Birds with Field Readable Markers: Bands, Collars, Rings & Tags
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Parked along some road.
Ooops - I honestly don't recall where I got that snap... - and whatever is readable in the background didn't help either.
So, this is not put onto the map.
© All Rights Reserved - you may not use this image in any form without my prior permission.
Picture by my DD, Jenny. This was taken on Valentines Day morning. Am trying to post this so the EXIF data is readable.
in so far as it’s instantly readable and accessible to our culture. Photography is how we move information back and forth :-)
Gregory Crewdson
HPPT! justice Matters! Indict Trump!
rose, 'Dream Come True', little theater rose garden, raleigh, north carolina
Jaren geleden, toen het leven tegenzat, heb ik dit geschreven. Al voelt het niet meer zo, ik blijf het een mooi gedicht vinden.
Paardenbloem
Ben ik als die paardenbloem
Die na iedere knauw
Groter en sterker
Weer tevoorschijn komt
Ben ik als die paardenbloem
Die na elke winter
Geler en zonniger
De grond uitschiet
Ben ik als die paardenbloem
Die door alle mensen
Lelijk onkruid
Gevonden word
Als ik ben als een paardenbloem
Betekent dat ook
Dat ik keer op keer
Vernietigd word
Years ago, when life was tough, I wrote this. Even if it doesn't feel that way anymore, I still think it's a beautiful poem.
Dandelion
Am I like that dandelion
The one after every setback
Bigger and stronger
Appears again
Am I like that dandelion
The one after every winter
Yellower and sunnier
shoots out of the ground
Am I like that dandelion
Those by all people
Ugly weed
be found
If I'm like a dandelion
That means too
That I time and time again
get destroyed
(translation by google translate. I hope its readable)
This church is built just behind the Durance bridge, on a rocky outcrop located on an Alpine road and overlooking the river. It dates back to the 11th or 12th century
Here is the text engraved on the edifice, readable on one of the keys to the left of the entrance:
"Anna domini millesimo ducentesimo trigesimo nono,
III nonas junii sol obcuratus fu." "
Grad si commensas cofenira."
Oi ben fara, ben (trobara) ".
Which means :
"In the year of the Lord 1239,
the third of June, the sun became obscured:
think, be careful, if you begin, how you will end,
who will do well, will find.
recycled for the December MSH #16: Attention to detail
I wanted to use this not just because this is a detail of an old catalog, but also because the science of cataloging (yes, it is too a science!) is all about attention to detail.
In order to be a good cataloger, you have to have a thorough understanding of the delightfully arcane AACR2r (Anglo-American Cataloguing Rules 2nd ed., revised), a subject headings system such as LCSH (5 volumes), and a classification system such as LC or Dewey. You also have to be able to create a MARC (Machine Readable Cataloging) record, where one misplaced space or semicolon can cause the record to be lost in the catalog forever, mwahahaha. I think MARC records are fascinating, but then again I am a complete nerd.
You must also have a high tolerance for acronyms.
why you should fall to your knees and worship a librarian
Detail of a card catalog at the Groton Public Library. Lovely, collectible, and obsolete (April scavenger hunt #5)
It is being put to good use:
Vom 4. Mai 1521 bis zum 1. März 1522 lebte der Theologe Martin Luther auf der Wartburg in einer bescheidenen Stube.
Hier übersetzte Luther das Neue Testament aus dem griechischen Text ins Deutsche. Mit dieser Übersetzung wurde die Heilige Schrift – bisher eine Lektüre für Gelehrte, die der Alten Sprachen mächtig waren – erstmals für jeden lesbar, der lesen konnte.
From May 4, 1521 to March 1, 1522, the theologian Martin Luther lived on the Wartburg in a humble parlor.
Here Luther translated the New Testament from the Greek text into German. With this translation, the Scriptures – so far a reading for scholars who were powerful in the old languages – were readable for the first time for anyone who could read.
Selborne, St.Mary The Virgin Church; detail of Stained Glass window dedicated Gilbert White.
Gilbert White was a wonderful naturalist whose book is still readable today.
Welcome to my street!
The church and cemetery are just down the road from our house. The Amish buggies pass us daily.
We are so fortunate!
Paper birds in lockdown
We are the paper birds,
With our knotted wings that are, unreadable,
No longer able to float us on the wind.
Our beloved deep views of the landscape beneath,
Are just a distant memory.
In this silence the clock is ticking days away,
We are heading for winter,
And then another five months, it doesn’t seem much but,
We can’t fly no more, neither can time.
The lucky ones among us are still alive
And join us on this slow boat, sailing through the foggy night.
We know: one day this knot that ties our spirit,
Will be undone, our wings unfolded, our message readable,
And we, the paper birds, will fly into a brighter world.
29.11.2020 - CvS - Brussels - BE
Prachuap-Khiri-Khan (Thaïlande) - Ces marins-pêcheurs sont restés deux jour amarrés à Prachap. Il y avait eu des dégâts sur les filets et il fallait les réparer avant de repartir pour une nouvelle marée.
Heureusement qu’ils sont restés assez longtemps car il n’a pas été facile d'obtenir une photo correcte de cette scène. Le premier jour, je suis arrivé un peu tard ; la lumière commençait à décliner. Et à ces latitudes, la nuit tombe vite. Je suis donc revenu le lendemain un peu plus tôt.
Mais les conditions de prises de vues n’étaient pas aisées pour réaliser une image composée harmonieusement. Barres et cordages qui traversent le cadre en tous sens, offrent certes des éléments graphiques, mais ils obstruent la plupart du temps, tout ou partie du visage des marins.
La meilleure place était en hauteur pour embrasser toute la scène et il a fallu que je me contorsionne pour obtenir un photo lisible. Il fallait aussi que je tienne compte de la position est de la gestuelle des ramendeurs. J’ai fait plusieurs photos, techniquement correctes, mais il y avait toujours un élément qui n’allait pas. Celle-ci n’est pas parfaite, mais c’est l’une qui résume le mieux cette scène de travail.
Repair operation
Prachuap-Khiri-Khan (Thailand) - These fishermen stayed two days moored in Prachap. There had been damage to the nets and they had to be repaired before leaving for a new tide.
Luckily they stayed long enough as it was not easy to get a proper photo of this scene. The first day, I arrived a little late; the light was beginning to fade. And at these latitudes, night falls quickly. So I came back the next day a little earlier.
But the shooting conditions were not easy to achieve a harmoniously composed image. The bars and ropes that cross the frame in all directions, certainly offer graphic elements, but they obstruct most of the time, all or part of the faces of the sailors.
The best place was high up to embrace the whole scene and I had to contort myself because metal bars and ropes hampered the readability of the photo. I also had to take into account the east position of the menders' gestures. I took several photos, technically correct, but there was always something wrong. This one isn't perfect, but it's one that best sums up this working scene.
Selborne, St.Mary The Virgin Church; detail of Stained Glass window dedicated Gilbert White. Gilbert White was a wonderful naturalist whose book is still readable today.
For those who shoot in RAW, do you convert it to the universal DNG format or leave it at the camera specific RAW files (e.g. Canon, Nikon)? Just curious to whether I should convert so that it's readable in the future. FYI, this is for archival purpose and has nothing to do with processing.
Old-Delhi (Inde) - Par manque de temps, je cède à la facilité avec ce portrait du fils d’un vendeur de ferraille qui dispose d’un stock impressionnant de forets d’occasion. Je n’ai pas demandé à ce jeune garçon de poser. Je voulais un environnement plus large pour une meilleure lisibilité de l’atelier, mais quand il a vu que je braquais mon objectif, il s’est arrêté face à moi. J’ai aussitôt zoomé pour resserrer le cadre et j’ai déclenché. Cette photo lui était avant tout destinée. En lui montrant le résultat sur l’écran de contrôle, je voulais obtenir la bienveillance du père afin de pouvoir faire d’autres photos plus naturelles. C’est l’une de mes techniques d’approche.
Old-Delhi (India) - For lack of time, I give in to the easy way with this portrait of the son of a scrap metal seller who has an impressive stock of second-hand drill bits. I did not ask this young boy to pose. I wanted a larger environment for a better readability of the workshop, but when he saw that I was pointing my lens, he stopped in front of me. I immediately zoomed in to bring the frame closer and I shot. This photo was primarily intended for him. By showing him the result on the control screen, I wanted to obtain the benevolence of the father in order to be able to take other more natural photos. This is one of my approach techniques.
This poster presentation of Philippians 4:8 uses yesterday's post as a background. The picture was edited slightly, so as to make the text more readable.
Thank you for looking!
Part of a graffiti, cuted and edited. The tags are often not readable.,So there is place for phantasy and one interpretation. Pleace artist, excuse me.
Morondava (Madagascar) - Scène minimaliste imposée par l’absence d’une longue focale dans mon sac photo. Ce plan large correspond bien à ce que j’ai vu, mais un téléobjectif à la focale même modérée, m’aurait été bien utile pour apporter une meilleure lisibilité.
Pour le contexte, nous sommes au milieu de la lagune à marée basse. Les passagers attendent la taxi-pirogue pour se rendre sur la presqu’île de Betania où se trouve un village de pêcheurs. Les candidats passagers qui attendent, se sont rendus à pied au milieu de la lagune car le tirant d’eau est trop faible pour la pirogue, malgré son fond plat. L’avantage pour les passagers, en s’avançant dans l’eau, est qu’ils ne paieront qu’un demi-tarif pour cette mini-traversée.
Taxi-canoe station
Morondava (Madagascar) - Minimalist scene imposed by the absence of a long focal length in my camera bag. This wide shot corresponds well to what I saw, but a telephoto lens with even a moderate focal length would have been very useful to me to provide better readability.
For context, we are in the middle of the lagoon at low tide. Passengers wait for the canoe taxi to go to the peninsula of Betania where there is a fishing village. The candidate passengers who are waiting have walked to the middle of the lagoon because the draft is too shallow for the canoe, despite its flat bottom. The advantage for passengers, by advancing into the water, is that they will only pay half the price.
A lovely interview by Patrick of Ireland and Angela Thespian and another great issue- so well put together and entirely readable and never overly long!!
My work will be at the gallery in the main building all this month.
copies of the magazine are found inside the gallery as well.
Part of the "Too Sexy for this Group" group they are always looking for something new.
Thank you so much everyone at the magazine!
#MacroMondays
#Tool
A simple choice for "Tool": one of my – now that many of us mostly type on a keyboard – shamefully underemployed fountain pens. A classic, the Pelikan Souverän. The original model is black and green, but some 20 or so years ago, when I bought my pen, there also was a blue/black version that I chose. Apparently, Pelikan doesn't sell the blue version anymore, so my pen now seems to be a rarity of sorts.
Writing with a fountain pen is associated with beautiful handwriting, but, well, mine has always been messy, regardless of the writing tool I choose. In elementary school, we also got grades for our handwriting, and in the German grading system, which is a scale from 1 (excellent) to 6 (failed) I never exceeded a 3. So in my case, it's probably better if I type so it's readable, but it's still a pity that I use this beautiful pen so scarcely nowadays.
The setup was really simple, I put the pen on a small glass jar, placed both in front of a black foam sheet, natural light from above, a warm LED light from the left, and from the right I illuminated a gold-coated cardboard "reflector" (positioned on the left behind the pen) for more golden, warm tones. The nib and the small part of the fountain pen visible in my photo are 2,6 cm / 1,02 inches long.
HMM, Everyone!
Sur les marchés indiens ont croise de nombreux chiens errants. Logique, c’est là que se trouve la nourriture. On les tolère, car ils chassent les rats. Ce chien je l’ai connu alors qu’il avait quelques mois. Un vendeur de légumes l’avait pris sous sa protection. Devenu adulte, l’homme s’en était désintéressé. D’autant que l’animal avait été blessé par un rickshaw.
Depuis, sa patte cassée ne peut plus reposer sur le sol. Il se déplace avec difficulté, mais ne semble pas sous-alimenté, comme nombre de ses congénères. Quand un soir je l’ai croisé de nouveau, il devait avoir deux ans. Il était à proximité d’une boucherie espérant qu’un bout de viande tombe à sa portée. Ce qui, selon le boucher, arrive parfois. Cette petite discussion sur ce chien du quartier à valu à mon copain à quatre pattes de se voir offrir un bel os par le commerçant.
La colorimétrie particulière de cette photo résulte de l’éclairage au sodium qui illumine la boucherie. Les ampoules au sodium en raison d’une température très basse (2.200 K) sont une vraie plaie pour la photo de nuit, en raison d’une forte dominante orangée qui est quasiment impossible à neutraliser par une balance des blancs automatique, ni avec la fonction tungstène.
Quant à la composition de l’image elle s’est imposée d’elle-même. Je me suis juste légèrement décalé pour créer un espace lisible entre les deux personnages du centre. Je n’ai plus eu qu’à attendre que le commerçant à gauche place idéalement sa feuille de boucher. Je rappelle que je ne travaille pas en mode rafale pour m’imposer une concentration maximale. « One shot » sinon rien !
The broken paw
In Indian markets there are many stray dogs. This is where the food is. They are tolerated because they hunt rats. This dog I knew him when he was a few months old. A vegetable seller had taken him under his protection. As an adult, the man lost interest in it. Especially since the animal had been injured by a rickshaw.
Since then, his broken paw can no longer rest on the ground. It moves with difficulty, but does not appear undernourished, like many of its congeners. When one evening I ran into him again, he must have been two years old. He was near a butcher shop hoping for a piece of meat to fall within his reach. Which, according to the butcher, sometimes happens. This little discussion about this neighborhood dog earned my four-legged friend a good bone from the shopkeeper.
The particular colorimetry of this photo results from the sodium lighting which illuminates the butcher's shop. Sodium bulbs due to a very low temperature (2,200 K) are a real nuisance for night photography, due to a strong orange dominance which is almost impossible to neutralize with an automatic white balance, nor with the tungsten function.
As for the composition of the image, it imposed itself. I just shifted slightly to create a readable space between the two characters in the center. All I had to do was wait for the shopkeeper on the left to place his butcher's sheet ideally. I remind you that I do not work in burst mode to impose maximum concentration on myself. "One shot" or nothing!
Another difficult slide restoration but it is an interesting scene. Faded mount provided no readable details of where and when.
7.8.2018, Kleiner Erinnerungsraum, 21x30 cm, Wasserfarben, Bleistift, Farbstifte auf Papier.
7.8.2018, Small memory room, 8x11 inch, watercolors, pencil, colored pencils on paper.
Ohne Dokumentation des Vergangenen bliebe nichts in Erinnerung. Meistens wird viel geschrieben und ist nachlesbar. Ich bin für Bilddokumentationen - fotografiert und gemalt.
Without documentation of the past nothing would be remembered. Mostly much is written and is readable. I'm for picture documentation - photographed and painted.
From turnercontemporary.org/whats-on/another-time/.
ANOTHER TIME is a series of one hundred, solid cast-iron figures by Antony Gormley who is known for his sculptures and installations that explore the experience of being human, of inhabiting a human body.
A figure has been positioned on Fulsam Rock on the Margate foreshore, visible at low tide from the shoreline behind the Turner Contemporary Gallery. The sculpture becomes visible about 3 hours before low tide, so to be sure of seeing it, check the daily tide times.
Antony Gormley describes these isolated forms, cast from his own body as “an attempt to bear witness to what it is like to be alive and alone in space and time”. Made from iron, a material more usually associated with heavy industry, the industrial method of casting the sculpture is readable on its surface, whilst invisible joint lines reveal the way the plaster mould was divided and reassembled prior to casting.
Pushkar (Inde) - Pour ce portrait, je ne me suis pas laisser surprendre comme pour le précédent. Je me suis placé à un endroit où je pouvais avoir un arrière plan qui soit facilement lisible et qui le prendrait pas trop d’importance. Comme il y avait de nombreux paysans rajputs autour du lac ce matin là, je ne doutais pas que j’aurais l’occasion de faire quelques portraits.
C’est ce qui est arrivé avec ce vieil homme. Je ne lui ai rien demandé, mais lorsqu’il a vu que je le photographiais, il s’est arrêté et m’a regardé un peu étonné. Pour éviter toute contestation, je lui ai fait un petit signe de la main et lui ai montré la photo sur l’écran de contrôle de l’appareil. Il a eu un petit rictus que j’ai pris pour un sourire et a repris sa route.
Proud rajput
Pushkar (India) - For this portrait, I did not let myself be surprised as for the previous one. I put myself in a place where I could have a background that was easily readable and that wouldn't take too much importance. As there were many Rajput peasants around the lake that morning, I had no doubt that I would have the opportunity to do some portraits.
This is what happened with this old man. I didn't ask him anything, but when he saw that I was photographing him, he stopped and looked at me a little surprised. To avoid any dispute, I gave him a small wave and showed him the photo on the device's control screen. He gave a little smirk that I mistook for a smile and resumed his journey.
When you don't need your number plate to be readable, its the ideal place to put the rain light.
________________________________
I couldn't believe my eyes when I saw this in a rather large pull in off a main road. It enabled me to slip in and out withiut causing too much effort. Going be the MOT history, or lack of it, it would appear it's 45000 miles are genuine, returning to the road in 2014 after a long list of MOT fail items were corrected. Dealer plate isn't quite readable but the dealer was based in York. Tempted to say it looks like Connels of York?
A slide I've restored that was given to the family. This one was pretty far gone, but I liked the scene and have done a fair bit of restoration; it was dark, and so much dust was ingrained in the film emulsion, but here it is.
It's a bit of a mystery , as the only thing that was readable from the mount was the date taken - July 1960, but where it is I don't know.
These two old bike books were bought when I was very keen on cycling and would think nothing of it to jump on my racing bike and cycle 30 miles or so(about 50km) out into the countryside!
The Penguin Bicycle Handbook is from 1983 and, as the name suggests, is about bikes themselves, choosing the correct size, their care, maintenance, tools needed etc. The Pan book, Richards Bicycle Book however, is originally from 1975. This one is much more readable. The first 200 pages is about the history of bikes, the development of cycling in the U.K. and worldwide and so much more! The last section is about the structure, mechanics and care of the bike.
I love the cover of ‘Richard’s’ book with the cyclist tinkering with his machine whilst wearing his thick woollen pullover! None of this new fangled Lycra for him!
San Cristobal de Las Casas (Mexique) - L’homme n’a pas réalisé que je le photographiais, trop absorbé par des pensées.
Lorsque je l’ai vu arriver, il était assez loin. J’ai eu le temps de monter la vitesse d’obturation car malgré le mouvement du cycliste, je voulais mettre en valeur le mur, les tags, le trottoir rouge et le jeu d’ombres et de lumière.
En utilisant une vitesse rapide, malgré le mouvement circulaire donné à mon boîtier en suivant le sujet mobile, j’ai figé le mouvement, laissant apparaître le mur bien net et lisible.
Photo clandestine ou pas ? Je la mets quand même dans cette catégorie car le triporteur ne saura jamais que je l’ai photographié.
The dreamy cyclist
San Cristobal de Las Casas (Mexico) - The man didn't realize I was photographing him, too absorbed in thoughts.
When I saw the tricycle arrive, it was quite far away. I wanted to highlight the wall, the tags, the red sidewalk and the play of light and shadow.
Using a fast speed, despite the circular movement given to my case following the moving subject, I froze the movement, letting the wall appear crisp and readable.
Photo clandestine or not? I put it in this category because the cyclist will never know that I have photographed it.
first blackout thing, it's supposed to be read like this:
realize, he's in pain.
"sorry"
my thoughts had gone somewhere else and i try not to notice
listen to him, breathe, look into his eyes
my heart racing, it's trying to break free
he kisses me, everything suspended
i feel something, never like this
i am unable to think anything but "it's not enough".
(in the book, it's actually about a girl's euphoric first kiss with a boy)
... series of photos from Kingdom of imagination" - welcome to my world"
yes... in the Kingdom of Imagination, we trade sharpness for emotion....
We sacrifice clarity for truth. not a tool for documentation.
It is a wand, capable of bending reality, melting light, and revealing the hidden poetry in the mundane.....
Imagine the image..... There are no clear buildings, no readable signs, no distinct cars. Instead, the frame is dominated by cascades of light, pouring down like a digital, neon rain. The deep, inky black of the night serves as a canvas, upon which the city's energy is painted in long, deliberate strokes.....
One of largest colonial era historical cemeteries near New York City it is the final resting place for the author Washington Irving and many veterans of the Revolutionary War. When I explored here many of the the 18th and 19th tombstones that I saw were made out of stone that has not stood the test of time and were barely readable or the lettering had completely eroded away.
Winter is almost over now
I spent most of the year
Dreading you
You are a curse that always
Lasts about 2 to 3 months
Though, each year I'm alive
Your visits grow shorter
You remind me of death
Everything will leave us in time
All living entities have an Expiration
Not all dates are readable or Predictable
But winter comes and takes so much away from us.
It is hard to even appreciate Autumn
When you think about
All of the beauty dying.
All of the colors drying out.
And the Withering…
The challenge to find beauty
In less expected places.
The air, although it seems, crisp at first, becomes
Far more chilling, and intolerable.
The greater the years I am alive,
The more brutal it feels.
It gets to feeling like
I have no skin at all.
But now, I realize
Spring is actually coming.
Spring is a hopeful time yet
Will I ironically miss the dread?
I feel remorse for the fact that
I have no excuse to stay
Inside, isolated, and depressed.
This feels much more like my
Genuine human state.
I cannot resist the world in Spring when life is reborn
I literally have no reasons left
To not go outside.
The experience of the world is
Waiting for me.
Am I ready?
**All poems and photos are copyrighted**
This bird seems to come to Leven in Fife every winter. I first recorded it at this location in December 2015 when it was an adult so this bird is at least 11 years old. It was ringed in Norway. The colour ring is looking the worse for wear but still readable
Brought to you by .Tartfish. & Tokyo Zero
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Updat:
! Attention ! At the request of the creators, I made an additional script that allows other users to create their own versions of the landscape elements and this will work with the Time Manager from Skifija.
Now you can make objects 12 months Auto Season for personal use, gifts and sale!
The Time Manager menu has been improved. Now when you select a month, its name is displayed correctly in the menu. The display of hours, minutes and seconds in time zones has also been removed, as this adds additional complexity to the readability of the menu.
marketplace.secondlife.com/.../Skifija.../19258175
maps.secondlife.com/secondlife/Fearly/250/158/23
www.youtube.com/watch?v=sfMmb2446fk
www.youtube.com/watch?v=zrYC16hbstU
Have fun! :)
In september of 2019 I challenged myself to upload one photo every day to flickr.
That forced me to browse my then ~90k Lightroom catalog, select, review, and edit shots to find something to post.
And of course it also provided me with an incentive to take my gear out more regularly, even if the pandemic reduced the opportunity to travel, leading to some monotony in the available subjects.
Today marks a streak of 1,000 daily pictures:
www.flickr.com/photos/christiancorsano/albums/72157711201...
It is not always top quality shots, but I am still proud of the result, and more importantly of keeping the pace going.
Lack of time also led me to dramatically reduce the time I spend on the site, and I deeply apologize for not commenting or even responding to all your lovely comments, which I used to do in the beginning.
Hopefuly I will manage to fit that in my daily routine again soon.
And if you read that far, thank you so much for your visit !
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Now for some technical details about this particular piece, as contrary to my 1st year celebration, this is more than just a montage:
This picture is generated by a small throwaway C# program, using Flickr APIs and a handful of dependencies (mainly ImageSharp).
The code starts loading all pages of the album, then proceed to load the size for each photo to get the URL of the "Large Square" 150px x 150px thumbnail and download them to memory.
This can take a couple of minutes, especially since I avoid hitting the Flickr API too hard (downloading the photos is fine though, so they are fetched in parallel), so the photo infos and thumbnails are cached to disk to allow quick iterations on the fun part: building the mosaic.
I went for 42 columns and 24 rows, which gives 1008 tiles to fill. It does mean that I take 8 random pictures and duplicate them to fill the gaps.
Going for the max resolution (because why not), final mosaic is 6300px x 3600px.
Next step is to prepare the pattern I want to match, here simple "1000" in text, so I generate a small image with the black text, written in 64pt.
It is low resolution, but that's fine as the scaled up version will have a nice blur that we would have to apply anyway.
To fill the pattern I started dumb, got okay results, tried a smarter solution, which made it worse, and went back to the dumb solution to refine it a bit.
The dumb solution was to compute the brightness of each of the photos, do the same with each tile of the text pattern, order the photos and tiles by that value and distribute them.
The smarter solution was to replace the brightness by the computation of a perceptive hash of each image and pattern tile, to be able to get a similarity score for each of them and place the best match on the tiles.
It didn't work well, I suspect because the hashing algorithm work best for very similar picture and here most of the pattern tiles are completely white or black gradient.
So taking some of the more involved sorting and matching and reinstating the brightness approach is what I went for.
Even with that, the lack of very dark pictures in my set meant cheating a bit, and I do reapply the text as a 0.2 opacity darkening mask on top of the completed mosaic.
If I ever get to rework the code to make it somewhat readable I might share it, so let me know if you are interested.
Scanning notes that will , no doubt, interest 0.007 percent of the Flickr population. See previous for development notes.
Using Lomography's Digitaliza scanning mask (old style), I couldn't get scans sharp enough out of the Epson V700 to see any form of grain structure, which usually means everything is out of focus. I did find a solution, using Epson Scan software, in case anyone's interested...
-- Scan height on this mask is 1.2mm, but Epson's own holders (which I no longer have) are adjustable from 2.5 to 3.5mm. My results were *very* soft, so I raised the mask by 1.75mm (using US quarters as spacers) to 2.95mm.
-- I switched from "film area guide" to "Film (with film holder" to force use of the higher resolution lens. I didn't think Epson Scan would recognize images from Digitaliza, but it did. Note you won't be able to scan sprocket holes using this option.
-- Film type: B&W Negative
-- 16-bit greyscale
-- 3200 dpi (6400 looked worse)
-- target size "Original"
-- turn off unsharp mask (sharpen yourself in post)
All of this seems to do the trick. Grain right off the bed wasn't 'tack' sharp (it's a flatbed scanner, after all), but definitely readable, and easily sharpenable.
Varanasi (Inde) - En principe sur les réseaux sociaux, Flickr ne déroge pas à la règle, un plan large a toujours moins de succès qu’un plan serré. Un plan serré est lisible immédiatement la plupart du temps. Un cadre comme celui de la photo ci-dessus, nécessite qu’on s’y attarde. Comme les gens n’ont plus de temps ou n’ont plus l’habitude de le prendre, devant la profusion d’images qu’ils consomment quotidiennement. Pourtant, je pense qu’un plan large est plus difficile à réussir en raison d’un nombre plus importants d’éléments à mettre en harmonie dans son viseur.
Ici, j’ai utilisé une téléobjectif. Comme j’étais dans une barque, il était impossible de recourir au grand-angle pour garder un minimum de lisibilité pour cette scène matinale sur l’un des gaths de Varanasi. La colorimétrie relativement chaude est due à l’heure matinale. Il est à peine 5 h (les données exif sont restées à l’heure de Paris). Le soleil darde ses premiers rayons et la journée s’annonce caniculaire.
Varanasi wakes up
Varanasi (India) - In principle on social networks, Flickr is no exception to the rule, a wide shot is always less appreciated than a tight shot. A close-up is immediately readable most of the time. A frame like the one in the photo above requires that we linger over it. And people no longer have time in front of the profusion of images that they consume daily. However, I think that a wide shot is more difficult to achieve because of a greater number of elements to bring into harmony in the viewfinder.
I used a telephoto lens to obtain this frame. As I was in a boat, it was impossible to use the wide angle to keep a minimum of readability for this morning scene on one of the gaths of Varanasi. The relatively warm colorimetry is due to the early hour. It is barely 5 a.m. (the exif data remained in Paris time). The sun shines its first rays and the day promises to be hot.
This Great Egret, photographed near Berlin, Maryland, is banded and the left leg band is readable. So the two bands' info (alpha-numeric and colors) were reported to the US Geological Survey.
The Certificate says this Egret was banded in southern New Jersey, Stone Harbor - northeast of Cape May, four months prior to this photo.
We have a detached garage, and behind it is a 4x29 foot patch of earth or was. We're the original owners and, knowing nothing about gardens or what grows in this area for that matter, we made some big mistakes all having to do with facing due east and west, cool and broiling temperatures. One mistake I didn't make was planting a 5 inch pot containing a Martha Washington Geranium behind the garage (the first thing you see when leaving through our front door).
That geranium, some 45 years later is "wall to wall" Martha Washington Geraniums (also known as "Regal Geraniums.") It is in sun no more than five hours a day, and evidently Martha likes it that way. The one problem I still have is getting a good photo of so many flowers in such a "small" space. Every year, I try again and from the day of the first blooms in April until its at its peak in August to get one image that does justice to the beauty of this flower.
Maybe there is no way to capture this flower and so, three days ago, just as we were leaving for our afternoon walk, I took out my phone (an android) and thanks to the overall shade and the setting that makes the LCD readable outdoors, and "snapped" this photo. Actuallym it took me five minutes to find a couple of blossoms that sould make for a good picture.
I'll continue to take shots in the afternoon and from June on, in the morning, to see if I can get all 39 feet of flowers without aberrations. Meanwhile, enjoy this one attempt.
By the way, yes, this flower was named after Martha Washington, wife of the first President of the United States, and it existed while she was alive. Another story is that she's the one who cultivated this flower. Whoever, whenever, all I know is that I've had a beautiful patch of flowers for over 40 years all from two in a five inch pot. There is no scientific name, but I suppose if you go to a nursery, they will know what it is here in California and I would imagine in upstate New York.
50 years ago, regional rail lines were served only by SNCF, the French national railway company.
To get to Avignon or Ales from Nîmes or Montpellier, I used to sit in one of these self-propelled trains called ‘autorails’.
They were recognisable from afar with their red and yellow livery. Noisy and often dirty, they offered only basic comfort, but it was enough, and the journeys were never very long. The windows were fitted with yellow curtains and pleated fabric held in place by an aluminium peg. The orange plastic-covered seats had an ashtray at the end of each armrest.
At present, the regions are responsible for maintaining the tracks and all passenger rolling stock, as well as their commercial operation.
In my region, there's nothing to complain about: the closure of the transverse lines is over, and some are even back in service. The people of Lozère won't be complaining, because trains are the only thing that run regularly and reliably, even in bad weather.
The trains are not much more comfortable than they used to be, but they are quiet, and the display of upcoming stops is still clearly readable in every carriage. Stops at each station last no more than 30 seconds. A journey from Montpellier to Nîmes takes less than half an hour.
Coma-Ruga (Espagne) - Faute de sujet plus intéressant, j’ai réalisé une petite série sur la station balnéaire de Coma-Ruga, à la morte-saison. Cette scène sans âme qui vive, en est la photo d’ouverture et illustre de façon évidente le sujet. J’aurais pu photographier un cimetière, mais de cet endroit, la plage n’était pas visible et limitait la lisibilité du propos.
Off-season
Coma-Ruga (Spain) - For lack of a more interesting subject, I created a short series of photographs of the seaside resort of Coma-Ruga during the off-season. This scene, devoid of any living beings, is the opening photograph and clearly illustrates the subject. I could also have photographed a cemetery, but from this location, the beach was not visible and limited the readability of the subject.
Hemis (Indes) - Rien n'est plus difficile que de photographier des danseurs amateurs et désordonnés. Ces moines du monastère d'Hemis répètent une danse pour un spectacle qu'ils donneront d'ici une heure, lorsque les touristes attendus arriverons. Le rythme est lent et les religieux n'ont pas l'agilité des "Petits rats de l'Opéra de Paris".
La plupart du temps ils évoluaient groupés empêchant la réalisation d'une photo fluide et lisible. A un moment j'ai eu une fenêtre de tir où la chorégraphie ressemblait moins à une photo de groupe. J'ai pu faire une photo. Pas deux. La chorégraphie est aussitôt redevenue confuse.
Hemis (India) - Nothing is more difficult than photographing amateur and messy dancers. These monks from Hemis Monastery are rehearsing a dance for a show they will be giving within an hour, when the expected tourists arrive. The pace is slow and the religious do not have the agility of the "Little rats of the Paris Opera".
Most of the time they evolved grouped preventing the realization of a fluid and readable photo. At one point I had a shooting window where the choreography looked less like a group photo. I was able to take a photo. Not two. The choreography immediately became muddled again.
Bodnath (Népal) - 3.200 iso au 1/60é de seconde à pleine ouverture (f : 2,8) c’est la limite autorisée avec le Nikon D300 pour qu’une photo en basse lumière, ressemble encore à quelque chose. En tout cas pour moi qui déteste le grain (bruit numérique).
Les bouddhistes sont conciliants. Ils m’ont autorisé à faire des photos de très près. J’ai pu utiliser la focale la plus courte (équivalent 25 mm), offrant une netteté de 0,60 mètre à l’infini, Même à pleine ouverture, pour peu que l’on sache où faire la mise au point pour optimiser la plage de netteté (hyperfocale).
C'est le moine au fond à gauche de l'image qui m'intéressait. Mais il fallait que je le mette en perspective avec un premier plan qui pourrait situer la scène et rendre la photo lisible au premier coup d’oeil.
Pour cette photo, j’étais à moins d’un mètre du premier moine. Bien entendu, je me déplaçais à genoux pour me faire le plus discret possible. Une autorisation ne veut pas dire que l’on peut faire n’importe quoi et perturber la sérénité du lieu.
Stay zen !
Bodnath (Nepal) - 3,200 iso at 1 / 60th of a second at full aperture (f: 2.8) This is the limit allowed with the Nikon D300 for a low light photo to still look something. In any case for me who hates the grain (digital noise).
Buddhists are conciliatory. They allowed me to take pictures very closely. I was able to use the shortest focal length (25mm equivalent), offering a sharpness of 0.60 meters to infinity, Even at full aperture, as long as we know where to focus to optimize the sharpness range (hyperfocal).
It is the monk at the bottom left of the image that interested me. But I had to put it in perspective with a foreground that could situate the scene and make the photo readable at first glance.
For this photo, I was less than a yard from the first monk. Of course, I moved on my knees to make myself as discreet as possible. An authorization does not mean that you can do just anything and disturb the serenity of the place.
ENG: The futuristic suburban train station „Wilhelm-Leuschner-Platz“ on the edge of the beautiful Leipzig city centre. It also bears the nickname "Square of the Peaceful Revolution" and is intended to commemorate the historical events of 1989. It was built as part of the Leipzig City Tunnel project and opened on 15 December 2013, enabling passengers to travel directly by rail from Leipzig Hauptbahnhof to the city centre.
The station Leipzig Wilhelm-Leuschner-Platz is about 20 m underground and has a 140 m long island platform. There are two entrances, north and south of the Martin-Luther-Ring. The staircases, escalators and the two elevators create a dense structure. So that the transparent S-Bahn station with the tidy platform speaks a clear design language. Methodically important part of this station is the extensive restraint in the use of simple, clearly readable elements as well as the glass bricks in the walls and ceilings of the prefabricated elements.
GER: Der futuristische S-Bahnhof "Wilhelm-Leuschner-Platz" am Rande der schönen Leipziger Innenstadt. Dieser trägt auch den Beinamen „Platz der friedlichen Revolution“ und soll damit an die historischen Ereignisse des Jahres 1989 erinnern. Er wurde im Rahmen des Projekts Leipziger Stadt Tunnel gebaut und am 15. Dezember 2013 eröffnet, so dass die Fahrgäste direkt mit der Bahn vom Leipziger Hauptbahnhof in die Innenstadt fahren können.
Der Bahnhof Leipzig Wilhelm-Leuschner-Platz liegt etwa 20 m unter der Erde und verfügt über einen 140 m lange Insel-Bahnsteig. Es gibt zwei Eingänge, nördlich und südlich des Martin-Luther-Rings. Durch die Treppenanlagen, Rolltreppen und den beiden Aufzügen wird ein verdichtetes Bauwerk erstellt. So das die transparente S-Bahn Station mit dem aufgeräumten Bahnsteig eine klare Design Sprache spricht. Methodisch wichtiger Teil dieser Station ist die weitgehende Zurückhaltung in der Verwendung einfacher, klar ablesbarer Elemente sowie die Glasbausteinen in den Wänden und Decken der Fertigteilelemente.