View allAll Photos Tagged Reduce
Another trip to Tamala Park Conservation area. This is a coastal sand dune community in a suburban beach setting. It is rare to see anyone in this area and it is very peaceful and very therapeutic. This time when I was there I met three young people doing a revegetation project to reduce the wind erosion. They were planting lots of native coastal plants. I took to the lady in charge for a while. She was delightful and her passion for coastal plants and knowledge of their biology was refreshing. AND she shared my love for coastal spinifex plants.
Image Details:
15x1200s Ha 1x1 (5hrs)
14x1200s OIII 1x1 (4hrs 40mins)
18x1200s SII 1x1 (6hrs)
Darks, flats and bias, all binned 1x1 @-20c.
Total Exposure 15 hours 40 mins.
Optic - SW Evostar ED80 DS-PRO with SW 0.85 reducer.
Mount - HEQ5 PRO Synscan with Rowan Belt Drive mod.
Sensor - Atik 383l+ Mono CCD + Baader 36mm 7nm Ha.
Guiding - ZWO ASI120MM + Orion 162mm/F3.2 guidescope with PHD2.
Sequence Generator Pro and PixInsight.
Thanks for looking.
A reduced palette again, only this time I went for the dark. Mannequins continue to be a favoured subject for me. I live and work in the downtown of a major metropolis, one that's growing at break-neck speed. So urban themes are the most immediately accessible and by being a 'downtowner' such themes are subject to my constant observation.
Music Link: "Nightporter" - Japan, from their album "Gentlemen Take Polaroids". David Sylvian's deeply moody, nighttime lament came to mind when looking at this finished image. The loneliness of night in his song is beautifully palpable. Here the image can be seen as both a portrayal of the denizens of night in a big, dark city and literally of mannequins in a shop window that one might see during a long, solitary walk in urban caverns. "Nightporter" is still a favourite of Sylvian's audience even though he left Japan over 30 years ago for a remarkable solo career.
www.youtube.com/watch?v=ZCHg5RitlDw
View Large on Black.
© Richard S Warner ( Visionheart ) - 2014. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Leben auf einem gesunden Planeten für alle Kreaturen. Wenn die Menschen ihren Konsum nicht einschränken können, müssen sie ihre Fortpflanzung einschränken.
Like much of England, the site of the New Forest was once deciduous woodland, recolonised by birch and eventually beech and oak after the withdrawal of the ice sheets starting around 12,000 years ago. Some areas were cleared for cultivation from the Bronze Age onwards; the poor quality of the soil in the New Forest meant that the cleared areas turned into heathland "waste", which may have been used even then as grazing land for horses.
There was still a significant amount of woodland in this part of Britain, but this was gradually reduced, particularly towards the end of the Middle Iron Age around 250–100 BC, and most importantly the 12th and 13th centuries, and of this essentially all that remains today is the New Forest.
There are around 250 round barrows within its boundaries, and scattered boiling mounds, and it also includes about 150 scheduled ancient monuments. One such barrow in particular may represent the only known inhumation burial of the Early Iron Age and the only known Hallstatt culture burial in Britain; however, the acidity of the soil means that bone very rarely survives.
Following Anglo-Saxon settlement in Britain, according to Florence of Worcester (d. 1118), the area became the site of the Jutish kingdom of Ytene; this name was the genitive plural of Yt meaning "Jute", i.e. "of the Jutes". The Jutes were one of the early Anglo-Saxon tribal groups who colonised this area of southern Hampshire. The word ytene (or ettin) is also found locally as a synonym for giant, and features heavily in local folklore.
Following the Norman Conquest, the New Forest was proclaimed a royal forest, in about 1079, by William the Conqueror. It was used for royal hunts, mainly of deer. It was created at the expense of more than 20 small hamlets and isolated farmsteads; hence it was then 'new' as a single compact area.
The New Forest was first recorded as Nova Foresta in Domesday Book in 1086, where a section devoted to it is interpolated between lands of the king's thegns and the town of Southampton; it is the only forest that the book describes in detail. Twelfth-century chroniclers alleged that William had created the forest by evicting the inhabitants of 36 parishes, reducing a flourishing district to a wasteland; however, this account is thought dubious by most historians, as the poor soil in much of the area is believed to have been incapable of supporting large-scale agriculture, and significant areas appear to have always been uninhabited.
Two of William's sons died in the forest: Prince Richard sometime between 1069 and 1075, and King William II (William Rufus) in 1100. Local folklore asserted that this was punishment for the crimes committed by William when he created his New Forest; 17th-century writer Richard Blome provides exquisite detail:
In this County [Hantshire] is New-Forest, formerly called Ytene, being about 30 miles in compass; in which said tract William the Conqueror (for the making of the said Forest a harbour for Wild-beasts for his Game) caused 36 Parish Churches, with all the Houses thereto belonging, to be pulled down, and the poor Inhabitants left succourless of house or home. But this wicked act did not long go unpunished, for his Sons felt the smart thereof; Richard being blasted with a pestilent Air; Rufus shot through with an Arrow; and Henry his Grand-child, by Robert his eldest son, as he pursued his Game, was hanged among the boughs, and so dyed. This Forest at present affordeth great variety of Game, where his Majesty oft-times withdraws himself for his divertisement.
The reputed spot of Rufus's death is marked with a stone known as the Rufus Stone. John White, Bishop of Winchester, said of the forest:
From God and Saint King Rufus did Churches take, From Citizens town-court, and mercate place, From Farmer lands: New Forrest for to make, In Beaulew tract, where whiles the King in chase Pursues the hart, just vengeance comes apace, And King pursues. Tirrell him seing not, Unwares him flew with dint of arrow shot.
The common rights were confirmed by statute in 1698. The New Forest became a source of timber for the Royal Navy, and plantations were created in the 18th century for this purpose. In the Great Storm of 1703, about 4000 oak trees were lost.
The naval plantations encroached on the rights of the Commoners, but the Forest gained new protection under the New Forest Act 1877, which confirmed the historic rights of the Commoners and entrenched that the total of enclosures was henceforth not to exceed 65 km2 (25 sq mi) at any time. It also reconstituted the Court of Verderers as representatives of the Commoners (rather than the Crown).
As of 2005, roughly 90% of the New Forest is still owned by the Crown. The Crown lands have been managed by the Forestry Commission since 1923 and most of the Crown lands now fall inside the new National Park.
Felling of broadleaved trees, and their replacement by conifers, began during the First World War to meet the wartime demand for wood. Further encroachments were made during the Second World War. This process is today being reversed in places, with some plantations being returned to heathland or broadleaved woodland. Rhododendron remains a problem.
During the Second World War, an area of the forest, Ashley Range, was used as a bombing range. During 1941-1945, the Beaulieu, Hampshire Estate of Lord Montagu in the New Forest was the site of group B finishing schools for agents[18] operated by the Special Operations Executive (SOE) between 1941 and 1945. (One of the trainers was Kim Philby who was later found to be part of a spy ring passing information to the Soviets.) In 2005, a special exhibition was mounted at the Estate, with a video showing photographs from that era as well as voice recordings of former SOE trainers and agents.
Further New Forest Acts followed in 1949, 1964 and 1970. The New Forest became a Site of Special Scientific Interest in 1971, and was granted special status as the New Forest Heritage Area in 1985, with additional planning controls added in 1992. The New Forest was proposed as a UNESCO World Heritage Site in June 1999, and it became a National Park in 2005.
For further information please visit en.wikipedia.org/wiki/New_Forest and www.thenewforest.co.uk/
iPhone 7plus and Distressedfx.
I shot this photo at the conclusion of a weekend iPhone/iPad Artistry workshop that was given at a local artists’ guild in CT. The workshop was held in the front part of an art room generally used for non-photography art classes While loading up my iPhone, iPad, pencils and notes at the conclusion of the digital workshop, I noticed the ancient skeleton and old wooden easel in the back part of the same art room. It struck me how different were the apparatuses used in drawing, painting, etc. from those I use in the digital photography world. I was also struck by the way a painting student studies her medium versus the way a digital photography student like me studies mine. For each of us, however, we study our “Art” as Reduced to its Minimum Form. I used Snapseed for basic cropping and DistressedFX for a moody, minimal look.
Found in Lower Slaughter Cotswolds.
Thought I would upload these five in on go to reduce the file a bit quicker,as I had forgotten about these.
The Orion constellation shot under Bortle 3 sky.
Equipment:
- Nikon D300 modified
- Nikkor AF-S 105mm f/1.4 ED
- Skywatcher StarAdventurer
Frames:
45 frames x 120sec at ISO 800.
Preprocessed in APP and Pixinsight and post-processed in Lightroom.
Old data, re-edited.
Our view tonight as we await an early morning MD Anderson appointment for Hadley tomorrow. It is just a routine annual checkup but always nerve wracking so reducing driving stress is always a bonus.
Day 18
Wide field view of the area around the Cave Nebula.
I shot this with the FSQ106EDX3/reducer and the QSI583wsg.
Only 2 hours of Luminance and 30minutes each of RGB
The theme for this week's Macro Mondays is "plastic". I became very aware of the issue of single-use plastic contaminating our oceans on visiting uninhabited areas of eastern Greenland last year and taking part in a beach clean-up - we collected dozens of items of throwaway plastic. It has become big news this year with the UK's proposal to ban plastic straws and cotton buds. For my macro entry I decided to take a picture of my water bottle, which I now use instead of buying bottled water - saving a lot of money as well as doing a small bit to save our oceans. So - this is "Plastic" for Macro Mondays. HMM! (field of view is under 2 inches)
And doubling up - my Day 23 entry for April 2018: A month in 30 pictures, and #23/100 for 100 x: The 2018 Edition - my x is macro with a dedicated macro lens.
(P4231460)
222003 is an eight car class 222 Meridian and is seen here approaching Beeston on a London St Pancras – Nottingham service, Good Friday, 21st March 2008. Built by Bombardier in 2004/5 as a nine car unit but reduced to an eight car unit in 2006 with the removal of MSO vehicle 60533. This was used to strengthen a four car class 222 unit up to a five car unit. Now operated by East Midlands Trains but still retains Midland Main Line livery.
Our souls as they float are the brightest clouds (translated from a well-known and beautiful argentine song).
Lens: Helios 81N 50mm f/2 (Nikon F mount, 1980s), with Viltrox EF-FX II focal reducer.
Linus loves to sit on the table on the terrace. It is in the shade, offers a lovely view on the activities of his feathered friends and the begonias have the perfect colour to provide some useful camouflage. Sometimes he is really smart. :)
He is feeling better, is quite calm and relaxed and tolerates the camera better again. The latter is probably good news for his Flickr friends. I'm now beginning to reduce his medication.
The Long Road to My Photo at the Tre Cime di Lavaredo
Now comes a long story about how this photo came to be.
One and a half years ago, the idea was born. When I once again happened to see this extraordinary landscape – the Tre Cime di Lavaredo – in a documentary about the Dolomites, I was spellbound. Since my passion has always been night photography, it quickly became clear: this was the place where I wanted to capture the Milky Way. Although I had been doing deep-sky photography for more than ten years, I had never photographed the Milky Way itself. This would mark the beginning of a new passion.
At such a breathtaking location, I didn’t want to simply “take a picture” – my goal was far more ambitious: to create one of the finest Milky Way photographs to be found anywhere in the world. Admittedly, not a modest ambition… but once you stand before this scenery, you instantly understand why someone suddenly feels the urge to reach for the stars.
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Planning and Technology
So the planning began. I needed a highly precise yet mobile and lightweight star tracker. It quickly became clear: with stacking and only 8-second exposures – meaning without tracking – combined with extremely high ISO values, I would never reach the image quality I was aiming for.
So I practiced again and again with the tracker under the light-polluted skies of my hometown: how does it react to wind? What happens with high humidity, thin clouds, or turbulence in the upper atmosphere? Every small disturbance worsens the “seeing,” and it takes a lot of experience to master these pitfalls.
Even calibrating the tracker has to be extremely precise. I measure my tripod digitally in steps of 0.1 degrees to ensure it is perfectly level – the more exact, the longer you can track. Of course, there are superb mounts available, but they are anything but portable. You don’t carry a 20-kilogram block in your backpack up to 2,600 meters on a night hike, together with all the other gear.
And then, of course, you need the brightest and sharpest lenses available. At night, every fraction of a stop counts – daylight photography is far more forgiving.
In general: the less artificial light, the clearer and more majestic the Milky Way appears. For deep-sky astrophotography, there are special filters that block man-made light pollution (for example, from cities). But the Milky Way is something entirely different: it shines across the full spectrum – from deep red to violet-blue. No filter trick works here. Any filter would also block starlight. In other words: the only “trick” is no trick at all – you simply need the darkest, most pristine skies possible.
In Europe, you can only find such conditions in a handful of places: the Dolomites, Großglockner, or La Palma (Canary Islands) – the best you can get by European standards. There are a few more, but the weather there is so unpredictable that your chances of success are even lower. The ideal is high altitude with dry, crystal-clear air.
If you want to go even further, travel to Namibia. There you’ll experience one of the most spectacular night skies anywhere: no weather problems, almost every night is perfect. The catch? Malaria. Which means daily prophylaxis with all its side effects. There’s always something, isn’t there?
If you want to get a sense yourself: on lightpollutionmap.info you can view worldwide light pollution interactively. Just one glance shows how rare truly dark places on our planet have become.
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Milky Way Time Window
In Europe, the Milky Way can only be photographed between April and the end of August during new moon. But especially in June and July, the nights are too short and too bright – it never gets completely dark at our latitude. Effectively, there are only about three months, with a small time window of just a few days around each new moon. If the weather doesn’t cooperate, you wait until the next month.
In summer, you can look towards the center of our galaxy and see the striking dust and nebula bands. In winter, however, you’re looking “outward” into the universe – without those spectacular structures. The season is extremely short, and the chance of a cloudless sky in the Dolomites is less than 30%. The weather often remains stable for only 3–4 hours before changing – a true lottery.
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Tre Cime: A Dream Location with Obstacles
Even during the day, at around 2,500 meters, it is breathtakingly beautiful – wherever you look, a picture-book landscape opens up. And then, right before you, the Tre Cime rise: massive rock walls soaring almost 500 meters straight up, touching the 3,000-meter mark.
But getting there is no longer so simple: you need a reservation and a ticket. Your license plate is checked already down in the valley.
The tickets are strictly limited. For our campervan, 12 hours cost €60. But the probability of stable, cloud-free weather up there is less than 30% – with just one ticket, my project would have been impossible. So I booked 6 time slots of 12 hours each, back-to-back.
Not so easy: the tickets have to connect seamlessly, with only a handful of vehicles allowed per hour. If one slot ends at, say, 4 p.m. and the next one is fully booked, you’re simply out of luck. Getting even one slot is difficult – arranging six in a row is almost impossible. And at the barrier in the valley, there is zero tolerance: even a second late at exit, and the fine is guaranteed.
For the booking itself, you get just five minutes – starting the moment you open the system, not with your final click. From finding matching slots to entering credit card details, personal data, and vehicle info, the countdown runs relentlessly. Everything that could be complicated, is complicated – as if the Dolomites didn’t already present enough natural challenges.
And as if that weren’t enough, you can only buy six tickets per month – now reduced to five.
Going up spontaneously? Forget it. Even if a slot were free, you must book digitally at least 24 hours in advance. On site or the same day? Impossible, not allowed. If you think you can just go with the weather – no chance. Here, bureaucracy rules over nature.
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Arrival and First Setbacks
One and a half years later, the time finally came. Before the drive up, we prepared our campervan: fridge filled, toilet emptied, all batteries charged – for camera, smartphone, star tracker, heating bands against dew, and countless lamps. We were ready to last three days and nights up there.
But even if you arrive early at the barrier full of anticipation, you won’t be let in – the gates only open at the exact booked time. Then it was up in second gear, carefully winding through the serpentines. Now and then the front wheels slipped on the wet asphalt – a clear sign of just how steep it was. A motorhome weighing over four tons and 7.5 meters long is no off-roader. But at the top, on one of the highest campsites in Europe, everything was set.
Only problem: the fridge decided that at 2,500 meters it was no longer its job – even though we had filled it to the brim beforehand. Absorption fridges in RVs simply don’t work reliably on gas at this altitude. Another hard-learned lesson. Result: half of our food ended up in the trash.
The first two days: rain, wind, dense fog, temperatures around 4°C. Thanks to the heater in the camper, at least the cold was bearable – but photographically, a frustration. On the last day, though, everything changed: sunshine, clear views, amazing mood. Could it finally work out?
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The Night of the Shoot
The hike with a backpack weighing over 12 kilos was tougher than expected – the thin air made itself felt.
That night, countless shots were taken. Many tracked 6-minute exposures of the Milky Way, which I later stacked to further improve the signal-to-noise ratio – a trick to achieve more quality than the sensor alone could deliver. I also captured the landscape separately – since with tracked stars, the foreground would blur.
And here came the next challenge: Milky Way photos require new moon and absolute darkness. Landscapes, however, look flat and monochromatic under such conditions, whereas full moon would provide plastic light. The solution: capture the landscape during blue hour or light it deliberately.
For that, I had a special lamp built – custom-made down to the last detail. I even chose the exact LED type myself, tailored precisely to my requirements for color temperature and light quality. 99% of ordinary flashlights are useless for high-quality photography: the light is usually far too cold, or the CRI index (color rendering) is too poor.
My lamp also has a zoom: the beam can be focused extremely tightly – up to 1.5 kilometers – or spread wide and soft, depending on what’s needed for light painting.
And the surprising part: from manufacturers like Convoy Flashlight in China, you can get such customized lamps for under €30. In Germany, such a service would hardly exist – and if it did, the price would make you swallow hard.
So I created exposures of up to 15 minutes while painting the rocks with light. Sometimes the right side turned out better, sometimes the left. A single perfect shot is impossible.
And then there are the famous headlamp trails – little light streaks from hikers that often give an image that extra something. The problem: at night, hardly anyone is up there. And if they are, it’s guaranteed not at the exact moment you’d need them in frame. Paradoxical, isn’t it? You want them desperately – but almost never get them when you need them. So the only option is to collect separate exposures whenever someone happens to pass.
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The Puzzle
By the end of the night, I had about 30 shots in the bag – and darkness gave way to morning. Among them: long exposures with light painting, shots with headlamp trails, many tracked Milky Way frames, and landscapes from blue hour to deep night.
That was my raw material, my toolkit. Later I selected the best elements and merged them into a single image – like a painter who first collects sketches and then fuses them into a finished work of art.
This is the supreme discipline of photography: absolutely no fake, but impossible to achieve in a single exposure. Each frame had to be carefully developed – matching white balance and color temperatures, adjusting brightness and contrast, reducing noise, enhancing details. Sometimes the foreground stone looked better illuminated on the left, sometimes on the right. Everything had to be precisely assembled, layer by layer.
In the end, the Photoshop file grew to over a hundred layers and more than 60 gigabytes. Every little adjustment had to be carefully considered, since each change affected the entire image. The greatest challenge: blending all these different exposures into a seamless whole, without visible transitions, without an artificial impression.
To outsiders, the finished photo may look obvious – as if you had simply stood there and captured that exact moment. In reality, it meant days of work, hours of meticulous corrections, and an enormous amount of patience and technical precision.
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Conclusion
Moments like these stay with you for a lifetime. Not just the photo itself, but the entire journey: the long preparation, the struggles, the setbacks, and finally, the success.
It’s also important to me to show with such texts that photography is not just a click. It’s an adventure – a battle with nature, technology, and yourself. Again and again, I try to surpass my previous limits. Each step makes it harder – but when it works, the moments of joy are unforgettable.
And for those who know me – of course, the next ideas are already in preparation.
Enjoy the view!
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Making of – did you know?
With night photography something curious happens: when viewed in daylight or against a bright background, the deepest shadows often “stick together,” making the landscape look darker than it really is.
The trick is not to leave black at absolute zero, but to raise it ever so slightly – the sweet spot is around 2–3 out of 255 brightness levels. This way, fine structures remain visible even in bright surroundings.
It’s the same little secret used by film and streaming studios to keep images stable across every kind of screen.
As you can see – nothing here is left to chance.
Scientific Sweet Spot for Night Photos
To balance depth and readability across all devices, researchers and industry standards recommend placing the darkest tones in a narrow “sweet spot.” My photo was fine-tuned exactly to these values:
Percentile (how many pixels are darker)Recommended rangeScientific midpointMy photo
5% darkest pixels2–3 / 255~2.5 / 2553
25% darkest pixels6–10 / 255~8 / 2558
Median (50% of all pixels)12–20 / 255~16 / 25515–16
How to read this:
The percentile tells you what fraction of pixels are darker than a certain brightness.
Example: “5% darkest pixels = 3” means the very darkest areas are not pitch black, but lifted just enough to remain visible.
The goal: sit right at the scientific midpoint, so the photo works equally well on OLED at night and on laptops or phones in bright daylight.
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🔧 Technical Information
📷 Camera: Sony Alpha 7R V
🔭 Lens: Sony FE 14 mm f/1.8 GM
🗻 Mount: Benro Cyanbird Carbon Tripod + Benro Polaris Astro Tracker
🌌 Sky: stack of 10 tracked exposures
️ Foreground: composite of 20 exposures (blue hour, light painting, headlamp trails, deep night phases)
⏱️ Exposure time per frame:
– Sky: ISO 320, f/1.8, 6 minutes each
– Foreground: ISO 100, f/2.8, from a few minutes (blue hour) up to 20 minutes
🕒 Total exposure time: approx. 6 hours combined
📍 Location: Tre Cime di Lavaredo (Drei Zinnen, 2,999 m), Dolomites, Italy
Another new bird for me! I found this female Great-tailed Grackle at Guajome Lake Regional Park while visiting San Marcos, California last week. There were several males as well but I didn't get any great shots of them, but I did get some good ones of the females in the group. They were pretty skittish and moved quickly, but oh, what a chatter the whole group made! This female isn't as grand as the black iridescence of the male, but I had my flash with me and it helped to illuminate her since she was in shadow. And with the flash I can see much more feather detail on her.
I was surprised that I didn't crop this image whatsoever. Usually for birds I'm cropping a bit here and there and sometimes a lot here and there, but this image is the original perspective, though it has been reduced in photoshop in size in converting it to JPEG.
Taken 17 February 2018 at Guajome Lake Regional Park, Oceanside, California.
Well I added some more integration and RGB for true star color. I have to say the improvement is very nice!
This is IC 410 it is a faint and dusty emission nebula of more than 100 light-years across approximately 12,000 light-years away from Earth in the constellation of Auriga. Notable are two streamers of material, known as the “Tadpoles of IC 410”. These tadpoles, which consist of denser, cooler gas and dust, are approximately 10 light-years long and potentially sites of ongoing star formations. They are in the center of the image. Because of these tadpoles, IC 410 is sometimes nicknamed the Tadpoles Nebula.
Hope you all enjoy and thanks for any constructive comments.
Equipment:
Telescope - Sky-watcher Esprit 120 with Apex reducer
Imaging Camera- ZWO ASI 1600mm Pro Cool
Mount - Sky-watcher EQ6-R Pro
Software:
Sequence Generator Pro
Pixensight
Lightroom
Photoshop
Lights:
SII-40x300sec
HA- 40x300sec
Oiii-40x300sec
Red 30x30sec
Green 30x30sec
Blue 30x30sec
25 Flats
35 Darks
100 Bias
Total integration 10.75 Hours
chicken curry alongside rice, broccoli, and side salad
a portion of precooked chicken removed from the freezer, thawed and reheated with spices
rice sprinkled with turmeric powder and steamed
broccoli boiled in water bought from iceland 58p reduced at the end of the day
more curry information
The secret to making great curry
www.theguardian.com/lifeandstyle/2014/oct/31/how-to-make-...
6 Common Cooking Mistakes While Preparing Chicken Curry
Tips To Make It Perfect
www.ndtv.com/food/6-common-cooking-mistakes-while-prepari...
How to Cook Spices for Chicken Curry | Indian Food
www.youtube.com/watch?v=FV6Elm3gdRA
Varieties of Dahl Curry
food.ndtv.com/lists/10-best-dal-recipes-how-to-cook-it-to...
types of curry
curryculture.co.uk/types-of-curry/
lamb bhuna
www.kitchensanctuary.com/lamb-bhuna/
what is a bhuna?
www.seasonedpioneers.com/what-is-a-bhuna/
indian restaurant bhuna curry
glebekitchen.com/indian-restaurant-bhuna-curry/
chicken bhuna curry
searchingforspice.com/chicken-bhuna-curry-indian-takeaway...
how to thicken curry
lianaskitchen.co.uk/how-to-thicken-curry/
spices & ingredients
curryculture.co.uk/category/spices-ingredients/
tamarind sauce
greatcurryrecipes.net/2018/03/26/tamarind-sauce/
just one thing with michael mosley
food special with professor tim spector
7 days 30 different plant based foods
www.bbc.co.uk/sounds/play/m001ngjx
ps i'm not recommending any of these cookery adventures. they suit my personal taste. photographing to encourage myself to eat more healthily ...
i've created a group www.flickr.com/groups/cooking_is_my_hobby/ to gather ideas and encourage myself to continue with healthy eating by learning from others if you're interested in cooking, sometimes or a lot, or enjoy the cooking of others, you're always welcome ...
Larger than life size pop/soda can-shaped road sign at the municipal recycle depot. Pop can art.
Nikon FM (1977)
Agfacolor 100 (expired Dec. 1999)
Nikkor 50mm ƒ/2 Ai (1977)
ƒ/4
1/750 sec.
Canon 7 with 50mm Canon f1.8 lens
Ilford fP4+ semi-stand developed in HC-110 1:90 for 18 minutes with minimal agitation
When Rio Grande and Southern Pacific united in October 1988, one of the first actions taken was to reopen the Modoc Line to through traffic. It had been closed by SP in early 1987. A new symbol was created - EUASM - reflecting service from Eugene, Oregon to East St. Louis, Illinois (AS = Alton & Southern Railroad).
Initially, two EUASM trains a day were operated. Train size was kept relatively modest (in relation to historic SP practice) and plenty of power (five or six 3,000 hp locomotive units) was assigned. This was done so the trains could go over the Cascades and the Modoc single - i.e., without helpers. The 'extra' power would be dropped at Wendel, California so it could return to Eugene on a westbound.
In a subtle way of showing that there was a new sheriff in town, the first seven eastbound trains on the Modoc Line had solid sets of Rio Grande locomotives. On the morning of Saturday, October 15, 1988, the fifth new EUASM reduces power by one unit at Wendel. Back in the steam days, an engine house stood next to the water tank in the background.
Today, all of the trackage at Wendel has been pulled up. Ghosts of narrow gauge Nevada-California-Oregon steamers share the site with ghosts of Espee SD45T-2s.
More turmericious heresy.
Mix 2 cups water, ~6tsp turmeric in small saucepan.
Bring to boil.
Reduce heat until it's just barely simmering. Stir.
Dump in parts. Stir to remove air bubbles.
Simmer on low heat for 5-7 minutes, checking color occasionally. Stir now and then to prevent prolonged contact with saucepan bottom, which can damage the plastic, and also to scratch the pieces just a bit, so they match the rest of the collection.
Remove from heat. Fish out pieces and rinse well. Air dry.
Serve with old light gray and blue, though black and yellow can give pleasant if slightly sinister results.
This is...not quite perfect. The color is a little more pale and greenish than I'd like, but still within Lego's own range. It is a perfect match for the rounded windshield in back, and some other pieces; the angled windshields are of a slightly more intense shade. But I think it's the sort of thing that only shows when deliberately looking for it.
The heat warps the pieces a tiny bit, resulting in tighter clutch, most apparent on the top section of a 2x6 windshield. I haven't noticed visible distortions, gaps between panels lined up side by side, cracks or other marks.
Also my approach of just dumping parts in the pot is terrible. 1 piece was damaged by sitting on the hot bottom for a little too long, and stirring them around will scratch them a bit.
Eh! Good enough!
A Classic Car Through a Vintage Lens
RMC Tokina 24mm 1:2.8 (Minolta MD mount) @ f/8
through Quenox Focal Reducer Minolta SR - Fuji X-Mount
on Fujifilm X-E1
Check my album Adapted Manual Lenses for more...
Reduce the intensity of wave action in inshore waters and thereby reduce coastal erosion or provide safe harbourage. Also designed to protect a gently sloping beach and placed one to three hundred feet offshore in relatively shallow water.
Living in reduced circumstances.
Camden, North London.
Many but not all homeless were found rooms once lockdown started, it would be good to think this momentum can be continued & something good can come out of this pandemic.