View allAll Photos Tagged Readable
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
This is another design for the LEGO Ideas logo contest. For this entry I wanted to try a more minimalist design that would reduce down in size and still be readable, and legible. ideas.lego.com/challenges/24fd22ae-cf81-453e-b5d2-c7c6fd6...
140 year old original document, these are my paternal great great grandparents.
The document is 18x20, it is damaged, but much of it is in readable condition. A treasure for sure.
The bible verse that you can partially see at the top is from Genesis 2:18, Then the Lord God said, “It is not good that the man should be alone; I will make him a helper fit for him.”
This is my maternal great great grandparents...Rebecca and Emmanuel...I read that he was a nightwatchmen at a carpet mill, he spent his entire adult life walking and patrolling the grounds...and raised a family...my grandmother used to tell me about them and how wonderful they were.
“Anyone who has paid even a little attention to plant growth will
readily see that certain external parts of the plant undergo frequent
change and take on the shape of the adjacent parts—sometimes fully,
sometimes more, and sometimes less.”
.
THE
METAMORPHOSIS
OF PLANTS
Johann Wolfgang von Goethe.
.
«I cannot tell you how readable the book of nature is becoming for me; my long
eff orts at deciphering, letter by letter, have helped me; now all of a sudden it is
having its eff ect, and my quiet joy is inexpressible.»
—Goethe to Charlotte von Stein, 1786
Location: Berlin - 445km from home.
This Danish temporary plate was an early and lovely surprise. Funnily, this vinly plate was stuck on a white blank background inside a plate frame to give it a more official look. I'm still surprised about these plates as nothing is readable unless you're super close.
This Great Egret (Ardea alba) was photographed near the Sol Rio de Luna y Mares resort near Guardalavaca, Cuba. The leg markers were readable in other photos. By entering the information into an easy to use website I discovered that this bird was banded when too young to fly in 2015 on an island in Georgian Bay near Collingwood, Ontario and the bander discovered where this bird was in April.
Courtaparteen Church and Graveyard near Kinsale, Co Cork, Ireland.
Courtaparteen chapel was a 6th century church/chapel and graveyard. Now the chapel, said to have links with Saint Rúadhán is a ruin, it's still a remarkably moving place to visit not only for the incredible coastal scenery but for the fact that so many local families have been buried here over the years. Graves range from beyond readable in years, to 2011, so still an active burial ground today.
HTT!
From the words still readable on the door of this old Ford, this relic was used as part of some fire dept. years ago.
This old building is in Georgetown, Maine in the village of Five Islands. It may have been a home or a business. There is a wooden sign over the window but it is not readable by me.
This doesn't look like much and by all means not like a baptismal font. It is one though. The historians fight about it. Fun fact: in the early centuries the baptism was executed in a river. Later the candidate for baptism was submerged by the holy water. For this they needed huge baptismal fonts like the one in Amiens Cathedral. But the huge baptismal font was placed on the ground. In the 13th century the baptism by infusion was already executed everwhere. I guess it was more practical and the candidates for baptism were generally children that wouldn't need such a big baptismal font anyways.
And that's why the historians fight about this baptismal font. The stands were made from a different material than the basin. The stands are decorated with a plant or flower motif. They were definitely made in the 13th century.
The basin might be older since it resembles another basin in Somme and said other basin was made in the 11th century. All historians agree that the basin has been used standing on the ground. Some say that this basin had been used on the ground before and it might even be made in the 8th or 9th-century. They say the stands were added later when the ritual of the baptism changed. The others have no idea why the stands were added. I find this rather fascinating. The others say, that the basin, made in 1180, was used to wash corpses, which is also a possible but not so interesting theory. It doesn't sound very nice to wash corpses in it and then baptise people in it. But you'll never know. The basin is decorated with four prophets. One on every angle. The names of Joel and Zachary are still readable.
Received in the Office November 9 A.D. 1893 at 1214 P.M.
Found in a cell of an abandoned county jail.
Who knows how this got here. There was a mound of about twenty others left exposed to the elements and deteriorated into a pool of sludge. There were a few though, that were still sheltered inside of a cell and readable. The dark spots are from mildew/mold taking hold on the old paper.
To me this speaks volumes of the history of New Jersey's largest City.
Newark...murder free for 43 days and counting!
It was only at the point of scanning I noticed the bus! This is part of the bridge replacement set of pictures taken by Phyllis at Millpool Hill on the A435.
In this view we are looking back towards Cocks Moors Woods taken from just in front of the wall in front the doomed cottages next to the Kings Norton to Stratford-upon-Avon canal. The road has obviously been diverted with a new white line diverging from the old centre line.
Looking down the closed section of road we see a lovely square lantern streetlamp, beyond which is the canal bridge and the Horse Shoe Inn, a Morris 14 completes the picture.
Unfortunately, the bus number plate is not quite fully readable, but it is CVP 1*1. This batch of buses were introduced in 1937, they were Daimler COG5's with Metro-Cammell H30/24R bodies, the route is the 35 Erdington - City - Alcester Road - Maypole (Joint service with 17, showing 35 in this direction only)
Miss Phyllis Nickin Summer 1937.
Collection Geoff Dowling
So my first roll of 5222 @ 200 iso went pretty well IMHO as I was definitely impressed with the tones.
As 5222 seems to be typically rated a 200 - 250 iso film from what I have read, I guess shooting it at 400 iso would be considered a push.
I loaded the Nikon F2a with a roll and rated it at 400 iso and souped the roll in HC-110 B for consistency and comparison to the first roll I shot at 200 iso.
Is it me or does Double-X seem determined to pull detail out of the shadows while retaining detail in the highlights?
This was shot on a very sunny day so essentially sunny 16 rules apply. Because I pushed the Double-X to 400, I fully expected my shadows to be dark & without detail. For example, the guys shadow and the shadowed doorway. I expected these areas to be very dark as the scene was in full sun, very contrasty and I did not overexpose for shadow detail. Films that I normally push would produce a very contrasty negative however, the level of detail retained throughout this negative blew me away.
No science here, just my observations based on pushing other films like Tri-X or Neopan 400.
Any thoughts from you Double-X users out there ?
Nikon F2a + Nikkor 50mm f2.0 + Eastman Double-X 5222 @ 400 iso + HC-110 B @ 10 minutes (30 sec agitation)
Yesterday, the my two siblings living locally and I met up for one of our periodic breakfasts to our go-to diner, Lester D’s in St Catharines, Ontario. The other sibling living far off joined us in her now traditional virtual embodiment. It had been raining for hours when we met up and the rain was still pouring down when we wrapped up and proceeded to head out. As I stood there saying my goodbys, I noticed the neon sign at the diner’s entrance was reflected in the rear window of an SUV. The severe curves made it pretty much impossible to get it all sharply in-focus, but in just the right spot, I was able to get the neon reflected against a dark background. As the title says, the neon reads 'All Day’ (in blue, and ‘Breakfast’ (in red) and, yes, I flipped the image to make the sign readable. A kind of a nice abstract full of texture and colour, particularly red, so Red Rule, applies. - JW
Date Taken: 2020-03-10
Tech Details:
Taken using a hand-held Nikon D800 fitted with an AF-S Nikkor 24-120mm 1:4.0 lense set to 120mm, ISO2500 (Auto ISO), Auto WB, Shutter Priority Mode, f/4.0, 1/125 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: darken the image overall by setting exposure compensation to EV-0.58, boost contrast and Chromaticity in L-A-B mode, boost Vibrance, boost black level, apply noise reduction, sharpen (edges only), save PP in free Open Source GIMP: adjust contrast and brightness to get a more intense tonal range, use the Hue-Saturation-Brightness tool on the red channel only to darken and boost the saturation of the red neon lettering, sharpen, save, scale image to 6000px wide, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048 px wide for posting online, sharpen very slightly, save.
Ralph Albert Blakelock's wide-ranging tours of the American West in 1869 and 1871 inspired him to paint Native subjects for many years.He was one of the first painters to depart from a documentary treatment of Native Americans choosing instead to describe them in vaguely readable groups set in dark and moody moonlit settings.This approach immediately marked his landscape settings as American but left the storyline up to the active imaginations of his late nineteenth century audience.
About the artist-Ralph Blakelock was born in New York City October 15,1847.His father was a successful physician.Blakelock initially set out to follow in his father's footsteps,and in 1864 began studies at Free Academy of the City of New York now City College).He dropped out after his third term,opting to forego formal education.From 1869-1872 he traveled alone through the American West,wandering far from America settlements and spending time among the American Indians.Largely self taught as an artist,he began producing competent landscapes, as well as scenes of Indian life,based on his notebooks he filled while traveling and in his personal memories and feelings.Blakelock's works were exhibited in the Academy of Design.
In 1867 Blakelock married Cora Rebecca Bailey,they had nine children.In art Blakelock was a genius,yet,in business dealings and in monetary transactions he proved a failure.He found it difficult of not crushing to maintain and support his wife and children.In desperation he found himself selling his paintings for extremely low prices,far beneath their known worth.In hopes of lifting his family from abject poverty,reportedly in the day his ninth child was born,Blakelock had offered a painting to a collector for $1000.The collector made a counter offer and after refusing the proposal sum Blakelock found himself in a bitter argument with his wife.After the domestic dispute Blakelock returned to the patron and sold the painting for a much lesser sum.Defeated and frustrated it is said he broke down and tore the cash into pieces.And so it was after such repeated failed business transactions that he began to suffer from extreme depression and show symptoms of mental frailty.
Blakelock suffered his first mental breakdown in 1891,while living his brother in Greenpoint Brooklyn.For financial assistance,he began selling his paintings,including 30 to 40 to vaudeville performer Lew Bloom between 1889 and 1892.His depression manifested in schizophrenic delusions in which he believed himself immensely wealthy-perhaps a compensation for his long struggle to provide for his family.In 1889, he suffered his final breakdown and spent the entire remaining twenty years of his life in mental institutions.
Almost as soon as Blalock went into the first psychiatric hospital,his works began to receive recognition.Within a few years the paintings he had once sold for next to nothing were resold for several thousand dollars.In 1916,Blakelock was made an Academician of the National Academy of Design.Meanwhile,Blakelock languished in the mental asylum of Middletown State Homeopathic Hospital,whose adminstration and staff were unaware of his fame as an artist,and who viewed his belief that his paintings were in major museums as one more sign of his illness.While confined he continued to paint in ink,painting on the backs of cardboard and various supports,substituting bark and his own hair for brushes.In 1916,one of Blakelock's landscapes sold at auction for $20,000,setting a record for a painting by a living artist.It was this impressive price that captured the imagination of Sadie Filbert,who had reinvented herself as the social prominent Beatrice Van Rensselaer Adams so that she could swindle the wealthy by persuading them to donate to charitable causes that would,in fact,serve to enrich herself.She founded and milked the Blakelock Fund,which was supposed to support the impecunious artist and his needy brood.She informed Harrison Smith,then a young reporter with the New York Tribune,of Blakelock's whereabouts,and he went to see Blakelock in the asylum.He found him largely lucid,although under the delusion that an imagined "diamond of the Emperor of Brazil" had been stolen from him.Smith explained to the asylum director who Blakelock was,and managed to arrange to bring Blakelock and the director to Manhattan,where a major gallery retrospective of Blakelock's work was taking place. Blakelock was awed by the changes in the city in the two decades since he had last seen it,and thrilled to see the recognition of his work had received.Smith scored himself a major news story.(In a 1945 account,Smith added that Blakelock had quietly informed him that several of the paintings were forgeries,but Smith chose not to put that in his story because of the question of how far he could rely on the word of the less than fully sane Blakelock.)These events lead to Blakelock's release from the asylum,in the care of Sadie Filbert,alias Beatrice Van Rensselaer Adams,who milked him for all he was worth.
He continued painting until his death at the age of 71 on August 9,1919.
-Wikipedia
I'm officially calling this done. I tried to add a PEQ in paint, but it turns out that paint is hard to work with so fuck that. Credit to Warlock, I modified this trigger from his AK's.
No white shapes.
When dealing with the challenges presented by an urban environment, today's rifle needs to be compact, powerful, and accurate. No sniper system provides this rare blend of attributes like the battle proven SRS, and now Scottish Industrial Armaments is proud to unveil their modernized vision of the world's most successful bullpup sniper package.
It looks pretty dandy in Lightbox, if that's your thing.
This was the best I could do without trespassing and was taken through a fence from the field behind as the gates to this place were closed, and this now open top vehicle appeared to be 11 Reg but its reg plate and partially removed fleet number were not readable from a distance.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw Today here at Dunkirk!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
Europe, Netherlands, Zuid Holland, Delft, Nederlandse Spoorwegen, Station (uncut)
The new and remarkable building is layered : on top offices of the Delft municipality, below the railway station.
In the station hall right angles are evaded and there's a nice feel of spatial flow due to the curved shapes of the interior. The vaulted ceiling is suspended from a metal space frame.
There are two historical references: the cladding of the pillars and some internal walls with 'Delfts Blauw' tile fragments and the giant ancient (1789) city map printed on the baffles of the vaulted ceiling.
The way the map is printed on those vertical baffles makes that's it's only recognizable / readable from a certain low angle. All the other viewing angles make it abstract and to me the effect of this is .....visual clutter which distracts from the sweeping lines of the vaulting. In a way, design-wise, for neo-modernist Mecanoo a very rare faux pas.
Leading Mecanoo architect Francine Houben explains the design and construction here.
Shot during a great station walk and extended lunch with Leun :-)
This picture is #169 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Fine art photographer, Fritz Liedtke has completed a project aboyt photographing strangers with freckles. He called it "Astra Velum", veil of stars. What a nice metaphor. Here it is: fritzphoto.com/arts/astra-velum/
When I spotted Caytlin, I immediately thought of Astra Velum. Caytlin was with Matt (Stranger #168) and had no reservations about being photographed. Actually, I was initially atracted to her, not Matt :-).
I usually like to come in a lot closer for a headshot only, as my prime interest is the eyes. But in this case, I feel that the very readable tattoo adds a lot to story.
Caytlin is a life long resident of Venice. Not many people, even her age, can say that in this retirement community.
Thank you, Caytlin, for allowing me to photograph you for the 100 strangers flickr group. And to continue my learning process in street portraiture.
The second book I have repaired for a friend of my brother. Photos taken under different lighting conditions hence colour changes. At least it won't fall apart any time soon and is readable.
Quite useful to have a hobby that I can do when the light is bad or its raining and photography of wildlife is not feasible.
This setup took forever & it all started because I made a sushi cookbook that had readable pages (that's it at the top). Other people made the sushi, but I made the wasabi, ginger, & the miso soup, working in 1:12 scale is HARD LOL. I also replaced the stools that came with the kitchen set because everyone kept falling off of them. I found these chairs which were actually counter height, which of course didn't work, so I cut them all down to work with the island. Dollhouse stuff is so light that the slightest touch moves it out of place, with my fat fingers, I need to stick with 1:6 scale. :-)
Dear Protagonist, (a reverie regarding you in the perpetual present), Tim Lowly © 2013, acrylic on panel, 86” x 74”
The parenthetical latter part of the title alludes to both how
1) a painting has a relatively temporally static state (compared to film for instance) and as such the viewer's experience with a painting is fundamentally rooted in the present [ie. this reading suggests the "you" is the viewer].
and
2) Temma (my daughter depicted in the painting) seems to have a fairly limited memory and as such seems to exist in a perpetual present [ie. this reading suggests the "you" is Temma].
Assistance with this work by Erica Elan Ciganek and Maggie Hubbard]
Please view this large
Here is the beginning of an essay Kelly VanderBrug in which she reflects on the painting (it's from the book "Trying to Get a Sense of Scale" ). Over the summer I was finishing this painting Kelly would stop by frequently to observe the process of the painting's making:
Temma takes a step, making and made. As in Temma on Earth, she continues muscle tensed, hunched, clenched hands, but this Temma’s vulnerability lies below the surface. She shuffles forward from dark clearing to a path—perhaps a dry streambed. Her awkward yet purposeful baby steps exhibit intentionality. She isn’t just going to the store. She wants to show the viewer herself, her role.
She gazes inward rather than out at the viewer. Technically the real Temma is cortically blind, eyes intact but brain unable to process the images that come. In this painting a blindness of sorts gets painted even though it is ambiguous. Her eyes look down or maybe flicker shut though she still seems to see in her own way. The oddest thing by far comes as a surprise, rising in my mind as I continue looking at this painting. It is this: here seeing assumes no higher value than any other voluntary or involuntary action except as a means of recognizing the girl.
When the viewer pulls back to take in the whole image, ambiguity adds to ambiguity. Everything gets peeled back and tipped up. What is here? The viewer lists a girl, wall, maybe wallpaper or garden or corral reef, air, floor, and shimmer of light. The bottom left corner is important. It points to a real and readable domestic space. It suggests that something double happens: The outside space is the wallpaper of this room with a doll’s bed, but the bed could also fit a person. In the latter case this Temma towers over the space with its vaulted ceiling.
In the painting Temma exists ambiguously, both vision and real. The light says it reflects on her and comes from her but not as exactly as Rembrandt’s Supper at Emmaus. Temma’s glow subtly makes, grows, and extends. Unlike her steps, she does not make with intention. It is her very existence that makes. She emits the cool bioluminescence of a female firefly and also moves close to the ground. She is a messenger without wings. Around her, embers fly up, shimmering into the heights, but nothing sears the eye or skin. These embers, paint daubs skipping from her shoulders, land at her feet and shimmer temporarily. As this world grows chilled, Temma brings light in a small circle. Her light quakes, fragile and expanding.
The light that reflects on her is another light all together. Temma comes forward into this brighter light, and even in her projecting glow, everything else fades back. The blanket dazzles. Her wrap of rainbow color cocoons her and hums with bright energy. Its softness appears blurred even as the light crisply carves out peaks and valleys. Her hands and face beam even more. It is clear that her body is not “normative,” but at the same time Lowly depicts her beauty. The reflecting light spotlights her and emphasizes her already obvious significance. Her message is a call to attention. It suggests that paying attention to her will create change.
It is important here that Temma crosses multiple spaces. She not only steps on a path, but that path is a wall. It leads into a room and out to the space where the painting hangs. The three spaces barely clear their throat. A viewer must take time for it to settle in. She moves from outside the wall to domestic space to our world. She is already leaning through, her head catching the bright light of our space. Or is our space the fourth space, the third space being a stage where all this happens?
Whatever the case, Temma is our guide and the focus of our attention. The focus is sharpest in her face and hands. Everything else winks in and out of focus. Here and there a stone is clear, but not the plant or bit of wood next to it. Darkness shrouds the upper reaches of the painting, the background, and the bed’s head- board. The blanket around her blurs slightly.
Europe, Portugal, Lisboa, Avenida de Brasilia, Belem, Electricity museum, high pressure boiler room, Babcock & Wilcox high pressure boilers, visitors (uncut)
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 and a part of the Tejo region 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, wind and other sustainable energy sources instead. So in a way Portugal, like for instance Norway (although Norway skipped the coal phase, thanx Jack), 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 cathedrale like high pressure boiler room again, wih 4 towering Babcock & Wilcox high pressure boilers and the 8 long diagonal 'distruibidores' - through which coal is fed into the furnace. On the left is the control station and all the way in the back is the maquette that was featured earlier in this series: here
This is for now the last one of the Museu da Electricidade series. Thanxalot for your kind words and enthusiasm!
Main source: here
explicit material follows,
if you are of a tender disposition DO NOT read on!
ok, a nice walk on the beach resulted in a disturbing some might say gruesome find,
the bottle contained remains of the message all but destroyed by water and time with only a few words readable
"... ... ... 17 years ... .... 1725 ..... ..... .... .... damn .... fosaken ..... .... .... ..
......................................................................... ..... ......
... they ... .... .... at night .... ... glowing .... .... .... blood red ....
... hairy .... .... ... sounds of chewing ... ... ... ...
I ... terrif... ... ... kill ...elf ...
.... wound ... ... ... ... feve.. ... shaking ....
...................................
goo... ..uy "
An- oder Abflug. an Tragflächen ablesbar zum Beispiel an Landeklappen ?
Arrival or departure. readable on wings for example on flaps?
3 Flugbewegungen in 1 Stunde !
3 flight movements in 1 hour!
just what: observer and eye-catcher!
nur was für : Beobachter und Hingucker !
www.flickr.com/groups/4004165@N21/ : printshot / printscreen
im Hochgebirge : Alpen Europa!
in the high mountains: Alps Europe!
Mein Motto : sehen bemerken festhalten teilen zeigen = bratispixl
私のモットー：共有ショーの保留通知を参照= bratispixl
My motto: see notice hold on share show = bratispixl
شعاري: انظر تعليق الإشعار على سهم المشاركة = bratispixl
Мой девиз: см. Уведомление, удерживайте на шоу show = bratispixl
Ma devise: voir l'avis de mise en attente de l'émission = bratispixl
edixa-mat kadett
WIRGIN - WIESBADEN
1963
lens
edixa-auto casseron 1:2,8 50mm
STEINHEIL MÜNCHEN
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: Hauptspree bei Halbendorf / Oberlausitz
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.
These must be the easiest school duties ever for these drivers, as they don't pick up anybody. Bet the drivers are loving it!
Sullivans have a number of E400's (E's) which they use on TFL school contracts. I've seen almost all of their routes and vehicles but this is the only vehicle I have seen with a fleetname. It's a bit small, but it's something – and at least it's 10x more readable than the fleetname on the Tower Transit vehicle that was in front of this.
Almost got done here by a Donohoe construction lorry that's pulled up on the wrong side of the road (behind the bus) just 1 minute earlier forcing me and the bus to adopt a different position and take the shot later where the bus doesn't align nicely with the buildings. Swines!
Some browsers have automatic image sizing.
After clicking the link you may have to click on the photo to see the original size.
* Random 3 shots from +- 2/3 exposure RW2 (CM1) + need slight alignment
* AURORA 2019 is sharper + smarter - "Holiday Inn" is visible, readable (200%)
So one of my favorite things about my time spent in the hobby is how many AG stores I've had the chance to go to. It's amazing really, how many times my family has gone out of our way to go to the AG store when we travel so that I can pick up the store shirt.
Since they aren't all readable in this picture, we've got: New York, Los Angeles, San Francisco, Seattle, Kansas City, Chicago, San Francisco (diff. version), Boston, and Dallas.
I took the advice of David out here , and outlined the words so they are now more readable. This is the motto for Krewe of House Floats 2022. 😍
After searching many years for the perfect sketchbook, I finally gave up on the commercial brands and decided to make my own. For weeks I stayed up all night tearing paper, threading needles, poking holes in mat boards, and utilizing all kinds of gadgets, until finally I created the sketchbook I had been searching for. Here are the steps I used to make my favorite sketchbook.
1) Measure out and tear (using the side of a ruler) a full sheet (22" x 30") of Arches watercolor paper into eight, 7.5" x 11" sheets (a full sheet is actually 22.5 inches wide so the individual pieces will be 11.25" long including the deckle edge). Make sure the paper's front side is up (watermark is readable on front side). Repeat until 4 full sheets have been torn into a total of 32, 7.5" x 11" sheets.
2) Organize torn sheets so all the deckled edges are together on the right side.
3) Cut two mat boards 7.75" x 11.75".
4) Wrap 2" wide, book binding cloth tape lengthwise around the left side of each cut mat board, with approximately 1" on top and 1" on the bottom. This will give the binding more support.
5) Sandwich the stack of paper in between the two mat boards with the deckled edges facing away from the taped ends. Take the book to FedEx Office (or any other office supply store that has binding), and have it spiral bound along the taped side. I had FedEx Office spiral bind my sketchbooks but it's also possible to buy a spiral binding machine. Zutter's Bind-It-all and We R Memory Keeper's The Cinch*** are two products I’ve heard good things about and both have YouTube video demonstrations.
6) Once your book is bound, use an awl to punch two holes into the back side of the mat board. (It’s a good idea to put a couple of layers of cardboard behind the mat before making the holds so as not to poke a hole through anything else.) Using approximately 21" of elastic, push each end up through the holes and pull tight until the elastic is snug around the sketchbook. Overlap the two elastic ends and stitch them together with sturdy thread.
7) Finished!
***UPDATE***
I recently purchased "the Cinch" for binding books. The tool works quite well and easily punches through mat board. I purchased the 1" plastic spirals (it's the only size they make) and found them too large. So I ordered the metal binders sizes (3/4" and 1") and they seem to work pretty well (I prefer the 3/4"). Ultimately, I like the binding better from FedEx Office but it's not worth the hassle for me to drive and wait hours for my order to be completed. I think the Cinch will be my sketchbook binder of choice!
****
IMPRESSIONS OF WINE COUNTRY
****
I am proud to announce the publication of my new book, Impressions of Wine Country. In this book, I talk with a number of winemakers and grape growers to uncover the artistry of viticulture and viniculture in this unique area of the world. It is both a story of how wine is grown and crafted from the vine to the glass and a picture book containing over 170 of my watercolors (drawn mostly on location). Travel with me as I explore the seasons of the vineyard in Northern California.
Available on Amazon: www.amazon.com/Impressions-Wine-Country-Richard-Sheppard/...
The 400mm f/2.8 is simply incredible. From quite some distance, this lens recorded what type of spark plug is in that engine - easily readable in full resolution
Karting at Road America, Fall Vintage weekend September 2015
I must admit that I had ulterior motives when I approached Wayne, my 166th stranger, for a portrait. Sure, I thought he had a cool urban vibe and I knew that his hair would add interest to any portrait, but my desires went beyond style. Let me explain.
My last stranger outing was about a month ago. During that time it seemed that I was having problems with my Nikon’s autofocus feature. The problem is best illustrated in the portrait of my 161st Stranger, Devin ( www.flickr.com/photos/chriscamino/23921005261/in/photostr... ). For this shot, although my focal point was definitely on his left eye, the focus on his eye was unmistakably soft. However, the focus on his sideburns (farther back from his eyes) was perfectly sharp. Someone suggested that I check my lens/camera calibration in order to determine if my lens was ‘back focusing’.
I turned to my camera manual as well as browsed a few web sites to figure out how to check calibration as this was uncharted territory for me. The method I ended up using is as follows: Firstly, I mounted my camera on a tripod to eliminate motion blur. Then, about ten feet away I placed a household measuring stick that had bold marks and numbers along its length. I set up the stick at a 45 degree angle going away from my camera…essentially giving me a way to measure my depth of field. Using my portrait lens opened to a wide aperture, I then focused on a specific point on the measuring stick and captured the image. Sure enough, the point on which I focused was barely readable in the resulting image, but the numbers 2 – 3 inches behind my focal point were tack sharp. My camera/lens was back focusing! Recalibrating a lens is accomplished via one of the camera’s menu functions. It wasn’t difficult to do, but it required a little bit of trial and error by testing the DOF on the measuring stick multiple time. I finally got the depth of field where I thought it was correct. Two things concerned me. Firstly, I essentially had to max out the allowable calibration to get my lens to focus at the proper point. Therefore it just wasn’t just a little bit off….it was totally out of whack. Secondly, I checked my other two go-to lenses (you need to calibrate each lens separately) and it turned out that they required the same degree of calibration. It seems the issue is inherent to my camera (as opposed to an individual lens). A friend suggested that he had had similar issues with his Nikon D600, and suggested I might want to send my camera back to Nikon to be checked out. I am tempted to take his advice, but before incurring the cost and inconvenience of such a move, I figured I would see if this calibration exercise would suffice to solve my problem.
So this brings me to my encounter with Wayne. This was my first stranger outing since I had recalibrated my lens, so I was a little nervous not knowing if my adjustments had done the trick or if they had entirely botched up my autofocus I liked the opportunity that Wayne presented to me. Not only was he a fine looking stranger, but all his hair, both on his face and head, represented a plethora of detail in which to gauge my lens DOF. Wayne’s portrait was to act as the ultimate living test for my lens calibration.
Wayne readily agreed to the portrait. I posed him in front of a statue/monolith that was mirrored, and the blue tone in the BG is the muted reflection of the late afternoon sky. I was shooting slightly below Wayne as he was standing on a small mound. Wayne’s girlfriend was assisting with a reflector left of frame. My focal point was directly on his left eye.
I am pleased with the final result, not only with the focus but especially with the portrait Wayne and I were able to produce together. Regarding the focal point, his left eye is reasonably in focus. Zooming in tight on his eye, his eyelashes are sharp and I can make out a fine blood vessel in the white of his eye. I think the detail in the iris could be a little clearer, but that may be too critical as his eyes are dark. I may have calibrated a little too far and there might be a slight ‘front focus’ occurring now, but overall I am happy with the sharpness and my recalibration efforts.
I do not know how my camera could have been knocked out of calibration. I did have the sensor ‘professionally’ cleaned in December, so I am suspiscious that whatever happened might have occurred then (the timing seems right). I am by no means a wizard when it comes to the inner workings of my camera, so if any of you techies out there have something to add or think I am missing the mark, please feel free to elaborate. I wanted to write this piece as a service to inform my fellow amateur stranger photographers (that shoot with a dslr camera) that if your focus is not all that you think it should be, maybe it would be worthwhile to check your lens calibration.
Check out the rest of the stranger street portraits in my project at Paco's 100 Strangers Project and find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page.
Ever since I met you no vacancy 🎶
This past summer I used oil pastels to create a scene depicting what I envisioned when I heard this OneRepublic single. Ever since then, I wanted to recreate this drawing as a Lego scene. However, I quickly realized how hard it would be to make a readable neon sign in minifig scale and eventually scrapped the idea...until last night. While listening to this song again, I found the inspiration I needed and reworked my vision for this build. This was unlike anything I've done before since the entire build is actually facing towards the sky. This was done so that the pieces making up the words can remain unattached to anything (ultimately simplifying the build). I really like how this came out and hope you enjoy this different type of build ✌️
You can see the original drawing and how I created this build on my Instagram @_elitetc_
I don't exactly know how this shot went so mad, so completely wrong - yet it retains a fascination of its own to me.
This is a New Lomochrome Purple 400 film that I started shooting inside a Cosina CX-2, then moved to an Olympus TRIP once the Cosina proved to be unable to advance the film after 7 or 8 shots (this has happened before with a roll of a different make and era, so I'll assume the camera needs repairing - sob).
After reshooting the first frames and all the rest of the roll on the Olympus, I brought the roll to the lab, to later realise the first troubled shots were missing from the prints. I then checked the film and scanned it with my Plustek machine... just to find out these images are a total mess. Only this one shot shows a readable image, though completely f*cked and with a grain as big as popcorns.
I am posting this because I like it in its uncompromisingly weird, flawed, twisted way.
.
Camera: Cosina CX-2 + Olympus TRIP35
Film: New #Lomochrome Purple 400
See more at my LomoHome: bit.ly/ADGlomo
This was inspired by many things but mainly this photo. It didn't turn out at all like i was expecting though and i think it ended up being inspired by this one too.
In any case, i still don't know about it. I think i only uploaded it because Michelle told me to. I've been doing that a lot lately.
View On Black <--- if you want to try to read any of it.
Portugal, Lisboa, Belem, Avenida de Brasilia, Electricity museum, Condensors hall, school children, teachers (slightly cut from all sides).
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 condenser hall and the stairs to the area where the actual electric current generation takes place: the hall of the turbo alternators.
On the stairs is a group of schoolchildren that we encountered at various places in the museum. Their disciplined behaviour and being spellbound by the presentations of the educational staff of the museum was remarkable.
Click on the photo twice for spine readable size.
Some browsers have automatic image sizing.
After clicking the link you may have to click on the photo to see the original size.
This eagle is Haliaeetus leucocephalus - which is Greek for Sea eagle white head.
It is number 2 from the digital colouring book: INTRICATE INK Sketches 2.
A Book of 25 Animal Drawings by Tim Jeffs.
The white-tailed eagle reintroduced to Scotland in 1975 is considered a close cousin of the bald eagle and occupies the same ecological niche, but in Eurasia.
A very readable guide to Bald Eagles here:
"Uncommon Valor was a Common Virtue", reads the inscription at the base of the US Marines Memorial, aka Iwo Jima Memorial, in Arlington, VA.
The early twilight skies were showing promise for a colorful sunrise, so I headed to this spot to set up and wait. Immediately adjacent to thousands of headstones lining the rolling hills of Arlington National Cemetery, this brilliantly rendered statue and flag provide a readable silhouette at first light.
It was truly my great honor to capture a photograph of such a worthy American symbol honoring our brave men and women of the armed forces, including the USMC.
Lens is the FA 150mm f/2.8 on the 645Z. I only had room this trip to travel with 3 focal lengths(35mm, 90mm, 150mm), and a flimsy travel tripod, so I found myself making composition decisions based on the lens, instead of my usual pre-visualization process.
Click through to see more symbols of our great nation.
Thanks for looking.
For a photographer its normal to have parts of the equipment on the desk, perfect for the Macro Monday theme, Desk or on m my desk.
37424 in full RHTT livery at York. 37558 is under the grime somewhere and the nameplate is barely readable! nice to catch it in the sun mind.
Regional trains - the only ones to actually stop in Liechtenstein; long-distance trains simply run through - on the Feldkirch - Buchs line are rather scarce: there are nine trains per day in each direction on weekdays, all but one (a Buchs-to-Feldkirch lunchtime working) concentrated in the morning and evening rush hours. That means that the first train to start in Buchs for the evening rush hour (train R 5721) has to be conveyed as ECS from Austria. That is this train (it clearly says "Leerfahrt" on the front), composed of an unidentified Talent type EMU of class 4024 in the new CityJet livery. Unfortunately, with that new livery, the EMU ID is hardly readable from any distance greater than a few meters, so I don't know which one this is. Schaanwald, 07-05-2019.