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I just made this for the blog, just wandered through the woods today. Nothing special :) The text is barely readable but yeah whatever :P
More: www.angelicavis.nl/blog/?p=2710 :)
& explored!
25 shots panorama
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for a quick guide on how to create panoramas, have a look to my simple tutorial here:
focusonpast.wordpress.com/2015/02/21/come-creare-un-panor...
the page is in Italian (I will create a page in English soon) but is roughly readable by using Google Translate
Maybe someone on Flickr can identify these uniforms. Could it be that this is from the Franco-Prussian War 1870/71? (The photographic material looks too old to be from WWI)
The castle ruin looks as if it is Lahneck castle in Lahnstein.
There has been a pencil caption under this large format albumen photograph but it is completely faded. I still have to check under UV-light if it becomes readable.
A large number of locos stored by EWS are seen at Healey Mills in the early morning of the 8th June 2005, with Class 37s nearest the camera. The readable numbers are 37517, 37410, 37685, 37676, 37717 & 37786. At least one of these escaped the scrapman - others weren't so lucky.
I must confess I had a great deal of problems in getting a decent picture. The way I resolved it was to edit in Affinity, convert into Black and White then mess around with the filters. This one is pin colour and I used the sliders to bring back the colours I wanted. The yellow is accurate and managed to make the shop sign readable. The main problem with the original was the pavement was overall blue.
Still the Girls are in the World Cup final so all is well.
Artwork on a building on Whittington Moor. I've posted it at fullsize so the the writing is readable.
A Wicked Turn
Acte 22
The Subtle Touch
He went down behind her and she arched back in an attempt to watch what he was up to!
He looked over at their figures image in the mirror, her coronet, necklace, and earrings vividly sparkling in the reflection, like fire on a distant mountain he thought drooling with anticipation…….
He methodically decided to start with her Bracelets….
Holding her left wrist with his left hand, he let his right-hand travel up her squirming figure till he reaches her breast. Cupping it he began to with a slipping motion, massage it through her thin satiny slip.
She curled her figure against her bindings, closed her eyes, and began to whimper and moan lustily, opening her mouth just enough to keep her rings hidden inside!
As his right hand subtly pleaded her breasts, his left hand travelled down to a cuffed diamond bracelet. He began rubbing it up and down her gloved wrist in sync with his right hand, eventually worked it open and slipped it off from around her wrist, tossing it neatly into his pouch.
He repeated the performance on her right wrist as she continued moaning in total satisfaction.
If she noticed her twin bracelets were being removed in the process of having her breasts massaged, she did not appear to care.
Then, playing along with the lady’s game, he fruitlessly felt for her rings, hearing her muffled giggles above him as she squirmed.
“Mmmm,” she said, through gritted teeth not being able to open her mouth due to her rings.
He could see that what she was unable to voice, it was readable in her expression, reflected from the handy mirror!
Then he moved his hands, grasping her by the silken sides of her slip, and began to tickle her mercilessly, she started to uncontrollably giggle, then stated to sputter, finally letting loose with a gasping laugh!
This sent the three sparkling rings she had been holding inside her mouth, spinning out and plopping onto the green silk of her lap, where they slithered down between her knees!
“Dirty Play, Gaston!”
She admonished, snapping her legs closed to hide the rings, tears in her eyes as she laughed out her words…
“That wasn’t how… !
He hushed up her words by quickly plunging his gloved fingers down inside her slip, grasping and kneading her breasts in unison
Her whole being tingling with the exquisite pleasure, made her forget entirely how she had wanted him to play the game with her rings!
But he was now entirely in control of the situation, and she felt her whole figure limply wilt under his command!
He left his right hand inserted down her slip to carry on with the task, subtly extracting his left to then run fingers through her long blonde, luxurious feeling hair, pulling it back behind her head, where it hung down in a gold coloured silken mass!
Figuring if he did, she would lean right back to look up at him!
Which is exactly what she did, playing right into his trick!
Her eyes, though, were still tightly shut, as her focus went off to some erotic location, as she was reeling in the vivid pleasures of her game.
Her green satin gloved fingers tried to adjust her bonds so she could reach back out behind her, and he knew for what and responded appropriately by rising so she could reach her objective.
Then it became his turn to be the one moaning softly through gritted teeth…
He silently thought, while groaning inwardly…
“Easy on the family jewels there, missy!”
“Oh, My Darling Gaston!”
she responded, apparently, hopefully, waiting for a response.
He gave her one, though not verbally…
He leaned against the backside of the chair, getting as close to her as he could!
She began to grope quite furiously and he thought of a monkey he had seen once in the city zoo doing one such number on a banana.
He was also finding it increasingly difficult to keep his mind on the task at hand.
So, he pulled away from her grasp a little, allowing her fingers the barest of touch!
He then gently pulled back her blonde hair, and quickly started caressing her now sweating earlobes, taking advantage of where this lady’s reeling mind was otherwise occupied!
Slowly, carefully stroking up and off, he pulled out the gold hooks attached to her sparkling earrings from each pierced ear.
Freeing both of her lovely long earrings in turn and letting them drop, glimmering into his leather pouch!
He kept on caressing, deeply thrusting his right hand in and along her breasts for several minutes taking precious time with the task as to keep her mind away from what he was accomplishing from behind her trussed up back.
Meanwhile, his left hand moved up into a new position.
Her entire being was squirming, so enraptured and enthralled, that she never even felt him picking up the ends of the thin coronet: lifting oh so carefully, each end of shiny gold braided ends that were woven into her hair, and began gently lifting out each one free!
As he pulled it delicately away, she did not even miss the egg-shaped diamond as it stopped brushing against her sweat glistened brow!
Once he had freed the shimmering piece, he eagerly lifted to admire it!
She broke his trance by purring, opening her eyes as he quickly hid the jewelled coronet!
“Well, my Gaston! I can feel you desire me again, my darling! It has been quite a long time for you also!”
But though she may have felt that something growing between her captor’s legs, she had no inkling that he had been busy lifting her pricey jewelled headpiece!
Nor did she now hear it being dropped in the pouch at her foot!
So, oblivious that her earrings and coronet were gone, the bound, satin slip clad lady, quite seductively began murmuring these words as her fingers continued their gentle free play between his legs.
“You want me don’t you luv!”
She asked this seductively, wistfully as her eyes opened wide and looking up into his, catching him hovering over her, his eyes from the slits in his hood, looking down upon her.
He had stopped fondling her breasts with his right hand and placing that hand on her shoulder was looking down upon her with lust-filled eyes!
But she was entirely misreading the object of his also lustful gaze…
She again closed her eyes with a heavy sigh!
As his eyes went to what he now really wanted from her!
^^^^^^^^^^^^^^
Depth of field. I shot this in aperture priority mode to produce a really shallow depth of field. I wanted to make it so the furthest tiles were barely readable. I set this shot up to show how our brains interpret the right thing even when our eyes are not 100 percent reliable. I wonder how many people will notice the deliberate mistake.
Or at least that's what is on the tag on the post to the right center of the photo. Menu is also almost readable from this angle. In the RAW file it's clear and tack sharp with 3:1 zoom. Not sure if you will be able to see it clearly when opening up the original through flickr (i.e. right click on the photo and select original). (Note as of April 2014.... Since Flickr changed to the "New Experience" format, you no longer have the capability to do this function for right clicking and selecting the original size. You can however still do this if you change to any other language than English :(.... Bad flickr bad). Shot with my old Nikon nifty fifty. Still sharp as ever. Shot is simply street restaurants & shops along Akbiyk Cd - Istanbul.
One of the later shots I took on that outing. The moonlight was steadily becoming brighter and yet the aurora was still looking bright and strong. More often than not I've heard that moonlight can really kill a northern lights show, but in our case it turned out to be an incredible blessing, illuminating the snow-covered peaks and illuminating the landscape perfectly.
I hope you had a nice weekend. I worked on this image during breaks on a report I had to put together for a meeting tomorrow morning. Sure, it's late but the processing really helped break up the tedium of putting together the report. In any case, after a nice weekend away I think I'm ready for the week ahead. I hope you are as well. Happy Monday!
-Lorenzo
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The new Flickr photo page was killing my eyes, so I came up with a way to switch back to the old page style (black text on white background). Here's a quick how-to guide I put together: How to switch back to the old (and readable) Flickr photo page.
The complete set of photos from my recent Norway trip are here.
Feeling social? You can also find me here:
instagram | 500px | elmofoto.com
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Vangaindrano (Madagascar) - Solution de facilité aujourd’hui en choisissant ce double-portrait. Un gros plan est immédiatement lisible. Avec une mère et son enfant dans les bras, on a là un tiercé gagnant.
J’aime bien faire quelques portraits de temps en temps, mais photographiquement parlant, ça ne demande pas d’effort particulier. On cadre serré et on déclenche… Dans 90 % des cas les gens posent. Alors dire qu’on capte un regard est un peu abusif car la personne photographiée regarde l’objectif. Le seul talent nécessaire pour réussir un portrait en voyage : avoir le sens du contact. Rien de plus. Ce genre de cliché est pour moi une ouverture sur une relation plus personnelle avec les modèles. Grâce à la photo, j’ai parfois accès à leur quotidien. Cette femme par exemple. Après l’avoir photographiée, ainsi que son mari qui lui, avait sa petite fille dans les bras, elle a tenu à m’offrir un café dans son magasin. Dans la conversation qui s’en est suivie, j’ai appris que le bar-épicerie n’était qu’un complément de revenu car le couple est propriétaire d’une grande parcelle de rizière. Et à Madagascar avoir une rizière permet de dégager des revenus relativement importants. Surtout que le cours du riz a explosé ces dernières années. Un portrait si l’on se donne la peine d’aller au-delà des apparences, apporte bien plus qu’une lueur dans le regard.
Vangaindrano (Madagascar) - Easy solution today by choosing this double portrait. A close-up is immediately readable. With a mother and her child in her arms, we have a trifecta.
I like to take a few portraits from time to time, but photographically speaking, it doesn't require any particular effort. We frame tightly and we trigger... In 90% of cases people pose. So saying that we capture a look is a bit abusive because the person photographed is looking at the lens. The only talent necessary to achieve a successful portrait while traveling: having a sense of contact. Nothing more. This kind of shot is for me an opening to a more personal relationship with the models. Thanks to photography, I sometimes have access to their daily lives. This woman for example, after having photographed her, as well as her husband who had his little daughter in his arms, wanted to offer me a coffee in her store. In the conversation that followed, I learned that the bar-grocery store was only a supplement to income because the couple owns a large plot of rice field. And in Madagascar, having a rice field allows you to generate relatively significant income. Especially since the price of rice has exploded in recent years.
If we take the trouble to go beyond appearances, a portrait brings much more than a glint in the eye.
Immersed in Powerful Words
Took this on a late, cold Friday evening in February. The Washington DC National Mall was mostly empty but there was one small group passing through the Martin Luther King Jr. Memorial when I was set up. The person in the photo stayed just a bit longer than the others to take in Dr. King's words.
The inscription is very readable at the image's full size, but for those viewing this on a small device, I'll repeat them below. They still seem to resonate today, over 53 years later.
Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly. Alabama, 1963
To me, this photo is very meaningful given the singular interaction of someone at the memorial reading Dr. King's words. As soon as I saw it come off the the camera's LCD, I went "Wow".
This was taken from across the Tidal Basin, at over 1,100 ft away. I really like this perspective of the memorial because it lets you see it at eye level and compare the proportions to one person admiring it. The compression of the long lens also pulls the inscription in tight.
The Wright Cycle Co. ( owned by Wilbur and Orville Wright). Originally in Dayton, Ohio and now at Greenfield Village in Dearborn, Michigan.
Currently on the New York Times bestseller list is a very readable biography "The Wright Brothers" by David McCullough. www.nytimes.com/2015/05/04/books/review-the-wright-brothe... I recommend the book!
An art crtic, John Grande
came to see my show and wrote this about me:
Roger Guetta: Everyday Magic
Re-working the real to uncover a hidden universe that is there for anyone to discover if they remain open to the world we live in, Roger Guetta captures something of the avant-garde spirit. His aesthetics are based on the play of and with the image. For Guetta, images are like phrases or words. The act of layering and reassembling that is an essential part of the artist’s process is like writing with images. But before that Guetta is a hunter gatherer of imagery, selecting and searching materials, objects and images from a range of sources, whether Village des Valeurs, a forest, a beautiful model, or that forest of signs that is our urban reality, all the intensity of microscopic details of our world. The journey Roger Guetta is on involves capturing visual cues and details. He then uses them in the layering, cropping, enhancing that take place in the final stages of his process. In this sense the process of formulating images in the multi-layering is like a form of cognition. The image is no longer an icon but instead a place to visit, where we can find points of experience that exist as a fulcrum for the moment, many moments, a sequence where images are used to build textures of visuality. As intuitive visual investigations of the essential mysteries of life, Guetta provides us with a variety of points of perception within a single image. Like visual texts these photographs inspire each of us to build a meaning into what we see out of the common references drawn from the everyday we discover, uncover, recover, in the textures, colours, movement. Guetta draws from everyday life for sourcing in his imagery for a reason. It enables him to participate in life theatre, like an anthropologist of the present moment. The visual sourcings flower and explode out of a multiplicity, and that flow has no borders, and there is no evidence of cropping, or composition. Guetta condenses, compacts, and layers with great speed. As visual oracular testaments to that great gift of consciousness, we humans have. Guetta mines the unconscious as part of that dualistic process we are always dueling with. The speed of the action and decision-making in bridging imagery builds image depths we can read into. His photos are not maps, but instead pools with depths of interpretation born of the digital age. Roger Guetta uses techniques with an acute awareness of photography’s place within a full spectrum of visual processes from video, to web-based design, to commercial advertising, to televisual and multimedia.
Guetta intuitively understands what the visual image is and can be. While most of these works were produced over the past two years, Guetta produced a series in the 1970s and 1980s using an SX 70 Polaroid Land Camera that revealed the influence of Lucas Samarras. The polaroids were then re-photographed, re-coloured and enhanced to then be printed in a larger scale. The look of these images is Baroque, embroidered, unreal. . Titles form an integral part of the process for they provide a human point of contact with the image. A recent image The Ensemble Waiting for their Props have an 1980s feel. Inspired by the expressionist performance piece Place Of Thunder Guetta directed in 1979, that included masks, drums, a body, and an audience participation that added to the shock effect of the production, this image speaks of presence and absence, of prop scenarios and the theatre of the absurd. In The First Critical Theorist Criticizing his Second Critical Theory, Guetta references irony using the everyday, integrating a solemn copper body image amid a textural, hieroglyphic collagist splay of visual devices to build a resonance, an immediate concrete illusionism. Strong Presence in Association to the Event is a real-time chronicle of illusionism, with a set of eyes disguised under a mask of material, gold leaf and white atmospheric effects; this is an image that reifies our sense of the hidden gesture. The mystery unlocks another mystery….
Guetta’s photos engage us with their pulls, the turns, the facility with which he uses imagery as a painter would paint. The Photoshop of the digital era, enables effects to be achieved that the Surrealists once used with their paintings to explore the unconscious. In our times ‘reality’ itself is surreal, for the contexts, object elements, even nature are transformed seemingly endlessly, and so ‘original context’ is no longer what the artist works with. Imagery becomes a statement about a world in flux. Man Ray, Raoul Hausmann, and John Heartfield’s experiments with collage and montage developed a creative language of association that was expressionist. In the same way Guetta’s photoworks reference memory, imagination, sex, love, and life using imagery of the everyday, and with atmospheres of imagery that build and coalesce. Sometimes, the multi-sensory aesthetic is close to the aesthetic of contemporary Japanese photography.
Writing with visual layers is evocative, beautiful, and even classical when it comes to the portraits, the faces. Others metamorphose, and like embryonic mysteries, break open to reveal multiple facets, but not as fragments. Instead the nudes, and figures, and abstract lights effects establish continuity between the various elements. They become narratives on the sublime, and the imagery is a vehicle towards expressing more universal and spiritual interests. So Guetta builds earth dreams, in a temporal way, while referencing the full range of new technologies, and with an accent that tends towards the sensual whether in earth tones or vibrant colours. We see this in Old School Ride, an image of a 1950s car. Red Burn with its vibrant red and yellow effects is so evocative. The process involved exposing theatre gel on paper to the heat of photo lamps, whereby he colours melted somewhat, to then be stretched. Finally Guetta photographs his experiment and it becomes an abstract study.
Sometimes, the images are spliced together from various sources, and they can express an intuitive, almost sublime sense of the mystery of the everyday, for it is the commonality of the associations in these photoworks, and the strange truly unusual juxtaposition of light effects, colour, textures, and visual imagery. There is always a suggestion of abstraction even when the images are readable, for they are all abstractions from a supposed reality. Guetta has made a series of white on white images that are like worlds within worlds, total constructions, or constructions of a totality that is fleeting, ephemeral, interpretive. As cosmologies they still derive from the so-called real world and an infinity of effects we read into, and build meanings out of our experience. Our experience is every day, every way, always going on, and the filters do their work unperceived. Sometimes we recognize the effects, othertimes we search. The search continues….
And there is another aspect to what Guetta seeks to discover in the imperceptible recognizable, and the merging of it all. That something is the language of commercial advertising that invades our reality in vast volumes daily. Commercial is the most volatile and creative tank of endeavor, particularly as it applies to the visual image Each photo looks like it is captured from within a momentary flux of images, as if nothing were solid, or permanent Instead we feel the ephemeral ever changing sense of life and what it truly means as we experience it. For there are no clues, no ultimate reasons, just a series of visual cues and codices. Guetta interlaces these so as to present a scenario, but not as in theatre, or a plot, more like the way Joseph Cornell will arrange his elements in a magic box assemblage, taking the ordinary to create a near surreal reality, and making what seems unreal so real. We see this in The 7th Way to Cross a River. Juxtaposing a tiny doll manikin with a zig zag abstract surface pattern, this becomes a universal magical mystery. Guetta dances on the end of a rainbow, slides along its colourful arch. As a photographer he is eclectic, and has a very broad range of styles that he can apply. We live in an era when a multitude of styles are available as source from the photographer. Roger Guetta understands all this intuitively.
John Grande
*NOTE: For the squeamish at heart, the following words can be substituted for the bad language in the title, whilst converting this fellow's texting into readable English:
F = Freddie Valenzuela
S = Saltimbocca
A = Attaboy Luther!
6 = umm... well, lets say seven
*NOTE: Translation available in one of the comment boxes below.
I'm really glad with how this came out. There's a Cincinnati Reds "C" on his hat, but it might not be very readable...
Focal-plane shutter at high speed in need of repair
The saying goes that Henry Wirgin once was asked why they did not try to provide more precise shutter speeds. ”People buy the cameras anyhow” he is supposed to have answered.😛😭
riess.fotohistoricum.dk/gewir.html
Photo: Heidelandschaftr im Oberlausitzer Biosphärenreservat
The History of Kamerawerk Gebr.Wirgin and Edixa Reflex
by Klaus-Eckard Riess
riess.fotohistoricum.dk/gewir.html
Im o.a link schildert Klaus-Eckard Riess seine Erlebnisse Ende der 1950er Jahre bei Wirgin in Wiesbaden. Riess hatte gerade seine Meisterausbildung bei Zeiss Ikon Stuttgart abgeschlossen und wechselte zu einem neuen Arbeitgeber nach Skandinavien, der dort eine Werksvertretung der Fa. Gebr. Wirgin Wiesbaden unterhielt. Weil Wiesbaden nicht weit weg von Stuttgart war, bat ihn sein neuer Arbeitgeber sich dort erst einmal etwas umzuschauen.
Kompetent und humorvoll schildert Riess, was er dort gesehen und erlebt hat. Herrlich seine Beschreibung der rustikalen Produktionsmethoden, wie er den Chef Henry Wirgin erlebt hat und wie sich die Belegschaft über die Sparsamkeit des Chefs lustig gemacht hat.
Insgesamt ein sehr lesenswerter Erlebnisbericht aus einer Zeit, der man das Prädikat „gute alte Zeit“ geben möchte, wohl wissend, dass sie so gut nicht war.
riess.fotohistoricum.dk/gewir.html
(engl. language)
In the link above, Klaus-Eckard Riess describes his experiences in the late 1950s at Wirgin in Wiesbaden. Riess had just completed his training as a master craftsman at Zeiss Ikon Stuttgart and moved to a new employer in Scandinavia, which had a factory representative of Wirgin Wiesbaden. Because Wiesbaden was not far from Stuttgart, his new employer asked him to have a look around there first.
In a competent and humorous way Riess describes what he saw and experienced there. His description of the rustic production methods, how he experienced the boss Henry Wirgin and how the staff made fun of his thriftiness was wonderful.
All in all a very readable experience report from a time which one would like to give the predicate "good old times", knowing full well that it was not so good.
my photos overview
It’s almost entirely a new build, but my favourite spot must be the inset windscreen glass pieces, which make the central pillar even more readable and give the impression of windscreen being “angled”.
and grave yard
some of which are 150 yrs old
that is the ones are readable
most are caroded and will be older still
I followed their signs and tracks for three days and nights hoping to photograph the apex predator that is the wolf.
The constant rain though perilous to my comfort, creating slippery trails and damaging my feet... it provided me with 'time' information on the whereabouts of the pack.
In that rain on that day I think it would have been probable that the pawprint I photographed in the mud was less than twenty minutes old... I was backtracking on a trail from the end of a peninsula that I had just walked down less than an hour ago... my bootprints had been erased by the rain... the wolf's prints were still crisp and readable.
They were following me... I had no doubt... a couple of silver flashes in the woods so quick... an arching jump over a log leaving me only to wonder if I really saw what I thought I saw. There'd never be enough time to press the shutter release much less grab the camera from my side and point it at them.
These were their woods.
Each night in order to try to dry my clothes I would get down to one layer and do a quick walk around the perimeter of the site I chose to camp... I'd look for signs of the wolves... vantage points they might watch me from. The next morning I'd do the same thing to wake up and often I would see new signs that the wolves had been there in the night. Sometimes they were close. Really close.
Those signs would tell me what the wolves had been eating... how long it was since their kill... but mostly it told me that they had this ability to move around me quite closely without ever giving their presence away. I knew that the wolf was the master predator of these woods and that if he chose to take me down I would probably have no chance. I would probably never see the thing coming.
There'd only be a wooshing sound to break the silence followed by the ever quickening beats of the paw pads ripping through the undergrowth...a dead silience as the hunter leapt into the air with a lethally choreographed attack that was carefully premeditated and certain to make it's mark.
I'd been attacked by a pack of wild dogs before... when I rode my bicycle from Chicago to Carbondale... I've seen them focus on my achilles tendon... that's how they like to bring you down... their focus can be incredible, admirable even... I learned pretty quickly that the way to survive a dog attack at least was to interrupt it... watch and wait for the attack to be launched... sometimes it's all just a feint... you can tell when it's going to transition from pursuit to attack... and when it does you gotta move into it. It's counterintuitive I know but it's effective. One step into it usually does it... the canine mind has the whole thing figured out beforehand... down to the very last step... if you let the motion flow the way the animal envisions it, he's gonna get you. But if you break the flow... the canine brain's got to start all over again... reset the whole cycle. That's dogs for you... somehow I don't think a wolf would fall for that tactic. I don't think you'd see the wolf's transition into the attack. Where the dog yaps and barks and makes displays territorial, the wolf is deliberate and considerate, patient and aware.
They weren't thinking that way though or I wouldn't be telling this story. They were following me for entertainment... it was a game to them I think... seeing how close they could get without me seeing them.
They have other prey that they're used to... prey that they understand. After a few days of humiliating failure following them by yourself in the forest though and your mind recognizes them for the superior predator that they are.
The wolves on Isle Royale have never eaten anyone although in the last few years they have been losing their fear of humans somewhat and invading campsites on occaision.
That morning I woke up at McCargoe Cove and threw my backpack over my shoulders... before I took my first step I heard what sounded like the siren on a police car... it was a lone wolf... immediately joined in chorus by several others and their distinct howling... I had not heard them before and I was surprised at the primitive fear the sound elicited within me.
The thin hairs on the back of my neck stood on end and the chemical flow of instinct surged and threatened to take over the control of my muscles. The flight response had been primed the moment I heard that wailing in the forest.
They were communicating between themselves... the sound was curious... if it were human I would say that the group was lamenting something... that there was a sadness within them. I had heard a sound like this once... when my grandfather realized that my grandmother had died. Others have since told me that they had probably made a kill then.
It had crossed my mind too and I knew that the sounds came from between me and the main trail... my only way out of the area I was in.
I pondered for a moment the implications of coming across a number of wolves and their kill. It wasn't a good thought... in fact I considered staying put for a little while knowing that they would take some time to move their prize to a more discreet location if it should have been on the trail.
Dismissing that idea I began the half of a mile walk down that trail through the thick undergrowth stopping every so often only to listen for the sounds that would give away their activity or position.
As usual, they gave away nothing.
I saw or heard nothing more than their fresh footprints in the mud, dissapointed and relieved at the same time.
Someone asked me if I was dissapointed that I didn't see the wolves and I thought about it deeply before I offered this thought... my inability to observe these animals and their taunting proximity to me only created even more respect for them and their mystique... they did not give up the prize easily and yet I am certain that they were very often observing me... in my failure to return with a sighting or a photograph of these animals my curiousity and intrigue and even respect is grown to a new level.
I am no match for their ability to move silently through the dense undergrowth of the north woods on Isle Royale... I did realize there that the way to observe these creatures because of their inate curiousity and propensity for movement would have been to find a vantage point from which I could command the viewing area... to cover myself with mosquito netting and with a water bottle by my side sit there for hours.
Even if they saw me take the position there I figure either they'd become curious as to how I 'dissapeared' under the netting or that they would consider me gone and give away their presence with that conclusion.
Unfortunately the cold and the rain and the conditions on Isle Royale didn't allow me that option. Next time I will use my new understanding of this animal to 'outwolf' him.
They were smarter than I gave them credit for being. They were the better predator.
They earned my respect.
17 February 1989 - That evening, I was starting my 24-hour photography marathon. I had decided to take pictures of all southbound trains running on Track 1 in the small Lézinnes station, on the crowded Paris – Dijon itinerary, from 16:00 on day 1 to 16:00 on day 2, and to do that on the night of peak winter vacation traffic, when a huge number of overnight passenger trains was scheduled to carry vacationers to the Alps ski resorts, the Mediterranean Coast and other destinations. Before the flow of passenger trains started (and after it was over), there was room for some freights, as this one.
Paris – Dijon was – and remains – kind of a funnel, for all trains coming from Paris and other points north of France and west of Paris, to the south-east quadrant of France. The line is electrified, quadruple-track for more than half of the itinerary, or doubletrack reversible working (“voies banalisées”). The alternative itineraries, e.g. via Chalindrey, are longer and less well equipped. During such peak days, they were used to some extent however a huge number of trains took the direct Paris – Dijon line.
At Km 210 (counted from Paris Gare de Lyon), Lézinnes was a small, insignificant station, not far south from Tonnerre. However, during such peak traffic nights, several agents were present to assist in case of any incident.
Sometime after starting my marathon, by chance, the prototype BB 8001 showed up in Lézinnes as the night was falling, when I was transitioning my camera from daylight setting and slow shutter speed to flashes for night photography. This is why the front of the engine is half blurred and half sharp, making the road number readable.
The BB 8001 entered service in February 1947. It was the prototype for the 172-unit strong BB 8100 series, which was the heir of a long tradition of 4-axle electrics initiated in the 1920’s with the “BB Midi”. BB 8001 was withdrawn in August 1993.
More information about the BB-8100 here : fr.wikipedia.org/wiki/BB_8100
Photo © JM Frybourg – 890218 - 89-022-120
I first posted an image of these letters five years ago, but when I went to look for it to re-post it for Smile on Saturday/Pic of Paper, I saw it was of quite low resolution and not quite up to today's standards. So I dug out the original from my archives and re-did it, and I also posted the story that went with it.
This is a suit case full of the 300+ letters written 60 years ago between a certain young lady and I, who had been classmates until she went out to Ohio U. to graduate school, while I remained in Massachusetts to finish up my last two years at Clark U. We had never dated when we were classmates, and the earlier letters were merely chatty writings about our respective academic lives. But then there were the summer get-togethers and 700-mile trips I made to bring her to Ohio in my barely running 1948 Jeep wagon, and the last batch of letters, ending in 1960, took on a whole new flavor. They traced, almost day by day, our journey from friendship to romance. My wife, Sammy, made the comment that she doubts that we ever would have gotten together if it hadn't been for these letters to keep us connected during those often difficult years, and I know for certain she was right.
Several years ago, we took these letters, a small batch at a time, to our favorite coffee shop and read every one of them. In fact, we did it twice, and it was amazing how much of what was in those letters that we had completely forgotten. The same is true of hundreds of letters we wrote to our relatives and friends back east, after we packed up our lives and fled the inhospitable New England climate for sunny California in 1967 (I made Xerox copies of all of them before we mailed them). Re-reading what we went through during those first years when we were getting established here, some of which we had mercifully forgotten, was downright frightening.
We nearly lost these letters during the devastating flood of 1982, when we ended up with knee-deep water throughout our home. They were totally submerged, but the sun soon came out, and we laid them all out on large tables we had set up in our back yard, and nearly all of them remained readable. Thanks to all the letters we kept, I've been able to write a much more accurate biography than I ever would have otherwise, and their loss would have been a tragedy.
Oh what a difference that little three cent postage stamp has made in our lives. And how sad it would have been if all our communication had been through e-mail, which almost certainly would have not survived the years.
The Baptistery of Castiglione Olona is a building in the complex of the Collegiate Church of Santi Stefano e Lorenzo, famous for housing a remarkable cycle of frescoes by Masolino da Panicale (Stories of St John the Baptist, 1435).
The 'baptistery' room probably originated as an aristocratic chapel inside the dismantled castle of Castiglione Olona. At the time of Cardinal Branda Castiglione it was renovated and decorated by the famous cycle by Masolino, who had already worked for the cardinal in Rome, in the basilica of San Clemente of which he had been titular.
Masolino's fresco cycle, a work of his maturity, dated 1435, unfolds on the walls and vaults. The episodes from the life of John the Baptist unfold along the walls with a strong interpenetration of the painted architecture with the real one and, in some cases, an attempt to overcome the very barrier of the end of the wall by linking adjoining scenes with illusionistic effects. Important is the use of Brunelleschian perspective, here applied for the first time in Lombardy, also linked to chromatic and material refinements (such as the use of metal foil in haloes and armouring), which make Masolino a transitional artist between the languages of the Late Gothic and the Renaissance in the strict sense.
The state of preservation of the cycle is uneven: while the right and back walls are well readable, the left and part of the central wall are damaged, as they are more exposed to moisture and weather.
On the vault are the four evangelists around a depiction of the Mystical Lamb in the keystone. The stories of John the Baptist begin on the right counter façade with the Announcement to Zachariah, set in a central plan building and next to an extraordinary view of Rome above the entrance door, followed by the Visitation (barely legible). Continuing on the left wall is the Nativity of John the Baptist, almost completely lost, and the Imposition of the Name, set under an archway that forms a 'perspective telescope', capable of dramatically expanding the physical space of the chapel.
On the archway are the four Doctors of the Church, seated at their scholarly chairs, and two Prophets.
Salome and other bystanders at Herod's Banquet.
In the scarsella, seamless between the walls, the Preaching of the Baptist, the Baptism of Christ (centre) and the Capture and Imprisonment of the Baptist are depicted. In the vault God the Father among angels, a scene connected to the Baptism below, in an overall depiction of the Trinity. Next on the partition wall is the Beheading of the Baptist, and above, on the arch, two angels with scrolls (one almost illegible). Finally, on the right-hand wall is Herod's Banquet, perhaps the best known scene of the entire cycle, which also includes the handing over of the head to Herodias (right) and the burial of the Baptist (in the background). Especially in the latter scene, several bystanders in elegant contemporary dress appear, probably Cardinal Branda and other dignitaries of the place, following an expedient already used in the Brancacci Chapel.
From what I understand "this is the standard red color used for most neon signs.. best choice for lettering. ..easily readable day or night."
Backlit red crackle glass with a little twig silhouette in the foreground. For Flickr Friday, theme: Neon
Village Green Park
Yarmouth, Maine
2019
By request, here is a readable image of the sign that appears in the next photo over to the right in my stream. I did the graphic design work for the sign back in 2019. This image was rasterized into Photoshop from the final PDF I'd sent to the printer.
Western jackdaw (Coloeus monedula, also known as Corvus monedula). While the bird was walking in the field I got several close up photos, the number on its ring was readable. After reporting the sighting I got additional information about it. This bird got it's ring almost 7 years ago (2014-05-19) in nearby park around 1 km away, when it was still juvenile, couldn't even fly and lived in it's home nest.
Alternative title: Is picture of a thousand pages worth how more than a thousand words?
Along with Hume, Kant, Schopenhauer, Popper is one of the greatest philosophical minds ever. Popper's book "The Open Society and Its Enemies" completely destroys Marxism. If you are a Marxist, you might want to read this book...Popper predicted the genocides of Marxism (Stalin, Mao, etc) long before they happened. He knew Lenin personally.
Although Marxism sounds good in principle, Popper shows how incorrect assumptions lead to extremely horrific results.
Popper also had a lot to do with the decline of the logical positivists and the linguistic philosophies.....
The book Confessions of a Philosopher by Brian Magee has an excellent chapter on Popper.
Make sure your library has Popper, Hume, Kant, and Schopenhauer. (If they don't already, then you don't have a good library.) Then read them, although they will be difficult, they'll change you. Like Einstein's theories, we've all heard of them but few of know much more than E equals mc squared. It's time to change that.
It happened 40yrs ago in East London but this appears to be for a film or documentary today. It is a long, convoluted story best checked out via Google.
There was a lot of graffiti for this particular cause in the east, some of which is still readable on railway arches around Mile End to this day.
LR1337
Portugal, Lisboa, Belem, Avenida de Brasilia, Electricity museum, high pressure boiler building, hall of the ashes, workers, ash tracks & cart (slightly cut from R & T).
The Meseu da Electricidade is one of the most striking technology museums we ever visited. It´s the giant Tejo power station, built in 1908 by the CRGE (Companhias Ruinidas de Gas e Electricidade) as the 'Estacão Eléctrica Central Tejo' and also kown as ‘Central da Junqueira’ power station. The facility was expanded and modernized in different steps. The last step was taken in 1951. It´s kinda ironic that due to the new national power grid policy and the prime role hydro-electric power generation in it, the Tejo station then already had the status of reserve station, mainly kept on stand-by.
The power station was coal fired and employed towering Babcock & Wilcox high pressure boilers. It could provide the whole of Lisbon with electricity and was decommissioned and mothballed in 1972. It´s max output was 65 MW. In comparison a modern metropolitan coal/biomass fired power station outputs up to 1500 MW. There's by the way a lively debate about these kind of modern coal fired plants because the relatively high amount of NOx, SOx and CO2 in their combustion fumes. There's a drive to phase them out and rely on gas fuelled ones or, preferably, ones that use wind and other sustainable energy sources instead. So in a way Portugal, like for instance Norway (although Norway skipped the coal phase), was ahead of the game.
Anyway, after a while it was decided that the old mothballed Tejo power station should be turned into a museum. And the result was spectacular. The vintage technology is very well preserved and made readable via didactic cut-opens and access areas. And some dioramic scenes to enhance storytelling /realism and a permanent exposition about the world of energy and the generation of it were added The museum opened in 1990 and was renovated and modernized from 2001-2006. It´s now the most popular Portuguese museum.
This post depicts the bottom level of the high pressure boiler building - the hall of the ashes. Although much of the boiler processes are mechanized, the emptying of the furnace is partly still the type of menial work that harks back to the early days of the industrial revolution.
The museum series is: here.
I was leafing through an old book the other day. One I read as a kid and still have all these years later. It's an illustrated guide to weather. Have always been fascinated with the weather, and perhaps this little book is part of the reason why. It's so weird to hold something in my hand now that I once held as a child (very few such artifacts have survived). The pages have become brittle and yellowed, but the content is still clear and readable. For me the most compelling aspect of this book, then and now, was the illustrations. Not a single photo, everything was hand drawn. The effect was one of near realism but with a slight painterly quality. Today I marvel at the deceptive simplicity of the pictures. Each one effectively tells a story, but it's done with as little structure as possible. Don't think I understood this aspect as a kid. But what I did realize was the way the pictures drew me in (see what I did there) to whatever scene or story was being depicted. A drawing about winter snow showed some figures pulling a Christmas tree on a sled along a rural pathway. In the distance a white church is shown, and snowflakes fill the sky. I imagined myself in the scene, helping pull the sleigh. I felt the chill, even if it was the middle of summer. Other pictures showed tornadoes in the sky and I found them scary yet exciting. It's not just that the pictures showed tornadoes, but the manner in which they were shown, the colors used and the darkness all contributed to the overall feeling. These drawings seemed so real to me in an era way before internet and reality TV. These little illustrations were my reality. They helped form my outlook and the effect (and even some of the images) have stayed in my head all these years. Looking back as an adult I recognize now just how effective they were, telling a story with just a glance. Pictures that caused me to react based on how they made me feel. I had much the same reaction the other day watching a brooding sky over a cornfield. Stalks swaying and leaves rustling in the wind. Everything you need to know about this scene (and a healthy does of atmosphere) conveyed in the first glance. Like a page right out of my old weather book.
If flickr goes through with this Enhanced Photo Experience without massive changes, there will be nothing left of the service we love. Flickr beta is not a photo service I want to be part of. Its likely that a huge portion of flickr's users don't care about commenting and real user interaction because they just dump photos here for storage, but those of us who try and promote our photos and interact with other users are what keep flickr active. Community interaction is what drives many of us to continue posting new work. Stuffing all the user interaction into the corner of the screen will discourage interaction.
A few of the problems with New Experience Flickr:
1. Pressing enter submits comments and creating new lines requires Shift+Enter.
2. New lines (paragraphs) are not displayed in comments.
3. Comment area to type or read is tiny (twitter like).
4. Comments don't display images anymore.
5. Comments are displayed in reverse order (newest at the top).
6. Only the most recent four comments are displayed.
7. Long comments must be clicked on to read the whole thing.
8. Only short three line description is visible until clicking for more.
9. Hashtags #allruntogether instead of just normal readable tags (trying to be trendy).
10. It is hard to see who has favorited your photo.
11. You can't see group invitations anymore.
12. Admins can't do group invites anymore.
13. The add to groups popup only lets you scroll through the groups (no search).
14. Following instead of Contacts (more copying the trendy young sites).
15. The huge photos and heavy javascript are bad for slow connections.
16. Not able to use BB/HTML links in comments.
17. Not possible to create Note or People boxes on photos.
18. Not Possible to edit comments.
19. Editing Photo Description doesn't show you entered edit mode and is clumsy.
Please have a look at the very readable and informative link
about the history of Chania's Venetian harbour and the lighthouse:
www.explorecrete.com/chania/EN-chania-05-venetian-harbour...
Finding two lines from NWA which are vaguely family-friendly enough to use as a photo title is a challenge.
So... Flickr, eh? New page layout, hmmm? Put the photo title where no one wants it and hoist that map up yonder and scrunch the comments all up into tiny disparate chunks and throw pink stars amidships and then screw with my tags? Yeah, I'm all for that. Like Ice Cube buying a cop a coffee and a dozen from Krispy Kreme.
Peter snapped this slightly fuzzy picture from a train window on the viaduct out of Birmingham New street, the line to Aston is in the background. The picture has new MCW buses in store awaiting delivery parked up in the now defunct National Carriers Depot. The nearest bus is LOA 407X (2407) for West Midlands, then for London GYE 421W, GYE 423W and GYE 420W, all these are just about readable on the slide, the last vehicle is not identified but the livery suggests South Yorkshire.
I am not sure why X and W reg buses should be waiting delivery together but the reg numbers of the London buses and the fleet number and reg number of the WM bus are quite clear.
Copyright Geoff Dowling & John Whitehouse; all rights reserved
I have posted a couple of colour shots of the racehorse on this very wet night at Lime Street but this shot using Ilford XP1 film illustrates how brilliant it was with no grain evident at all and with every scribbling in the bodyside dirt clearly readable. Compare that to the exiting 400asa black and white films at the time - HP5 and Tri-X - no contest!
Canadair C-4 Argonaut G-ALHS
The plane was new to BOAC in September 1949 and carried the name 'Astra' It was sold to Overseas Aviation in February 1960, after storage at Gatwick it joined the Derby Airways fleet in October 1961. The aircraft was retired in October 1964.
Peter took 3 views of it receiving attention at Elmdon Airport (Birmingham) in 1963.
I have poached the information from the web but the registration letters are readable and even I recognise Elmdon airport.
Peter Shoesmith 1963
Copyright Geoff Dowling & John Whitehouse: All rights reserved
Mummy Portrait of a Man Wearing an Ivy Wreath, Fayum (Egypt), 101-150 CE.
The Art Institute of Chicago AN 1922.4799
A readable introduction into the topic here:
ascholarlyskater.com/2018/11/08/faiyum-mummy-portraits/
scientific articles:
publications.artic.edu/roman/api/epub/480/1966/print_view
www.culturalheritage.org/docs/default-source/publications...
This pleasant view of Kings Norton station has a good view of the W.H. Smith newspaper stall, a gas lamp and a milepost.
What surprised me was the class 101 with an all yellow cab, I did not know they existed. Sadly, it is not possible to make out the number as the shutter speed was just too low to freeze the movement, I have tried every trick to make it readable, M50308 is a strong possibility. I have the excellent RCTS book "DMUs in colour", in the text it states a few units were treated to this style but soon reverted to just the front as far as the cab doors. This could be quite a rare picture.
Oh I wish it was sharper and in colour.
If anyone can shed more light on this class 101 I would be very pleased. Railcar has a picture of one, more head on and also with no ID.
Peter Shoesmith Circa 1969?
Copyright Geoff Dowling & John Whitehouse; all rights reserved
With travel options all but completely destroyed between with I can't even cross the border to Canada let alone travel anywhere outside the country in no small part to the ignorant and immature hubris of too many of my fellow countrymen. This is further compounded with the constant stories on visual mass media of even four star hotels not even changing sheets and pillow cases in their rooms leaving one in great doubt of finding any accommodation properly and safely sanitized. So to counter this I am going around trying to find natural and historical places of interest close to home primarily in the Hudson Valley. Sadly to say many of these places I've passed directly by or were in close proximity more innumerable times than I could possibly recall usually with my children, some of their friends and or cousins in tow in the back of my car making a constant blathering ruckus while my wife was already complaining about office politics and bickering she would have endure on Monday morning. However with blessed retirement and children now adults I now have the freedom to take the time to explore the local area limited only by my arthritis and general increasing physical decrepitude that comes with age that has finally caught up with me. This is a panoramic shot taken with my cell phone of the Civil War memorial in Sleep Hollow Cemetery which contains the graves of Civil War Veterans from the readable dates that I could observe as men many lived to see the 1920-30's compared to those who were killed in the war were all too often laid to rest in mass graves or graveyards that were set up near the battles where they died.
This print is now for sale. 100 print run, on archival ink / semigloss finish, $50.00 print only, 12" x 18". Contact me via Flickrmail if you're interested.
Testing my newly gained understanding of HDR and photoshop skills.
7-shot RAW HDR tonemapped via PhotoMatix 3, then imported into Photoshop for artifact correction. Final color balance tweaks, cropping and rotation in Lightroom.
This is another step forward to where I want to be, as far as techniques and workflow ability goes. The next step will be getting panorama tools setup correctly to shoot this as a ultra-high resolution panorama.
During post-processing, all 3Gb of RAM was taken up by Photoshop and Lightroom (mostly Photoshop). I will need a computer upgrade to be processing things this way when I get my 5D Mk II. (Along with monitor calibration hardware if I'm serious about selling prints).
Update
Someone had FlickrMailed me about the post processing on this photo. I'll share the technique here.
I read through StuckInCustom's excellent tutorial here - before I headed out into the field. The enlightenment moment for me is realizing that when I first started doing HDRs, I wanted to capture that magical glow in the scene, and typically I go for the overexposures. However, I've always neglected the underexposed frames and as a result I don't have the data to fix the blown out light sources.
I think this scene works, because the arches in the pac sci center, and the neon signs on top of Key Arena, is very readable and not blown out / blurry due to overexposure. If this scene had a body of water in front of it I would have shot the long exposure shots to capture the glow off the water, but longer exposures here just blow out the scene and doesn't give me any more usable data to work with.
Now that you understand my reasoning going into taking this picture, the rest of the technique / workflow:
* I shot a series of shots in manual mode, ISO50 on the 5D, on a tripod with mirror lockup and self-timer (did not have cable release).
* The shots were bought into Photomatix, combined and tone mapped for detail enchancement. I up the white and black points to spread the histogram out and make the scene brighter and I played with the smoothing of the luminosity until I got something I liked.
* I then tone map this into a 16 bit TIFF, and send this TIFF into Photoshop
* I exported the RAW files for the darkest and a medium exposure out of Lightroom into Photoshop. I should play with this as a smart object, but I didn't have a lot of time editing this.
* The exposures are stacked top to bottom: HDRed TIFF, darkest exposure, normal exposure. Note that despite careful use of tripod and mirror lockup the camera still shifts between shots. I used the auto-align feature (layers, autoalign) to correct for the camera movement. I thought it was pretty cool... (I'm a photoshop n00b).
* Mostly I just use a layer mask, 30% transparency brush to brush away the blown / artifacts from the neon to expose the lowest exposure (middle layer) to repair the neon signs.
* I did some blending of the lowest and median exposure layers to try to give a better result with the neons.
* The result is saved into a flattened TIFF and bought back into Lightroom.
* I applied a white balance correction on the *final* product. I shot this on RAW, tungsten balance and found it too warm for my liking, so I decreased the color temperature until I got something I liked.
* Cropped and rotated it so that the buildings are actually vertical. I need to buy a new bubble level :-)
That's it! :-)
Thanks for all the comments, guys!
File: 2025002-0283
Outside the Bristol City Council offices at Collage Green, Bristol, England, United Kingdom, on Saturday 26th April 2025.
About this photograph.
If you are wondering about the meaning of the title Making Sure, the reason is simple.
This guy was at a protest staged in Bristol, against the Scottish Supreme Courts ruling that a woman is defined as a female at birth. As you can see from his placard, that he is a father of a transgender.
I spotted him with this placard, and moved around to get a better angle, started taking a few photos of him, while he was actually looking ahead, and listening to a speaker.
Then through the viewfinder, I noticed he turned his head round and looked at his placard, it was not exactly facing forwards, it was only a few degrees turned around, he looked like he was making sure that his placard should be facing directly forwards, and clearly readable from anyone in the front.
At this moment I took the photo, he twisted the placard slightly, to make sure it is exactly forwards facing.
The photo was converted into black and white while in Adobe Lightroom, and then cropped in Adobe Photoshop.
The Comment Box is NOT an advertising billboard for any Groups. If you want to promote the Groups you are member of, do so IN YOUR OWN Photostream!
You are welcome to comment about the subject in my photo, of the photo itself, or of your relevant experience.
On an dark dingy November 6, 1979 train 912 heads east with 2203B, 779 and 2226A leading 71 cars west of Trout Lake. Kodachrome was out of the question on a day like this with this job cruising along at the authorized 40mph on the Soo sub. I probably was using 400 speed tri-ex film at the time. Lot of years ago so its hard to remember. Thankfully he had the number boards lit or they probably wouldn't have been readable.
Usually I don't put myself in photos, but this one needed something to set the mood. And I was the only one around for miles. And to top it off, I'm wearing my Desert Rat T-shirt and the quote from Edward Abbey on the back is readable. After 2 days of bright sunny skies, the light finally got good! Don't worry Sweetie, there's a ledge below that rock and it was only about a 15 foot drop. Not like the Shafer Road I drove yesterday…..
A carved sandstone block near the entry to the Spectacle Garden in Roma Street Parkland bears a tribute to Colin Campbell, who argued for the establishment of a world-class garden at this site. Mr Campbell was awarded the Order of Australia Medal in 2007 for his service to horticulture. The purple plants on either side of the stone are Colin Campbell Cordyline, according to a small sign nearby.
We're having so much grey rainy weather lately that my images are ending up looking dull and unQueenslanderish - there's a new word! So I processed this one with an impressionist effect to brighten it up but masked the block and sign to keep it readable.
Scavenge Challenge - Signs in context
I'm finding that it's not easy to get reasonable composition while keeping signs readable!
This 2CV has a 1948-1959 phase I bonnet.
The 2CV was originally introduced in 1948 and designed by a team lead by André Lefèbvre and Flaminio Bertoni.
425cc air-cooled 2-cylinder boxer engine.
Total production 2CV: 1948-1990.
Original French reg. number: hardly readable but it could be Departement 82 (Tarn-et-Garonne): 1961.
Number seen: 1.
Castelsarrasin, Route de Moissac, Aug. 23, 2017.
© 2017 Sander Toonen Amsterdam | All Rights Reserved
I have one more photo of little Remi, the Boston Terrier. She is a cute little thing. She loves food, walks, and licking your face, which I had to control a bit. She'll be picked up tomorrow.
A new lens arrived today—a Jupiter 11 from 1962. I like them that old. The distance scale is hard to read, and the numbers are the same as those of the apertures. I don't need the distance scale; I'm just used to it being there and readable. Then I almost screwed off the front part of the lens when I changed the aperture. I screwed it back in. I have another lens that comes apart easily. Regardless, the lens is lovely. Sharp, wide open, and no dust.
Little Remi has been explored :-) Thank you for visiting, leaving comments, and liking the photo.
It’s almost entirely a new build, but my favourite spot must be the inset windscreen glass pieces, which make the central pillar even more readable and give the impression of windscreen being “angled”.
Polderland Garden of Love and Fire - Daniel Libeskind - Almere
This quiet meditation garden is located in the ‘town without a history’ of Almere, The Netherlands. 1992-1997
The garden consists of an observation platform, three narrow water canals, and a fourth dry channel on which a rectilinear volume is resting. These lines direct themselves toward three particular locations: Salamanca, Paris, and Almere. They signify a world location in which love (Juan de la Cruz) and fire (Paul Celan) intersect in Almere’s future. The inscribed ciphers refer to the encounter between Juan de la Cruz and Paul Celan in the newly reclaimed land. They become readable at precisely those times when the materiality of forms dissolves into oblivion. The volume is comprised of flat pieces of metal placed next to and in front of each other. The feel is that of a vertical/horizontal labyrinth.
Lothian Buses Airlink 427, SA15 VTE. Gemini 3 / B5TL. Seen here in the new #fleetofthefuture Airlink livery, on Shandwick Place operating the Express 100 for the City centre. Currently the only Airlink vehicle in the revised livery. On a personal note I think, that in the future, they need to redesign the route map, blue on grey does not work, its is not readable / noticeable as a route map. Not a lot of work needed to redesign or remove, before the other fleet vehicles are re-liveried