View allAll Photos Tagged Push
EL PUSH ME TOCO Y ME GUSTO.
El Push es como poesia sobre cuatro ruedas, cuando empiezas con este vicio no hay nadie que te detenga.
Los que me conoce saben que no soy un Tony Hawk EN POTENCIA mas bien soy un impotente, pero cuando se trata de hacer push no importa los huecos, los peatones, los taxis, los andenes altos, la lluvia solo quiero colgarme de la puerta de algún bus como Carlos Tosin.
Esto no es cuestión de creerse mejor que los demás por que te saltas unas escaleras, te patrocina x marca de mocasines, sales en algún magazine, asombras a la gente con tus trucos de magia o eres todo un prodigio derrapando por la circunvalar.
La cuestión es ser feliz cuando te subes a tu patineta y das el primer impulso dejándote llevar por el movimiento cinetico de tu tabla eso si apretando nalga para que el push sea poderoso y puedas flotar.
Cada vez mas me convenzo que quiero estar montando en una patineta asi no haga on hasta que mis rodillas y mis uñas encarnadas me lo permitan.
‪#‎skate‬ ‪#‎push‬ ‪#‎streets‬ ‪#‎skatepark‬ ‪#‎stylelive‬
If there is a button that says On and it is in the Off position people just have to flick it to see what it does.
Part of Brighton's Mural Madness in New Brighton, Christchurch, NZ.
(Explore #343: Jul 18, 2009)
Flipped reflections of our as yet unfinished vacation log house in the lake on Bluebird Estates, Alberta, Canada.
Thanks for visiting and have a wonderful day!
With novel decorative addition of the period of white window surrounds BR Class 33/1 33101 passes Brookwood heading 12.10 London Waterloo-Salisbury service.
A new appearance during my lineside visits on the 'main' I seem to remember first seeing the 'up' working of 33101 (pushing) followed by a waiting game for the return!
20th November 1982
When Fujifilm’s Acros II was announced, I had mixed feelings. It reminded me of when I went to see the Cure on their farewell tour in the early 1990s. I cried throughout the show at the Wembley Arena, believing that I’d never again see the band that had just released what I thought to be the greatest record of all time, Disintegration.
When they returned a few years later, I never quite forgave them, and still think that they never made any music that was close to comparing to the magnificent gloominess of Disintegration. That may have been because I’d moved on, but it could well have been because of the emotions that they put me through by going away, and returning before my cheeks were dry.
You see, I’d had quite an attachment to Fujifilm’s Neopan Acros before it was discontinued. I’d taken many of my favourite pictures using it, often at night, taking advantage of the film’s unmatched abilities to handle long exposures.
While I was pretty disappointed when it was announced that it was to be discontinued (note: we shoot film in the 21st century and therefore cannot have any expectations that companies will continue to make what is barely even a niche product), I set about auditioning a new favourite and settled quickly on Ilford’s FP4+. I’d moved on.
Acros II was initially released in Japan, and a friend of a friend arranged to import a few rolls privately. We came to an arrangement that meant I would end up with two rolls of the film in 120 format. By way of an experiment, I headed out into last night’s fog and shot a few of what both Graeme on Sunny 16, and Mike on the Negative Positives refer to as my ‘signature image’, that is a lone LED street light in the dark.
I shot the roll at EI160 and mostly around f/5.6-f/8 and am delighted to report that the new formulation (which is made in the UK) does everything that the old version did. The detail is superb, with endless tones in the grey areas, lovely dark blacks and not a hint of grain.
It is exactly how I like my film to look…
On this occasion, I didn’t expose anything for more than about six seconds, so reciprocity wasn’t an issue. On the next roll, I’ll push things further and see how if performs when exposures get up towards a couple of minutes. If as I expect, it’s like the old stuff, it’ll be just fine.
Gubbins:
Mamiya C330f, Fujifilm Neopan Acros II exposed at EI160. Processed for 11 minutes in Ilford Ilfotec DD-X at 1:4 and scanned at home.
Una vez llegado el traslado de las ramas 4C4 (Surex) y 6B11 (Torre del oro) a Algodor, la 333.402 empieza a empujar dicha composicion hacia Castillejo Añover, con la 252.047 al frente y con los pantografos abajo, ya que los amigos de lo ajeno hicieron el agosto hace unos cuantos años con el hilo de contacto y con unas cuantas mensulas. Hecho que se encontro un servidor años atras cuando le toco bajar unos cuantos vagones a apartar a Algodor y estaban la mitad de la mensulas tiradas en la via y el cable colgando, impidiendo llegar a destino.
Castillejo Añover 15/07/21.
Looks like that's what this hummer is after. It bird was a little far away. But I guess all we can do is try.
Sorry for the blur, but this is severely cropped after being shot from 100 ft. (30 m) away. Just had to try to capture her tentative steps as she waded deeper and deeper into the stream testing the limits of what her boots could do.
Haven't we all tried to push limits also?
Please - lightbox.
Thanks.
p.s. #380 in Fluidr Explore
mnsad7een kilnaa 3 el ar'9 Oo 8a3deen nsawee push up alaa chaan tnsd7 Oo tsaweee x""""""""D
Mashallah =P
1108 with 1107 at the rear, work 3462 towards Grong Grong from Wumbulgal, east of Griffith, to Walsh Point in Newcastle.
Tuesday 23rd January 2018