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This photograph was published in the Illustrated Chronicle on the 8th of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
First Minister: “Choice is between economic recovery or economic retreat."
Growth in Scotland’s onshore revenues last year has more than offset the downturn in oil revenues, figures published today in Government Expenditure and Revenue Scotland 2015-16 (GERS) have shown.
Published Author: Robert Boyd - as photographed for his book jacket - " The Road To Nowhere."
Robert's non-fiction book on Canadiana, was published in 06 or 07 by local publishing firm - Granvile Island Publishing.
My happy homeschooler loved the book and found it very fascinating!
Besides here, I publish different stuff in Instagram so you may want to follow me there too (please do!):
Además de aquí, suelo subir fotos a Instagram, así que a lo mejor te apetece seguirme también por ahí, (¡hazlo por favor!):
Instagram: www.instagram.com/tefocoto/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
No es nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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Opening-act di Slash feat. Myles Kennedy And The Conspirators l'8 marzo 2019 al Fabrique di Milano, Bishop Gunn.
Bishop Gunn of Natchez, Mississippi, is rooted in the history and sounds of their home and the surrounding Delta, and features a blend of rock and roll, soul and blues.
In 2017, the band appeared on Kid Rock’s 8th Annual “Chillin’ the Most Cruise” and was voted the best band on the boat by the “chillers.” The group went on to do commercial film for Southern Comfort in Clarksdale, Mississippi and spend their summer touring. In September, Bishop Gunn took the stage at the Pilgrimage Festival in Franklin, Tennessee alongside artists like Justin Timberlake, Eddie Vedder, Mavis Staples and Gary Clark Jr. The band then played Laid Back Festival dates with Jaimoe’s Jasssz Band, Jimmie Vaughan, The Gregg Allman Band and Lynyrd Skynyrd.
Bishop Gunn released their debut full-length album Natchez in May 2018. They worked on the release with Grammy Award-winning producers Casey Wasner and Mark Neill at legendary Muscle Shoals Sound Studio and FAME Studios, as well as The Purple House in Leiper’s Fork, Tennessee where the band lives and creates in a farmhouse on the outskirts of Nashville. The album, named after the band’s hometown, entered the Billboard charts as the #4 Blues Album and also appeared as #8 on their Heatseekers South Central chart. Rolling Stone Country featured the band among their “Artists You Need to Know,” asserting “anyone can cite the Muscle Shoals sound as an influence, but few acts can actually pull off making music worthy of such a claim. Nashville band Bishop Gunn is one of those acts…The resulting music is the perfect blend of Nashville and the Shoals, and is the rare album that builds upon its influences rather than resorting to outright mimicry.”
Prior to the release of Natchez, the band was featured at SXSW, played support dates for Blackberry Smoke and was invited for a return appearance on Kid Rock’s 9th Annual “Chillin’ the Most Cruise.” They then spent the rest of 2018 touring in support of the album, including performances at The Peach Fest and The Big House Museum, as well as support dates for The Marcus King Band, Whiskey Myers, Lynyrd Skynyrd, The Outlaws, and Black Stone Cherry. They look forward to kicking off 2019 performing on the Southern Rock Cruise and embarking on a European tour which includes support dates with Slash featuring Myles Kennedy and the Conspirators.
Travis McCready - Vocals
Drew Smithers - Guitar
Ben Lewis - Bass
Burne Sharp - Drums
Several of my photos have been used in the Spring 2013 edition of NCT Mattters, the magazine of the National Childbirth Trust in the UK.
by George di Caprio, Jim Himes, Rich Chidlaw, Matt Golden, Milt Gray, Berent Boates, Art Vitello, Dennis Ellison & Chris Lane
Published by The last gasp publishing Co.
1975
i was very proud to participate in the inside-out | be the change project in athens, greece. on friday, june 21st, 2013, a group of young people plastered some portraits that i shot, along with extraordinary photographers, around klafthmonos square. this was one action of many, in which a new generation is being the change they want to see.
more information:
athens youth being the change they wish to see
Besides here, I publish different stuff in Instagram so you may want to follow me there too (please do!):
Además de aquí, suelo subir fotos a Instagram, así que a lo mejor te apetece seguirme también por ahí, (¡hazlo por favor!):
Instagram: www.instagram.com/tefocoto/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
No es nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
::
Woohoo! I've been published! See that on the bottom, the blue rock? That's a picture of my Labradorite. The book they promised me finally arrived. Truth be told, I'd forgotten all about it. But there it is, AND my name is in the photo credits. I'm published!
Well, I'm published four times a month if you count the magazines I work for... and all those CD covers and software packages I've designed... and web interfaces and retouched photos I've done... and all those catalogs I've done...
Well, let me rephrase, I've been published for a job I didn't get paid for!
uh...
yay?
:::
The third edition, published in 1991, of Michael Jackson's "Pocket Guide to Beer," published from 1986 through 2000. Now, in the early 21st century, the book captures a moment in time: the state of beer at the close of the 20th century.
Author: Michael Jackson
Paperback: 176 pages
Publisher: Simon & Schuster; 3rd edition (1991); out-of-print
Language: English
ISBN-10: 0-671-72915-2
▶ Front cover: here.
**********************
▶ Not the pop music star, British beer writer Michael Jackson was a Yorkshire newspaperman who was one of the first to promulgate, in several books, the concept of 'beer type' or 'beer style,' based on geography and tradition, ingredients and process. A novel idea in 1977, 'beer style' is now a well-established proposition, if often twisted beyond Jackson's original premise.
▶ Born on 27 March 1942, Michael Jackson died on 30 August 2007, at age 65, of complications associated with Parkinson's Disease.
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▶ "This revised, updated, and expanded edition of Michael Jackson's pocket classic is packed with over 1,000 reviews of beers from around the globe. Jackson puts particular emphasis on the booming beer scene in North America, and he also covers the latest developments on the European beer scene, as well as beer produced in Japan, China, and other East Asian countries. With firsthand research completed through travels across the country and around the world, he provides the perfect resource for choosing the right beer for every occasion, whether you're in a supermarket, restaurant, or bar.
Aside from the taste descriptions and ratings of more than 1,000 beers, Jackson authoritatively appraises imports from every great brewing nation, recommends beers for particular events, and offers tips on which beers complement which foods. With his guide in hand, it's easy to understand current trends in beer making, as well as to select and enjoy a wide variety of beers."
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
---> Follow on Facebook: YoursForGoodFermentables.
---> Follow on Twitter: @Cizauskas.
▶ Camera: Olympus Pen E-PL1.
---> Lens: Olympus M.45mm F1.8.
---> Edit: Photoshop Elements 15.
▶ Commercial use requires explicit permission, as per Creative Commons.
Besides here, I publish different stuff in Instagram so you may want to follow me there too (please do!):
Además de aquí, suelo subir fotos a Instagram, así que a lo mejor te apetece seguirme también por ahí, (¡hazlo por favor!):
Instagram: www.instagram.com/tefocoto/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
No es nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
This photograph was published in the Illustrated Chronicle on the 2nd of March 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
John Gordon Hargrave (6 June 1894 – 21 November 1982), (woodcraft name 'White Fox'), was described in his obituary as an 'author, cartoonist, inventor, lexicographer, artist and psychic healer'. As Head Man of the Kibbo Kift, he was a prominent youth leader in Britain during the 1920s and 1930s. He was a Utopian thinker, a believer in both science and magic, and a figure-head for the Social Credit movement in British politics.
Born in Midhurst, Sussex, into an itinerant Quaker family, Hargrave was the son of painter Gordon Hargrave and his wife Babette Bing, of Jewish Hungarian descent. A bohemian childhood, spent partly in the Lake District, left him with a passion for Nature and a fierce propensity for self-education through reading books and observing the world around him. In 1908, the family moved to Latimer where, in 1909 Hargrave joined the First Chorleywood Scouts, a group of Baden Powell's Boy Scouts. In 1910 his career as a published book illustrator began when a few of his vignettes appeared in an edition of Gulliver in Liliiput, published by Thomas Nelson & Sons, a commission almost certainly arranged through the patronage of Lady Chesham. He was also given a year-long trial as a cartoonist on the Evening Times. He became a devotee of the naturalist Ernest Thompson Seton, and one of the leading Scout authorities on Woodcraft. His interests in scouting, nature and art combined to produce the book that made his name, or rather his scouting name of 'White Fox'. This was Lonecraft published by Constable in 1913 and introducing the characteristic 'White Fox' style of no-nonsense text, interspersed with pictures and diagrams. Rising up the Scout hierarchy, Hargrave produced a succession of scouting and woodcraft books for C. Arthur Pearson Ltd, who offered him a position of staff artist in 1914, his first salaried job.
When World War I broke out, Hargrave joined the Royal Army Medical Corps, and saw action at the Battle of Gallipoli. Hargrave's Quaker pacifism was reinforced by the horrors of war. The experience convinced him that modern civilisation had gone awry and he voiced his feelings in his angry polemic of 1919, The Great War Brings It Home. This was a call to action for all groups concerned with the health and character of future generations. Hargrave called for a new national scheme for character-building and physical training, and the result was the foundation of the Kindred of the Kibbo Kift in August 1920. Intended as a movement for all ages and genders, the Kibbo Kift provided a co-educational, and therefore progressive, alternative to the Boy Scouts. Hargrave was initially appointed 'Head Man' as a temporary measure, but by 1924 had succeeded in becoming the undisputed leader. As Head Man he imported into the Kindred his interest in ritual and art, along with his own views about self-education, science, magic, and healthy behaviour. He was a strong believer in Darwinian evolution, holding that Kibbo Kift training would produce morally upright and healthy individuals, through whom the human race as a whole would evolve into a better state. He believed that building better individuals was the way of building a better society, thus standing apart from those on the left and right who believed in the State as the main vehicle for social change. Hargrave's vision of the better society to come owed much to his Quaker roots: he saw a future society without war, poverty or wasted lives, all kept together by the self-discipline of enlightened individuals.
The Kindred of the Kibbo Kift took its name from an old Kentish term for a feat of strength[5] and it attracted support from a number of progressive thinkers, including: Patrick Geddes, Evelyn Sharp, H. G. Wells, and Emmeline Pethick-Lawrence. Membership remained fairly small (600-800) in the 1920s and included many teachers, art teachers and youth workers. Many developed an intense personal loyalty to Hargrave, remaining with him throughout the Kindred's transformation into the Green Shirts, and the Social Credit Party.
In the 1920s Hargrave's work as an artist was dominated by the designs, drawings and diagrams he produced for the Kibbo Kift. All express his fascination with 'symbology', the use of symbols or stylised representations to convey meaning. He controlled the visual style of the movement, designing the 'official' robes, badges, symbols, theatre sets and regalia himself: although individual members were encouraged to design and make their own personal totems. He had less success as an artist outside the movement, despite trying to establish himself as a portrait or landscape painter. In 1924 he exhibited a selection of his 'symbolic paintings' 'an attempt to express through the medium of paint Ideas rather than Objects in themselves'. During the late 1920s and 1930s, he worked as a freelance commercial artist in the advertising industry, producing layouts for Lever Brothers, whose advertising manager Colin Hurry was a friend; and for Carlton Studios, where he worked on campaigns for Watney's and Boot's the Chemist amongst others. He continued to sell illustrations to book publishers, including some cover work for Mills & Boon in 1922.
Hargrave enjoyed more public success as a novelist, publishing a best-seller Harbottle: a Modern Pilgrim's Progress from This world to That Which is to Come in 1924, and following this up with a succession of popular novels published by Duckworths. Many are stylised fables borrowing structures from books that Hargrave admired (Harbottle is based on John Bunyan, and Young Winkle (1926) is based on Rudyard Kipling's Kim). Entirely original, however is Hargrave's 1935 experimental modernist masterpiece Summer Time Ends. This symphonic text aspired to the condition of radio and film, weaving its characters' speech in and out of refrains and rhythms. The book was well received in America (John Steinbeck was a fan), and was praised by Ezra Pound, by this time a Hargrave admirer.
In 1924 Hargrave was introduced to the economic theory of Social Credit, the creation of C. H. Douglas. Hargrave took up the creed with fervour, attracted by its seemingly-scientific 'truth' and its sense of mission. Social Credit changed Hargrave's belief in the reformed individual as the key to a better society: the key was actually, he now believed, a reformed economic system. By the late 1920s he had re-purposed the Kindred to be a 'megaphone' for social credit, bringing the esoteric economic theory to the public at large.
The remaining Kibbo Kift members were transformed into a fighting force, still disciplined and healthy but now engaged in 'unarmed military technique'. Hargrave joined up with the Legion of the Unemployed in Coventry in 1930, and furnished them with green shirts and berets. By 1932, the Kibbo Kift were also in the green uniform, together forming the Green Shirt Movement for Social Credit. The Green Shirts soon became part of the street politics of the 1930s, engaging in battles with both Oswald Mosley's British Union of Fascists, the Black Shirts, and the Red Shirt supporters of the Communist Party of Great Britain.[3] Hargrave designed a striking new flag for his Social Credit movements, the green and black double K device, which he christened the 'Key Symbol'. He also introduced a strong element of theatricality into the Green Shirts' political protest, with ritual marches round the Bank of England, drumming, 'street chalking' and publicity stunts such as throwing a green brick into 11 Downing Street.
Initially staying out of parliamentary politics, Hargrave changed his mind in 1935, re-branding the Green Shirt movement as the Social Credit Party of Great Britain and Northern Ireland for the purposes of fighting the 1935 General Election. He was also impressed by the success of the Social Credit Party of Alberta (Canada). Douglas opposed the entry of the movement into parliamentary politics. Hargrave soon travelled to Alberta, frustrated at the lack of progress that the Social Credit government there was making. He was appointed an economic adviser to the Government of Alberta, and was disowned by Douglas. He left Canada in 1936, returning to find the Social Credit Party in disarray after the Public Order Act 1936 banned the wearing of uniforms by non-military personnel. Undeterred, Hargrave steered the Social Credit Party into a more evangelical mood, adopting quasi-religious slogans ('God's Providence is Mine Inheritance') and organising public 'Services of National Regeneration'. He broke with Ezra Pound, an episode which underlined his opposition to Fascism.
The Social Credit Party was mothballed during the war, although Hargrave tried to keep his ideas alive through a weekly newsletter,The Message from Hargrave. He was urged to stand for Parliament in the 1945 election, but did not: only returning to public politics in 1950 when he stood as a candidate in Hackney North and Stoke Newington in the 1950 general election. The 551 votes he received convinced Hargrave to give up, and by 1951 he had disbanded the Party.
In 1937 Hargrave became obsessed with solving the technological problems of using maps in moving aeroplanes. By 1938 a prototype of the Hargrave Automatic Navigator was ready to file with the Patent Office and articles of association had been prepared for 'Hargrave Aviation Ltd.'. The prototype was tested during the war, with government approval, but lack of capital meant that the invention was not developed further. The invention lay fallow until 1976 when Hargrave sued the British Government, claiming that the moving map display supplied by Britain to the supersonic Concorde, was in fact his Automatic Navigator. His claim was taken up by journalists, resulting eventually in a Public Enquiry. Hargrave insisted he was only asking for recognition, rather than any financial recompense, but the Public Enquiry found against him.
During the war, Hargrave had returned to his interest in science and magic (he always considered both as equally valid methods for harnessing the forces of nature). He became convinced of his own powers and set up as a healer, offering a variety of techniques. Chief among these were the use of 'Therapeutic Psychographs', abstract artworks created by Hargrave which were prescribed to his patients with instructions to stare at the artwork for a set period of time every day.
In the 1950s Hargrave earned a living as a cartoonist, working under the name of 'Spiv' or sometimes just 'H'. His work appeared in Cavalcade, The Sketch and Time and Tide. He was commissioned to write the entry on Paracelsus for the Encyclopædia Britannica (Hargrave had published The Life and Soul of Paracelsus in 1951). He submitted a stream of manuscripts, radio plays and film scripts to producers and publishers, always searching for opportunities to realise his ideas: he continued to believe that Social Credit was the solution to the world's economic problems. John Hargrave died on 21 November 1982, aged 88 at his home in Branch Hill Lodge, Hampstead.
Hargrave married Ruth Clark, the daughter of the engineer William Clark on 28 November 1919. Their marriage produced one son although the couple were divorced in 1952. He remarried in 1968, his new wife being the actress Gwendoline Florence Gray.
John Hargrave's personal papers, including his diaries and unpublished mss., are held at the British Library of Political and Economic Science. His artwork, including designs for the Kibbo Kift, work as a commercial artist and family photographs are held in the Museum of London (the Kibbo Kift Collection). Model III of Hargrave's Automatic Navigator is held in the Science Museum.
Hampstead Cemetery, Fortune Green Lane,
London NW6 1DR
Besides here, I publish different stuff in Instagram and Facebook, so you may want to follow me there too:
Instagram: www.instagram.com/tefocoto/
And Facebook: www.facebook.com/PerfectPixel.es/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
Nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
This photograph was published in an online piece in CATTIME.COM focusing on Chausie mixed cat breed information and characteristics.
Cattime is a property of Evolve Media Holdings, LLC
It was previously published in the GETTY IMAGES COLLECTION on August 5th 2021
CREATIVE RF gty.im/1332253649 MOMENT ROYALTY FREE COLLECTION and became my 5,285th frame to be represented by Getty Images (I now have 7000+).
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 47.499+ Million visitors to my FLICKR site.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
Photograph taken at an altitude of Fifty two metres at 18:20pm on an overcast summer evening on Tuesday 3rd August 2021, off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
chausie,'chausie cat','felis chaus','jungle cat','felis silvestris',hybrid,'hybrid cat',
New to my neighbourhood is this magnificent young Chausie, a hybrid originally bred from the non domestic species Jungle cat (Felis Chaus) and a greater number of domestic cats (Felis Silvestris catus). This one is absolutely gorgeous, incredibly friendly and the single greatest predatory hunter I have ever witnessed in my garden, catching several mice in one sitting with consummate ease.
This is a brown ticked variant of the species that live to around 14 years and are highly intelligent, social and loving. Chausie kittens in the UK fetch between eight hundred and two thousand pounds each.
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Nikon D850 Focal length: 600mm Shutter speed: 1/125s Aperture: f/7.1 iso640 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (5960k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.05s
LONGITUDE: E 0d 8m 10.56s
ALTITUDE: 52.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 91.5MB
PROCESSED (JPeg) FILE: 46.70MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
I'm featured on the Digital Photography School website in the article Smoke Art Photography - An Introduction - basically an interview in which I give information on how to shoot smoke
Have a look at the interview if you're interested in smoke photography!! then share it with others.. post on facebook, digg, stumble, twitter,... :)
thanks!
Maker: Edouard Baldus (1813-1889)
Born: Germany
Active: France
Medium: engraving based on a photograph
Size: 7 1/2 in x 5 1/8 in
Location:
Object No. 2022.167
Shelf: B-49
Publication: Nouvelle Géographie Universelle d'Elisée Reclus.
Other Collections:
Provenance:
Notes: Élisée Reclus (1830-1905) wrote his New Universal Geography alone during his exile in Switzerland. It is composed of 19 volumes illustrated in particular by the cartographer Charles Perron and published between 1876 and 1894
Originally trained as a painter and having also worked as a draughtsman and lithographer before switching to photography in 1849, Édouard Baldus (1813–1889), became a central figure in the early development of French photography and acknowledged in his day as a pioneer in the still-experimental field, was widely acclaimed both for his aesthetic sensitivity and for his technical prowess. Establishing a new mode of representing architecture and describing the emerging modern landscape with magnificent authority, he enjoyed high patronage in the 1850s and 1860s. Yet, despite the artist's renown during his lifetime, his name is all but unknown today, his work savored only by connoisseurs. Baldus made his reputation with views of the monuments of Paris and the south of France, with dramatic landscapes of the Auvergne, with photographs of the New Louvre, and with a poignant record of the devastating floods of 1856. But it is his two railroad albums—the first commissioned in 1855 by Baron James de Rothschild for presentation to Queen Victoria, the second in 1861 by the Paris-Lyon-Mediterranee railroad company—that are his greatest achievement. Here he brought together his earlier architectural and scenic images with bold geometric views of the modern landscape—railroad tracks, stations, bridges, viaducts, and tunnels—to address the influence of technology (of which both the railroad and the camera are prime examples). In so doing, Baldus anticipated the concerns of Impressionist painters a decade later and those of many artists of our own day, meeting his task with a clarity and directness not since surpassed. Beginning in the mid 1860s with this publication, and lasting until the early 1880s, Baldus primary commercial activity centered on the production of photogravures, a process he first explored in 1854. This work had nothing to do with promoting artistic photography or his own photographic work; instead it was an industrial application of photography that brought credit and financial gain to Baldus as an inventor and entrepreneur rather than an artist. (source: MET).
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Published as a Picture Of The Week, on www.taktika.lv
2 YN- 460 flash from left side triggered whit PT-04TM
Industar 50mm lense.
Without the sun the astonishing colour of the clear waters of Nellie Lake isn’t evident, but it’s still a beautiful lake.
Those two magazines came through the mail today. Good surprise! People from the International Childbirth Education Journal contacted me in october to ask me permission to use this picture. This is the second time my wife Julie is on the front page. First time was here.
A comic postcard published by E. Marks, Fine Art Publishers, Torbay Road, Kilburn, London N.W.6.
It was posted in Weymouth on the 20th. August 1957 to:
R. Sheriff,
Enborne View,
Fifth Road,
Newbury,
Berks
The message on the back of the card was as follows:
"Dear Reg and Margaret,
Hope the card suits.
Weather is warm and bright so
far but the wind is fresh.
I will see you Monday.
Win & Lofty".