for a 1470 bhp English Electric 12SVT power unit at Doncaster works during January 1966, and the loco was reclassified as a Class 31/1. A change of livery to BR Blue took place in July 1969; then, during early 1974, it was converted to a Class 31/4 (following fitment of ETH equipment) and was renumbered to 31417.

The loco arrived at Immingham (its final depot) in October 1987 and acquired the Civil Engineers' plain grey livery in early 1990. Unfortunately, by the mid 1990s, 31417 was surplus to requirements and ended up being dumped into storage at Bescot. In September 2001 it was sold to Fragonset, then was purchased by HNRC, but was later moved (June 2002) to Barrow Hill, where it sat in a line with other faded 31s. After being used as a parts donor, it was then officially withdrawn and moved (November 2005) by road to Ron Hull Jr, Rotherham, where it was cut up during January 2006.

(Photographer: Unknown)

35mm Negative: Unfortunately the negative for this one was in a pretty poor state with scratches and blotches

everywhere. Hopefully i've managed to recover it to a viewable state as i think it was worth saving.

Date: June 1983 | © TJW: ROTWSI

NS 1073 leading 66W holding at CP Millards due to a problematic defect detector up ahead. 66W would resume its trip several minutes after this shot was taken. In the background is Pennsy Supply's stone quarry in Anneville, PA.

Cos streetlights at night aren't problematic enough

I didn't realize at the time that this was a good photo. But I took it anyway. The bushes on the right seemed problematic, but it turns out to be integral to the shot. So much of the photos I take are based on instinct or luck. The scowling man seems to draw us into the center of the frame, it's amazing how when taking pictures everything comes together, it suggest to me that it is almost a spiritual calling. A connection to the divine. That the divine hand is working with us with our pictures.

Seattle, Washington - August 2018.

Minolta SRT303b

Rokkor-X 50 mm f/1.7

Fomapan 400 in Acufine.

Sydney's Lady Herron still plying her trade, to and from Taronga Zoo wharf. Expected to be replaced when the problematic new catamarans are able to start passenger carrying some time this year.

Companion bots have proven themselves in the Martian colonies. Not only do they provide safety, support and backup communications they also fill the psychological need for a pet in an environment where real pets would be problematic. Many colonists become quite attached to their F.R.O.G.G.R. units over time.

In works. The water mirror had to be sealed again.

It took five years of work, 55,000 tons of concrete, 22,000 sand, 4,000 steel, thousands of workers - one of them dead at work - and almost US$ 77,565.48 million.

Designed by the Spaniard Santiago Calatrava - reference of the architecture-spectacle, with extensive portfolio of problematic works -, the building seems to float on the bay of Guanabara; to support it, 30 thousand meters of submerged pillars were installed.

The mission of the museum is to make the visitor reflect on how their attitudes shape the future of the Earth.

Right!

LOL

Wercs can be called for many Problematic situation without Problem!

He can fly from a Situation to an another to solve 2 Problems at once!

Train station lined with Palm Trees is cool very Californian looking however, on the dorky shadows they create is on the problematic side, as BNSF 7092 lead a super short Westbound Z-train to Hobart Yard which at this point is just a stones throw away from here.

Here are the candy cane stripes on the Lit Brothers Building. I caught some nice light trails from buses on other images, but they were too tall and cut through the video display on the roof and made replacing that portion of the image problematic.

Christmas in Philadelphia

This image is my submission into this years Blue Mountains portrait prize exhibition currently on show at the Blue Mountains Cultural Centre in Katoomba, Blue Mountains, NSW. The image was planned out initially via a concept sketch and it took two separate shoots to get the right conditions and look and mood I wanted....Finding a good phonebooth also proved problematic, as one, there aren't many out there any more and two they are boarded up with ads which blocks the view out. I didn't like the hard metal edge of the phonebooth so I bounced a strobe with a magenta gel off a brick wall, camera left, to give it a colour boost.

About the Image:

Luke Bindoff is the lead singer-songwriter of Blue Mountains Pop-Punk band “Madam Fatale”. The band has performed live from Sydney to Dubbo and has played numerous gigs that have supported Blue Mountains community organisations and causes. Luke has spent the last few years immersing himself in the local music scene and has recently started playing live solo acoustic gigs. This photographic image is a collaborative piece between father and son...

F4 | 85mm | iso 640 | 1/15th | D810 | B1 strobe & gel | Sekonic L858D. Image printed and displayed at AO size.

benpearsephotography.com.au/

on Ragwort

Immediate declaration of interest: I love ragwort! I spend about 2 hours of camera pointing at it each weekend when it is in flower and enjoy this. It is by far my favourite native plant (Ivy-leaved toadflax is formally considered non-native otherwise i'd have a problematic conflict with my declaration of interest). I am a beekeeper and I understand its value for honey bees too.

I do also have a very geriatric pony and kids that have been in pony club and I have to admit that 15-20 years ago I genuinely believed this plant was something that needed exterminated.

Ragwort really is such an important plant for flies and bees at the end of the summer in the pasture around me. The ivy has just started this week here as a pollen and nectar source and ragwort is the only significant bridge between mid August and the Ivy.

It is a real "Brexit plant" - in the sense that it draws very strong opinions and resultant hostility. I dont want to take an extreme an anti-horsey, pro-pollinator side on this. I do understand that the opinions are motivated by good intentions on each side.

However ....there is currently an important UK petition to repeal the archaic Weeds Act 1959. petition.parliament.uk/petitions/266743

Two of my favourite native plants, creeping thistle and ragwort are vilified by this act. It is currently just 500 signatures short of the 10000 signature mark at which point the UK government has to officially respond to the petition. If you are a British citizen or UK resident please consider signing the petition.

A Denver & Rio Grande Western narrow gauge freight drifts down the 4% grade below Cumbres Pass, throwing a reflection in the small pond near Highway 17, which has come to be named for noted Rail Photographer Otto Perry. Located on the west side of the tracks at Milepost 332.80, "Perry's Pond" is a popular railfan location. In recent years, getting a reflection image here has become more problematic, as the pond is often filled with lily pads and sometimes, a green scum. On this particular day however, the water was clear and the fall sun was bright.

This image was captured during an October, 2012 photo shoot on the Cumbres & Toltec Scenic Railroad, organized by Lerro Photography.

The tv is on the 6 o clock news and the channels are full color lies. The people of Watts are rioting over the injustices committed against them at the hands of the LAPD. The Governor of California has compared the riots to an anti-insurgency campaign against the Viet Cong. The streets look like a combat zone in a foreign country. National Guard and cops in riot gear patrol the streets and the rooftops. 3,438 people will be arrested, and 34 will die. The events in Watts will be mirrored across major cities across the country as African Americans are tired of being beaten down by a system meant to harm them. A system meant to treat them as less than human. A system still problematic today.

Light from the town of Mojave, California is usually somewhat visible here, but when there are low clouds to catch that light and fill your frame with it, night photography becomes problematic.

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Just back from a fantastic couple of weeks down in West Cornwall and among the places visited was this spot – a bit of a staggering feast for the eyes, just a few miles from Lands End.

It's the view of the Pedn Vounder beach from the clifftops.

Access to the beach though can be problematic. I asked a couple making their way down to rate the path in terms of difficulty on a scale of one to ten and they replied with a 'one to two'!

A year or two ago I accessed the beach from nearby Porthcurno on a very low tide, but that's not always possible.

I'm afraid the clifftop descent though, having done a quick risk assessment, was put on the back burner!

🔴Problem Ink - ZPU Jacket

Optional Shirt

PROBLEMATIC INK

Limestone sculpture by Nicolas Moreton in the garden of Ashridge House, Hertfordshire. Leica M8, Elmar 90/4. The title is "Curling Inward". I have commented on this sculpture before and interpreted it as a visual rendition of the theological definition of sin (the sin is selfishness, not homosexuality, premarital sex, masturbation or other such things). In this close-up, however, I have included the figure's genitals. Moreton has other exhibits in this sculpture park, and they too caricature modern society's obsession with the sexual. I would think the sculptor's point is that sexuality, too, can be problematic, namely when its relational, inter-human and liberating aspect is sacrificed.

[Buy prints of my work at ImageKind, or visit my website: David Lindes Photography. Or, Flattr this.]

slightly emphasized via "curves", but this is really how her eye is. It's a condition called Heterochromia (I think I have that right), which can sometimes be problematic, but my understanding is that it can also sometimes be benign, and is in her case -- in not only the "not a problem" sense, but also in the "good" sense, because I think this eye is just beautiful!

(and yes, ok, I admit it's a little bizarre... but I just love this eye -- this shot and various others I have of it. Her other eye is cool, too, and perhaps even more interesting (half brown, half green, roughly).)

Best viewed large, in my opinion -- at the very least, the thumbnail definitely doesn't do it justice, so if you're reading this, then at least you can see the interestingness going on here. :-)

Added to fav/view >= 5% group at 6 faves, 57 views == 10.526% (and 4 comments at the time). We'll see how it holds up. ;-)

(and human eyes are nature, right? At least by some definitions...)

See also: her left eye

Attachment theory is primarily an evolutionary and ethological theory whereby the infant or child seeks proximity to a specified attachment figure in situations of alarm or distress, for the purpose of survival. The forming of attachments is considered to be the foundation of the infant/child's capacity to form and conduct relationships throughout life. Attachment is not the same as love and/or affection although they often go together. Attachment and attachment behaviors tend to develop between the age of 6 months and 3 years. Infants become attached to adults who are sensitive and responsive in social interactions with the infant, and who remain as consistent caregivers for some time. Parental responses lead to the development of patterns of attachment which in turn lead to 'internal working models' which will guide the individual's feelings, thoughts, and expectations in later relationships.There are a number of attachment 'styles' namely 'secure', 'anxious-ambivalent', 'anxious-avoidant', (all 'organized') and 'disorganized', some of which are more problematic than others. A lack of attachment or a seriously disrupted capacity for attachment could potentially amount to serious disorders.

This is my new bike: a Pinnacle Neon 3 which I purchased for the upcoming Norfolk Odyssey. It's a hybrid bike with road tyres but a MTB geometry - so it feels familiar to the stuff I've ridden over the years.

The ride is shaping up and will take place from 10th-13th May: Diss Station to Upwell Crown, Upwell to Burnham Deepdale, Burnham Deepdale To Waxham and Waxham back to Diss. Each day is 50+ and suitable for the moderately fit.

Burnham Deepdale Backpacker's hostel is proving problematic as they don't do one-night-only bookings - so I've had to go for the camping option. It will be camping at Upwell and Waxham also. I'm trying to arrange for a luggage support vehicle so we don't have to carry tents etc.

Last picture regarding the Tre Cime di Lavaredo (Drei Zinnen). Then, before showing other details, sides, and particular aspects of this lovely area, obviously in different conditions of light, I'll move the "photographic journey" to other places of the Dolomites, just to offer a more varied palette.

Shot taken on October 5th 2012, at 01:16 a.m.

This landscape is entirely lit by the moonlight, which was already pretty hight on the east.

Here you can see the mount Paterno (left), my trusted tent (lit with a torch from inside) and the Tre Cime di Lavaredo north faces in the distance.

This particular spot has proved an excellent location. It allowed to include, in a single shot, all the most significant peaks, without incurring excessive use of wide-angle... that would have flattened the entire panorama, something I generally detest (except for very specific issues) then carefully avoid, for a simple matter of love and respect to the original forms of the mountains I want to portray.

Before taking a photo, I usually first care to get a correct shape, then I look for the proper light. Because a light without form would generally make no sense.

Temperature here at night was around zero degrees centigrade, maybe a little less because of some humidity. So, indeed very comfortable.

I generally use the tent because it is easier to cook inside providing repair from the wind, and also when planning a multi-day trip allows you to return home still with a... human aspect :-) besides it's basilar to have a shelter if the weather turns out to be problematic. Also, let's say it, the tent is the icing on the cake in the photographic compositions! :-))

_____________________

©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.

berteroroberto.pixu.com/

Kevin Richardson is wordly famous as The Lion Whisperer!!!

“ Kevin Richardson owns and operates the Kevin Richardson Wildlife Sanctuary, located an hour northeast of Johannesburg, South Africa. Richardson is a firm opponent of "canned hunting", which is the hunting of lions locked within an enclosed location, making them easier to hunt and kill. To help combat this problematic epidemic, he has a strict no breeding policy at his sanctuary to reduce the likelihood of his lions being bought and sold for that very purpose.

One of the most intriguing aspects of Richardson's sanctuary is his relationship with his lions, which include popular characters such as Meg, Amy and Bobcat. Kevin is known for interacting with them within the confines of his sanctuary, and on long enrichment walks throughout the game reserve. Unlike other game reserves and sanctuaries, Richardson does not allow his guests to go on these lion walks with him, as he knows that while his lions are well behaved for him, they are still dangerous animals, and the wild nature within will always be there. “

---------------------------------------------

Well, my old dream came true that Sunday of last November, when I finally experienced the closeness of some of Kevin’s lions!!! Unfortunately, Kevin did not appear personally during our very short tour, because it was a Sunday! But a really helpful and gentle young man replaced him perfectly!

It was a very warm day, and most of the lions were resting under the trees’ shadows or in their shelter, which gave our group of 4 tourists the opportunity to approach them serenely, and take pictures of them.

❤️ www.youtube.com/watch?v=qdtJkZx8MJY ❤️(!!!!!!)

Colour vibrancy and saturation is a contentious issue amongst photographers and it’s my observation that there are two distinct groups, projecting scorn from different sides of the fence. But why?

Photographer verses viewer

In flickr land over the last few years, I’ve observed that the desaturated images that I’ve posted, have been more successful with the, let’s call them, ‘advanced photographers’. The people that I have growing respect for their skills, vision, composition and generally their intelligent approach to photography. Coincidently the more vibrant images that I’ve posted, (many naturally so) have been dismissed by the very same group, as unreal, (even thought they are not, but I’ll get to that soon).

Now unusually in a direct countering to this view, the vibrant images I’ve posted have been very well received by the wider flickr community and comparatively received substantially more traffic. This disparity between in-depth respected attention, verses overwhelming faves and view counts is intriguing, as to how it affects my photographic development. It seems as though I have a choice as to whether I let myself be influenced by this observation and if a clear evaluation is formulated then how do I steer a course within these mixed messages. On one side, if the views and comment counts are to be valued, then the richer images are what I should be producing, as they get by far the biggest attention, but what of the desaturated images? I greatly appreciate the critical affirmation I receive from such skilled mentors and deeply respect the personal development that is catalysed. Hmm I want my cake and the ability to eat it. I want quality and quantity, the grass is always greener!! Any more clichéd analogies anyone? There then seems to be distinct camps, common / elite, commercial/ quality, in your face/ subtle, male/ female. Hmmm!

Now this difference in photographic tastes is only a problem, if, I want recognition from either group (which clearly I do), and again problematic, if, I let market forces dictate my future. Man my ego really wants this, but I’m not sure I should let it. Now not wishing to conclude this text too hastily, and definitely not too simplistic, but, in the end my personal vision has to be put firmly before these differing values, trends and fashions. I have to follow my own path; I have to decide my own direction. Let me focus this text, as usual it’s in danger of spiralling out of control, or should I say ‘word count’ if I let my disorganised mind float off. So let’s look at some reasons for the current trend to desaturate.

Trends

At the moment in popular culture there is a retro revival, (it occurs to me that this is cyclic and no real surprise to the older members amongst us. In fact one of my favourite quote of all time comes from Nick Cave, “every 10 years or so I become fashionable again”. what a genius (sorry for my sycophantic hero worshiping...) anyway at the moment there are many adverts on TV and in the press that attempt to offer us a retro feel and one way of subtly doing this, is to try to emulate old film stock, (ironically artificially for the realists amongst us). Anyway generally the way this is implemented, is a slight de-saturation and colour toning that gives it a different feel, paradoxically initiating deeper textural depth. Part of the reason for doing this is to create visuals that are out of the ordinary, that stand out against the rest. To say, hey look at me aren’t I different and creatively unique. Well not really for many reason that fall outside this text. Anyway as members of this contemporary culture the consumers of art, in whatever form, are then influenced sometimes subconsciously, into emulating other mediums. We do not live in a cultural bubble and I would argue that it’s near impossible to be unaffected by the power from other disciplines when producing your own work. Hence borrowing the de-saturation look from other artistic disciplines is inevitable, postmodernism springs to mind.

Simplification

Removing or desaturating colour from the image simplifies the viewing experience, enabling the viewer to streamline their thoughts and focus deeper attention on other elements such as composition, subject, texture and form. Ironically less is often more in this regard, as the ability of the photographer to influence the viewer is greater with fewer distracting elements. Simplification as a photographic tool is then a conscious distillation of key elements, seeking to edit the weaker distractions in the pursuit of viewing power. Ironically the colour image has greater potential for significant depth in texture and form, but at the expense of unambiguous visual communication.

Reality

Reality is a matter of perception. The myth that there is one common reality in my belief is born out of the scientific community influence upon the wider society reliance, on imperially centred evidenced based thinking. Sciences rejection of the slightest assumptions, only giving credence to factual law based evaluations, has influenced the wider communities thinking to reject ides outside its magnifying glass. This doesn’t mean that because we haven’t yet the tools to see and therefore measure, that infinite discoveries don’t exist outside our current enquiry.

I believe that the idea that reality is in some way is the same for everyone is an assumption further added to by our psychological need to be part of a likeminded community. Does it really matter if we see the very same world slightly differently? Well to me it offers greater opportunities to be surprised creatively when I see through somebody else’s vision, gain differing insights to the world outside my own perception. But sadly some people subconsciously reject others visions, only make sense of the world from their own set of limiting rules dictating what makes an ‘accurate’ or acceptable photograph based on reality .

We all experience the world differently based on our unique prior experience and subsequently the way we observe images is no different. Can you remember when you first snapped a photograph? I bet since that early image your observational skills are now much more developed than the first time you glanced over the results...subsequently the greater you look, really look, the more depth and colour you bring to your conscious. You actually see more, appreciate more; your reality with the very same images develops over time and changes. This is no different when looking at colour, you actually see more colour the more experienced you become (unless your heavily influenced by simplification to the point of BW) and this very fact has been used to justify the criticism of the perceived over vibrant image as fraud. Take this image as an example. I received criticism that I oversaturated the rainbow when in fact I didn’t. What I find interesting here is the viewers need to desaturate the view to fit in order to fit with their own perception on an assumption based reality. The fact that they needed to see the image as too saturated over my own view is interesting. I would also argue that that kind of viewer would need to choose subjects that were consistently desaturated and images such as the one I’ve posted with this text would be outside their personal photographic vision.

On a final point about reality I also find it intriguing that people champion film photography as being real over digital, but ironically the choice of many landscape photographers is the vibrant Velva.

Traffic

There is no doubt that more vibrancy within an image helps it stand out amongst our thumbnail social networking culture. Not surprisingly these images can sometimes gain more traffic and subsequently attention, from the inevitable wider target audiences. Yes it’s true that colour is very good at initiating a mood in people and without consciousness of this power, can be a good emotion catalyser. But what is often overlooked when negative criticism, based on colour saturation sometimes materialises, is the oversight within the choice of subject, being naturally vibrant. The twilight ‘golden hour’ is an obvious example of this subject selection and often dismiss as clichéd, amateurish choice of subject, something that only a new conceptually inexperienced photographer would tackle. I would surmise this as narrow minded and tackled by a skilled conceptualiser can pay hansom dividends.

No moving on and turning this clichéd to an example, this shot was a result of being lost in the valley of desolation last week, three miles from my destination and without a compass. As I ran along the sometimes shin deep mud tracks trying to make sense of the map, trying to find my way out of the forest, to the valley bottom, in order to gain my bearings and not end up with a broken ankle, frozen and dead , I happened across this truly amazing sight. I was totally in awe to the conditions, but was massively at odds as to my personal safety. My point being, this photograph offered me, very personal and dramatic set of circumstances that at least for me have very special emotions. But the mix of colours from deep oranges to dark greens shouldn’t have worked, but did in a naturally vibrant way. The subject offered me a mix of deep dark forest, juxtaposed against the creeping in life giving light. What I see when looking at this image, apart from the adrenalin charged experience I managed to live through, is the deep cold mossy forest, that light doesn’t often get into, with dead fallen unattended lost trees, a wonderfully wild but paradoxically scary place, when the sun is just about to go down. I feel lost and safe, as the edge of the forest is penetrated by the setting sun. Now many of you will think I’ve lost the plot, (and please feel free to let me know with well crafted jokes), but for me this image is special. Both as a visual record, but more importantly as a conceptual and emotion catalyst.

My views

If you have made it this far, then I thank you for giving me enough respect to stick at it and apologise at the same time, for the subtle lack of organised thought with regard some of my ideas here. This text is already way too long, but I didn’t want it to be extended too much longer, so have decided to post it and then if I gain further incite, I will then revisit. (Something I’m sure to do as I plan on making a book out of my rambles, if I ever make time to). Anyway just for the record I’m writing this text in order to reflect on this subject in order to disentangle my own thoughts from the powerful influences out there. I partly conclude that I must follow my own creative path and not let the trends to de-saturation sway me, but I feel by exploring my own personal reality through photography, will result in the ability to present creative congruence, whatever that might be.

Space Cowboys never die

Kevin Richardson is wordly famous as The Lion Whisper!

“ Kevin Richardson owns and operates the Kevin Richardson Wildlife Sanctuary, located an hour northeast of Johannesburg, South Africa. Richardson is a firm opponent of "canned hunting", which is the hunting of lions locked within an enclosed location, making them easier to hunt and kill. To help combat this problematic epidemic, he has a strict no breeding policy at his sanctuary to reduce the likelihood of his lions being bought and sold for that very purpose.

One of the most intriguing aspects of Richardson's sanctuary is his relationship with his lions, which include popular characters such as Meg, Amy and Bobcat. Kevin is known for interacting with them within the confines of his sanctuary, and on long enrichment walks throughout the game reserve. Unlike other game reserves and sanctuaries, Richardson does not allow his guests to go on these lion walks with him, as he knows that while his lions are well behaved for him, they are still dangerous animals, and the wild nature within will always be there. “

---------------------------------------------

Well, my old dream came true that Sunday of last November, when I finally experienced the closeness of some of Kevin’s lions!!! Unfortunately, Kevin did not appear personally during our very short tour, because it was a Sunday! But a really helpful and gentle young man replaced him perfectly!

It was a very warm day, and most of the lions were resting under the trees’ shadows or in their shelter, which gave our group of 4 tourists the opportunity to approach them serenely, and take pictures of them.

❤️ www.youtube.com/watch?v=qdtJkZx8MJY ❤️(!!!!!!)

Ward's Island - Toronto, ON

Stuck inside today after having a problematic wisdom tooth removed yesterday. Not in any pain, just want to get used to all the medications they gave me and take it easy after the surgery.

Here's a wet photo of Toronto :)

In the garden there are a number of garlic ‘volunteers’ that have been an ongoing (and somewhat problematic) element for decades. But at this stage of the growing season, the delicately curved tops provide a strongly graphic composition, provided you take the trouble to isolate some of the heads from the general chaos in the background. Here, I placed a back background behind these three shoots to isolate them. This is an available light shot (no artificial light sources or reflectors were used to illuminate the garlic. - JW

Date Taken: 2019-07-09

Tech Details:

The black side of a 5-in-one reflector was placed behind the garlic as a background. Taken using a tripod-mounted Nikon D7100 fitted with an AF-D Nikkor 50mm 1:1.8 lense, ISO100, Daylight WB, Aperture priority mode, f/10.0, 1/15 sec with an EV-1.0 exposure bias (to ensure the background remained black and the green shoot highlights did not get blown out). PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: set final image size to be 9000px high, crop off some from all sides (preserving aspect ratio) to get rid of some intrusions, set exposure compensation to EV-0.24 to get a better black background, boost Chromaticity and slightly boost contrast in L-A-B mode, very slightly boost Vibrance, apply a little noise reduction, sharpen (edges only), save. PP in free Open Source GIMP: duplicate the image to a new layer and use the threshold tool to get a high contrast mask in which blacks are pure black and then paint out some extraneous intrusions followed by inverting it so the originally black areas are white and the plant is black and then apply a small amount of Gaussian blur, duplicate the original image to a new layer and add a black layer mask, copy the black and white mask to the layer mask and then darken the black background to a solid black, on the original plant layer fine tune the tone curve to slightly darken the bottom half of the curve while keeping the top half at default, create new working layer from the visible result, sharpen, save, scale image to 6000px high, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048 high for posting online, sharpen slightly, save.

What is dappled light and how do we fix it?

It has been suggested by some: Eliminate the source of the problematic shadows.

Yet, a chainsaw is so heavy and ponderous . . .

This photo was taken by a Zenza Bronica S2 medium format film camera with a NIKKOR-H 1:3.5 f=5cm lens and Hoya HMC 82mm Y[K2] filter using Kodak T-MAX 400 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.

Tighter crop of a previous image. perhaps crop even tighter but wheel tracks and trees bottom right problematic.

Late evening sunshine on fields near east Meon, seen from Butser hill, Hampshire.

The tighter crop is giving softer feel which I like. Also the recession of the hills in the distance.

The Southern Region of BR having been an early convert to the virtues of road-rail plant in the 1980's ordered a fleet of eight Permaquip-Multicar vehicles in 1993. Permaquip (Permanent Way Equipment Co. Ltd) used the former East Germany Hako GmbH "Multicar" chassis for the basic vehicle and fitted them with the American "Fairmount Hy-Rail" rail guidance system.

The fleet comprised five Personnel/Tool Carrier vehicles and three Track Inspection vehicles. A new numbering system belonging to NSE Plant South East was adopted in the N830xx.oo range but all vehicles being road legal also carried DVLA registration plates.

Here one of the Personnel/Tool Carrier vehicles no. N830004.oo (Reg. L772 NAU) is seen being used to operate power tools from extension lead jack sockets. This vehicle was often to be found at Ashford Plant Depot as a spare with the other four taken by the South Eastern Division Signal & Telegraph Engineers Department. 1 at Orpington, 1 at Tonbridge and 2 at Ashford.

I stand to be corrected but think these vehicles proved problematic when in rail mode as the cab doors were deemed to be wide of gauge if opened. This restricted use to within possessions which rather defeated the object of a rapid response vehicle. They all survived the carve up called 'Rail Privatisation' and passed to a division of Balfour Beattly Ltd called Raynesway Plant but further use was limited.

QUESTI ULTIMI GIORNI SONO STATI PROBLEMATICI E MI HANNO IMPEDITO DI DIEDICARMI ALLE TUE FOTOGRAFIE COME AVREI VOLUTO.

SPERO DI RECUPERARE AL PIU' PRESTO. CIAO, FELICE WEEKEND

THESE LAST FEW DAYS HAVE BEEN PROBLEMATIC AND HAVE PREVENTED ME FROM DIEDICATING MYSELF TO YOUR PHOTOGRAPHS AS I WOULD HAVE LIKED.

I HOPE TO CATCH UP SOON. CIAO AND, HAPPY WEEKEND

Crail... is a former royal burgh, parish and community council area (Royal Burgh of Crail and District) in the East Neuk of Fife, Scotland. The civil parish has a population of 1,812 (in 2011). The name Crail was recorded in 1148 as Cherel and in 1153 as Karel. The first element is the Pictish *cair (c.f. Welsh caer) meaning "fort", though this word seems to have been borrowed into Gaelic. The second element may be either Gaelic ail, "rocks", or more problematically Pictish *al; no certain instance of this word exists in P-Celtic. However, if the generic element were Pictish, then this is likely of the specific. Quoted from Wikipedia

My walk today at Creamer's Field ran into a road block...a pair of moose asleep on the trail.

This time of year moose can be very problematic on trails. They've been eating twigs on trees that have stopped pushing sugars to the twigs and as a result are not very nutritious. So they are very hungry. They've also figured out that walking in deep snow burns more calories than walking on a trail. So a moose that would give way on a trail in November will fight you for the trail in the spring to avoid walking in the deep snow. That is especially true this year with a late spring and a much heavier than normal snowfall.

Problematic light but what a place!

Seated at the Louvre. © Copyright 2022 G Dan Mitchell.

A boy and two girls seated on benches at the Louvre, Paris.

Among the members of my family, I have a problematic reputation as a museum visitor. Apparently I spend way too much time in such places and traverse them way too slowly. A ritual has developed where eventually everyone else heads off to somewhere fun, leaving me behind to wander and. ponder, and later I catch up and join the party. What can I say? I like museums.

Not only do I like them for the things they present, but I also like to photograph in and around them. The buildings usually have fascinating design and architecture and often also very interesting light. There are lots of people, individually or in groups, who populate these interesting spaces. Here I photographed outside the Louvre, in the immense central courtyard, making a photograph of two girls in enthusiastic conversation and one very small-looking boy sitting alone against the monumental scale of the building.

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.

Jade and I outside seeing what leaves we can rake.

The rope is hung up again, it was a problematic arrival....

A link to Chris Witts video

youtu.be/eU43F0rH4lI?feature=shared

GELMOND 1 (IMO 9407017, MMSI 341487000) is a General Cargo Ship built in 2007 (18 years old) and currently sailing under the flag of St Kitts & Nevis. Her length overall (LOA) is 115.2 meters and her width is 15.87 meters.

She is a large one for Sharpness and next week her sister ship the Gelmond 2 is due in.

Getting close to nettles for a shot like this can be problematic. The best flowers are always surrounded by healthy stinging leaves. I find this miniature jungle worth the effort. It is like visiting an alien planet or a magical land. This is a tiny crop from a much larger image.

Yangon, Myanmar: Konica Hexar RF, Voigtlander 21/4.0, 400TX / Almost all cars are on the wrong side -- they're driven on the American side, even though the steering is on the British side. This is especially problematic for buses -- exit doors are on the side of incoming traffic instead of the sidewalk. A former British colony, Myanmar switched sides on the road in 1970 to distance itself from its colonial past, overnight.

The P&W's B-units have all been recently sold (or traded) to NREX. I don't know the details. But, as problematic as most of them were, it's kind of sad to see them go. Bought used from BN, the P&W got their money out of them, I'm sure. In this photo, P&W 3005 lays over in Davisville, head-pinned on DAWO's outbounds. The 3005 was the middle unit on the power set for the America's Cup train that left the day before. Naturally, the 3005 bit the big one that day and had to stay over night on Seaview RR property, as the America's Cup train didn't need the extra weight.

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.

CSX Homestead Sub local O721-27 works towards the subdivision with GP38-2 #2752 which was a little problematic prompting the conductor to walk out and check out what's going on.

IN ENGLISH BELOW THE LINE

Estic enamora d'aquesta càmera. Poques vegades pots trobar una càmera antiga amb aquesta espectacularitat en aspectes molt diversos (aspecte, volum, detalls, sò) i a sobre funcionant. Per acabar-ho d'adobar no funcionaba bé del tot i això fou un extra d'amor-odi fins aconseguir reparar-la. I aprenent a soldar, entremig.

Aquesta meravellosa i no precisament petita càmera és la Revolving Back Auto Graflex, en format 4x5 polzades. Es tracta del model original de la RB Auto Graflex, molt més nombrós en variacions posteriors, també molt boniques, però just un punt menys que aquesta. En efecte, mentre que la majoria de RB Auto Graflex que es veuen per la xarxa son dels models de 1909 (en tinc una) o sobretot el fabricat entre 1916 i 1941 (amb apertura superior cap a darrera).

Aquesta càmera és la RB Auto fabricada entre 1906 i 1908, només en format 4x5, i de fet té un aspecte molt més arcaic que els models posteriors, asemblant-se a la original "Graflex" del 1901, o també a la inmensa Press Graflex del 1907. La millor informació al respecte és el llibre de R. P. Paine (1981): The All-American Cameras. A Review of Graflex.

Tant el visor de xemeneia amb el nom estampat, com l'extensor del objectiu estampat en acer li donen un aire unic. I a això cal sumar-hi el inconfusible so del obturador de pla focal Graflex, originariament amb velocitats de fins 1/1000 (tot i que no la penso forçar pas tant, que té més de 110 anys!). L'objectiu és un B&L Zeiss Protar f6.3 / 10".

L'unic però important problema que tenia era que el conector entre el moviment del mirall (i pertant el disparador) i l'obturador, estava desencaixat, i calia soldar-lo. Ha costat deu i ajuda, però crec que ara aguanta bé.

==============================================

I'm in love with this camera. Rarely can you find an old camera with this awesomeness in very diverse aspects (appearance, size, details, sound) and on top of that in working condition. The only minor glitch was that the link between release & shutter was damaged, but that was an extra love-hate issue until I managed to fix it. And learning to torch solder, in between.

This wonderful and not exactly small camera is the Revolving Back Auto Graflex, in glorious 4x5" format. This is the original model of the RB Auto Graflex, much more usual in later variations, also very beautiful, but just a point less than this one. In fact, all of the RB Auto Graflex that are seen on the net are models of 1909 (I have one of these) or especially the ones made between 1916 and 1941 (with rear-opening top). And remember, those are SLR, reflex cameras, like a modern DSLR, but huge and archaic.

This is the RB Auto Graflex made between 1906 and 1908, only in 4x5 format, and in fact has a much more archaic look than later models, resembling the original "Graflex" of 1901; or also the huge 5x7 Press Graflex of 1907. The best information in this regard is the book by R. P, Paine (1981): "The All-American Cameras. A Review of Graflex".

Both the chimney hood with gilded name & fur edge and the steel-stamped lens struts give it a unique air. Full steampunk. And to this must be added the unmistakable sound of the Graflex focal plane shutter, originally with speeds of up to 1/1000 (although I don't plan on forcing it so much, it's over 110 years old!). The lens is a Bausch&Lomb Zeiss Protar f6.3 / 10 ".

The only but important problem I had was that the link between the movement of the mirror (and therefore the release lever) and the shutter, was dislodged, and had to be soldered with a butane torch. I had to learn the trade a bit, and got several days nowhere, till I managed to assemble all again, but I think it holds up well now.

This is the typical later RB Auto Graflex:

www.earlyphotography.co.uk/site/entry_C299.html

www.camarassinfronteras.com/articulos/rochester/graflex.html

camera-wiki.org/wiki/Auto_Graflex

A lot of SLR Graflex here, but not a single one of the same model:

graflex.coffsbiz.com/civilian.html

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Here is a list my new bloggers I took from the last blogger search I made, I redid again since the last list went. As I could not say before thank you all so much for apply I was very touched.

For whoever never heard back of the application made, I am sorry...I was not able to feel it in my heart to release you from the app. I love your work but I have no space at moment. So I wish to retain you where I can you and call on if more space arise. If it is problematic let me know.

For those not accept I tried my best to respond all the applies but the list was so large. If I did not I am sorry! if really needing feedback feel free ask.

To my current new addition, have fun and thank you. Any problem speak with me & advise me of holidays or needing time off.

My original team Ilu! and for those that have gone thank you for time you spent with me & I hope you are all doing something you really enjoy and always having fun.

Rules to remember (most important ones)

- 2 posts min a month with accurate info (in what order you prefer but try to make some events time)

-Have fun and always dream as big as you want

-problems/holidays/need break? plese communicate with me.

**if i spelled wrong please let me know

Town hall Marl, Germany

In 1958, the Dutch architects van den Broek & Bakema won the limited European competition for the new Marl town hall in Western Germany. They saw the new town hall as a “town crown” around which the still to be planned city centre had to be developed at low height. The first plan provided for four different towers for the various departments, of which, however, only two were built as being sufficient by that time. The complex were built between 1960 and 1967.

A central public building and a folded truss reinforced-concrete hall accommodating the chambers are at these towers’ foot. The folded truss roof, consisting of V-shaped folds, has a free span of more than 60 m. The two towers are the first suspension high-rise buildings in Germany. On the massive foundations, there is one concrete core with staircases and lifts each. This core bears the roof structure, reminding one of mushroom heads. The floors are docked into the inner concrete shafts, hang on concrete members at the edges, connected with the roof structure. The suspension members determine the facade’s form outside. The towers and the folded truss can balance subsidence damages.

What was called a daring design turned out to be problematic in use by the years. The suspension members didn’t withstand the increasing environmental and weather-related impact, so that they had to be reinforced by steel tie rods in the 1980s. This left the facade more or less intact; only the original silhouette of the tower roofs was changed. The lack of (expensive) maintenance can be seen when visiting the complex after 50 years in 2018.