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Someone must have spotted this bird on a Palm tree and decided to call it a "Palm Warbler". I think "Palm Warbler" is too narrow of a definition for a bird that literally appears anywhere one can imagine. One way to tell them apart right away it is their pumping tail going. I'll just relabel it " Omnipresent Warbler or for short OMWA"
.
Flitted in and out.
I think this might be an American Lesser Goldfinch.
Happy Wing Wednesday!
Edit 20May20:
After seeing a Lesser Goldfinch in the yard yesterday, I came back to this one thinking I'd have to relabel it.
I think this might actually be a Lesser Goldfinch now that I know the larger American Goldfinch's black lore extends sharply upward to cover the crown of only the anterior part of its head. This bird's dark crown seems to extend all the way back at a more horizontal angle.
This bird's ear patch seems to be slightly different in color, more greenish than the yellow of throat, chest and belly which would be more consistent with the Lesser Goldfinch.
I finally found some shots of the under side of the tail at the Audubon web site. Both the American and Lesser Goldfinch's seem to have that white area.
Glendora, CA
WARE's piece of junk heading to their route by Claremont. Really surprised they won't relabel these trucks despite how bad the paint and logos are fading.
Target: M31 Andromeda.
I've imaged Andromeda a hand full of times as I've acquired new equipment and/or processing skills. My last image was shot at 400mm, this time I did a 3 panel mosaic at 600mm (wasn't positive I could do 2 panel). The objective was to achieve higher resolution and shoot using both a broadband light pollution filter and dual narrow-band filter to capture more Ha.
Gear:
Mount: ZWO AM5
Main Cam: ZWO ASI294MC Pro @ gain 121 and 14F
Guide Cam: ZWO ASI120MM Mini with ZWO 30mm f/4 scope
Lens: Sigma 150-600 @ 575
Filter: Antlia ALP-T 5nm Ha and Oiii
Filter: Baader Moon and Sky Glow
Acquisition:
BB Light frames: Best 2hrs of 2 minute subs
NB LIght frames: Best 42min of 3 minute subs (needed more)
Sessions: 15-Nov-23, 18-Nov-23
Location: Houston Colorado County and Waller County, Texas
Bortle: 4/5 and 5/6
Moon: 35%, 90degrees off target for most of the 18th
Processing NB
• PI - WBPP -
• Grouping key = M31 (Both Pre and Post)
• Registration - Auto by M31
• GraXpert background extraction on each panel
• PI - assemble mosaic
• Mosaic by Coordinates
• Gradient Merge Mosaic
• PI Dynamic Crop (save process)
• PI Image Solver
Processing BB
• PI - WBPP -
• Grouping key = M31 (Both Pre and Post)
• Registration - Auto by M31
• GraXpert background extraction on each panel
• PI - assemble mosaic
• Mosaic by Coordinates
• Gradient Merge Mosaic
• PI Dynamic Crop
• PI Image Solver
Processing adding the Ha and recombining to RGB
• PI Register the NB and BB
• PI Split channels of NB - keep only the red - relabel ha
• PI Split channels of BB - keep all three - relabel red, green, blue
• PI Remove Stars from ha image, no need to create star image
• PI Remove Stars from red image, create a star image, un-screen them
• PI Open ha starless, Open Pixel Math to create new image-
• ((ha*85)-(red*5))/(85-5)
• Where 5 is the bandwidth of filter
• Can reduce the 85 if ha too strong
• Rename new_ha
• PI Make a clone of new_ha
• PI Open STF and clip the shadows to really isolate the ha nebula
• PI Open Histogram Transformation move STF to HT and apply to new_ha_clone
• PI Range Selection to create a mask in order to protect the red
• PI Open red channel and apply the mask
• PI Open Pixel Math to add ha
• $T+(new_ha-Med(new_ha))*8
• 8 is a boost number
• Replace target image
• PI Open Pixel Math = red+red_stars - replace image
• PI Put together channel into RGB
Normal Post Processing
• SPCC
• SCNR
• BTX
• NTX
• STX - un-screen stars
• Stretch starless using GHS script
• Starless curves and color adjustments
• Unsharp mask, enhance dark structures
• Adding Stars back in
• Create a mask using ACNR that is hardly protecting galaxy, this will de-emphasize stars on top of galaxy
• Re-screen stars with Pixel Math
• Emphasizing larger stars to "bring them forward"
• Clone stars image, use GHS to more brighten, but slightly enlarge them
• Use Range Selection to create a mask limiting to ones you want to emphasize apply to rgb image with original stars
• Re-screen stars with Pixel Math
Photoshop - final curves, vibrance on stars, watermark
Sun 1 Oct 1972
Jah, Adrienne and Sophie at the wedding breakfast table to the right. 2,400+ views??? Maybe I should relabel this photo.
Singapore's Kampung life, the last remnants...
www.facebook.com/todayonline/videos/10155232060737572/
The Kampong Days
remembersingapore.org/2012/04/04/from-villages-to-flats-p...
Click here to email Gary if you have names to add to this photo.
Photo: Gary Danvers 9 Feb 1972, formerly lived at 18 Chestnut Ave., Bukit Timah, 1971-73 and loved the folk from the Kampung at the end of Chestnut Ave.
I think it may be fair to say that the C3 is a somewhat controversial camera. Everybody will acknowledge that it had an impressive production run - but most will deride it as being "clumsy" and outdated even in its own time. On the other hand there are those who swear it has an excellent lens and is a great camera.
Having been fiddling around with this late model (1959) Argus C3, it's been on my mind that maybe it's time to really look at the camera and reassess its standing in photographic history.
I have no nostalgia for the thing. It was out of production for well over a decade before I was born. I've had five of them, and gave most away to friends. I don't buy that the lens is that great, the Cintar was of variable quality but even the "good" ones are only OK at best. The bad ones are well, bad. They all suffer from some degree of coma and chromatic aberration. They will give good results on B&W, assuming you don't make huge prints (which it was never intended for anyway) but it has difficulty in my opinion when it comes to rendering color. Noticeable CA, odd color rendition, soft contrast.
The shutter is a Rube Goldberg-esque affair that wasn't accurate even when new (although if you take the time to properly adjust it it can be fairly accurate ) - and the 1/300 top speed was more or less a marketing hoax. In tests the 1/300 setting produced an actual performance of 1/150 (according to Consumer Reports, if my memory serves me correctly) - other sources apparently managed to get 1/200 out of it. Strangely Argus never did the honourable thing and relabel the dial to be more accurate.
Then the various other foibles of the design such as the tiny viewfinder, the afterthought rangefinder coupling, the under-engineered film transport - etc.
Do these things make the camera bad though? No not really. Indeed when it was introduced in 1939 it was on the cutting edge. Having rangefinder coupled focusing was a big deal back then - and having flash synchronization was still a novelty! Heck Leica didn't offer flash synchronization until after WWII. Not to mention that at that time things like knob winds and separate RF windows were the order of the day.
What made me reconsider the C3 in terms of its "outdatedness" was I happened across a 1959 issue of Camera 35. In it they have a list of most of the 35mm cameras available in the U.S. at the time.
Two things struck me. First was the number of behind the lens leaf shutter rangefinders that were available. So far as I know, the Argus C of 1938 was the first of this breed of camera - a fact that seems to be never mentioned. I may be wrong on this point but I would be happy to be corrected if that is the case. The C3 may have been the progenitor of such great cameras as the Aires V, Olympus Ace, and Regula IIIc.
Another point that struck me was that the Leica IIIg was on the list. You hear so often that the C3 was so outdated by the 1960s. Ususally when I think of it - I tend to compare the C3 in my mind to the cutting edge, things like the Pentax Spotmatic and Topcon Super D were available at the same time as the C3! It's almost mind boggling to think the world had moved on to SLRs with TTL metering, yet photoshops could still have brand spanking new C3s on the shelves alongside them!
Thinking along that line - it's easy to dismiss the C3 as a silly camera way beyond its prime with little merit. But when I saw the Leica IIIg on the list, I began to see the whole thing from a different point of view. The Leica III series was introduced in 1933. The IIIg was the last III and it was discontinued in 1960. That's a production run of 27 years.
The Argus C3 was introduced in 1939 and discontinued in 1966. That too is a production run of 27 years.
The IIIg and the C3 both still had knob winds and separate viewfinders in 1960. Leica was good enough to give the IIIg a larger viewfinder though, but that aside both the Argus and Leica were "outdated" in a few of the same ways.
And when I studied the other makes and models on the list I began to see the C3 was not so trivial as it is often portrayed to be in retrospect. Long in tooth yes, but outdated, no. Plus unlike the Leica IIIg, the Argus had the excuse of price for it's old fashioned features. Costing a mere $39 it was one of the cheapest 35mm cameras you could get in the U.S. from any country. If you were willing to spend just $10 more though you opened the door to a world of Japanese made cameras with lever wind and faster lenses. But you couldn't get another interchangeable lens camera for under $79. Both the Exa and Olympus Ace being the next cheapest options for lens interchangeability.
And besides, if knob wind and a separate viewfinder were acceptable on a $200 camera, they probably didn't seem too bad on a $39 one. I think the C3 was not quite as trivial towards the end of its run as it is often made out to be. It's quite obvious that it still filled its niche near the bottom of the price ladder as a useable 35mm camera.
It's true that some very advanced cameras were available, and more just around the corner in 1959 - but looking at the wider picture of all that was available, the C3 comes out looking a lot less grizzled than we sometimes like to imagine it.
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Multi-colored cracker balls included in an FDA display of 20 generic “cracker balls” juxtaposed to candy and other foods.
The Fourth of July always brings unfortunate stories of injuries from fireworks. The FDA is no stranger to this world. In the 1960s, FDA conducted over 100 seizure actions nationwide of small sphere-shaped fireworks that exploded when compressed or thrown against a hard surface. Functionally, they were not unlike what was hurled by Fred Astaire in his 4th of July dance routine in the 1942 classic movie “Holiday Inn.” Unfortunately, however, these explosives, known by brand names such as Cracker Balls, Ball Type Caps, and Single Shot Round Cap Balls, also looked like candy or cereal. The result, not surprisingly, was that at least 20 children who tried to eat them were injured, suffering burns, loosened teeth, and lacerated gums, tongues, and cheeks. And, according to one press account, a 4-year-old New York boy died after chewing one of these fireworks that contained arsenic.
From 1965 to 1966, the FDA seized over $100,000 worth of these products from Atlanta to Seward, Alaska, under the authority of the Federal Hazardous Substances Labeling Act of 1960. But seizing explosives comes with unique challenges. In Mississippi, no nearby commercial storage facility could be found that would accept the quarter-ton of fireworks seized there; in the end only a local dynamite company would accommodate them. In St. Joseph, Missouri, as 400,000 of the balls were being pushed into a ditch to destroy them, the fireworks exploded, shattering nearby windows and throwing the operator from his bulldozer.
Some retailers offered to relabel the balls fireworks, but the FDA denied this under the view that no labeling could prevent injury from these dangerous objects. Nevertheless, these fireworks remained on the market. FDA was challenged in court and the courts decided that appropriate labeling would be sufficient to warn users of their hazards. And indeed, further reports from FDA of injuries associated with Cracker Balls and similar products cannot be found. Oversight of such products was transferred to the Consumer Product Safety Commission in 1973.
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Taken from an FDA display of 20 generic “cracker balls” juxtaposed to candy and other foods (1=cereal; 2=unknown, but probably candied peanuts; 5=cracker balls; 6=cereal; 9=jaw breakers; 10=cracker balls).
The Fourth of July always brings unfortunate stories of injuries from fireworks. The FDA is no stranger to this world. In the 1960s, FDA conducted over 100 seizure actions nationwide of small sphere-shaped fireworks that exploded when compressed or thrown against a hard surface. Functionally, they were not unlike what was hurled by Fred Astaire in his 4th of July dance routine in the 1942 classic movie “Holiday Inn.” Unfortunately, however, these explosives, known by brand names such as Cracker Balls, Ball Type Caps, and Single Shot Round Cap Balls, also looked like candy or cereal. The result, not surprisingly, was that at least 20 children who tried to eat them were injured, suffering burns, loosened teeth, and lacerated gums, tongues, and cheeks. And, according to one press account, a 4-year-old New York boy died after chewing one of these fireworks that contained arsenic.
From 1965 to 1966, the FDA seized over $100,000 worth of these products from Atlanta to Seward, Alaska, under the authority of the Federal Hazardous Substances Labeling Act of 1960. But seizing explosives comes with unique challenges. In Mississippi, no nearby commercial storage facility could be found that would accept the quarter-ton of fireworks seized there; in the end only a local dynamite company would accommodate them. In St. Joseph, Missouri, as 400,000 of the balls were being pushed into a ditch to destroy them, the fireworks exploded, shattering nearby windows and throwing the operator from his bulldozer.
Some retailers offered to relabel the balls fireworks, but the FDA denied this under the view that no labeling could prevent injury from these dangerous objects. Nevertheless, these fireworks remained on the market. FDA was challenged in court and the courts decided that appropriate labeling would be sufficient to warn users of their hazards. And indeed, further reports from FDA of injuries associated with Cracker Balls and similar products cannot be found. Oversight of such products was transferred to the Consumer Product Safety Commission in 1973.
FDA official Arthur Harris prepared an exhibit of Cracker Balls and hard candy to illustrate their similarity, 1965.
The Fourth of July always brings unfortunate stories of injuries from fireworks. The FDA is no stranger to this world. In the 1960s, FDA conducted over 100 seizure actions nationwide of small sphere-shaped fireworks that exploded when compressed or thrown against a hard surface. Functionally, they were not unlike what was hurled by Fred Astaire in his 4th of July dance routine in the 1942 classic movie “Holiday Inn.” Unfortunately, however, these explosives, known by brand names such as Cracker Balls, Ball Type Caps, and Single Shot Round Cap Balls, also looked like candy or cereal. The result, not surprisingly, was that at least 20 children who tried to eat them were injured, suffering burns, loosened teeth, and lacerated gums, tongues, and cheeks. And, according to one press account, a 4-year-old New York boy died after chewing one of these fireworks that contained arsenic.
From 1965 to 1966, the FDA seized over $100,000 worth of these products from Atlanta to Seward, Alaska, under the authority of the Federal Hazardous Substances Labeling Act of 1960. But seizing explosives comes with unique challenges. In Mississippi, no nearby commercial storage facility could be found that would accept the quarter-ton of fireworks seized there; in the end only a local dynamite company would accommodate them. In St. Joseph, Missouri, as 400,000 of the balls were being pushed into a ditch to destroy them, the fireworks exploded, shattering nearby windows and throwing the operator from his bulldozer.
Some retailers offered to relabel the balls fireworks, but the FDA denied this under the view that no labeling could prevent injury from these dangerous objects. Nevertheless, these fireworks remained on the market. FDA was challenged in court and the courts decided that appropriate labeling would be sufficient to warn users of their hazards. And indeed, further reports from FDA of injuries associated with Cracker Balls and similar products cannot be found. Oversight of such products was transferred to the Consumer Product Safety Commission in 1973.
The U. S. Marshall initiates a seizure of Cracker Balls in Shreveport, Louisiana, June 1965 (from The Times (Shreveport), 1 July 1965)
The Fourth of July always brings unfortunate stories of injuries from fireworks. The FDA is no stranger to this world. In the 1960s, FDA conducted over 100 seizure actions nationwide of small sphere-shaped fireworks that exploded when compressed or thrown against a hard surface. Functionally, they were not unlike what was hurled by Fred Astaire in his 4th of July dance routine in the 1942 classic movie “Holiday Inn.” Unfortunately, however, these explosives, known by brand names such as Cracker Balls, Ball Type Caps, and Single Shot Round Cap Balls, also looked like candy or cereal. The result, not surprisingly, was that at least 20 children who tried to eat them were injured, suffering burns, loosened teeth, and lacerated gums, tongues, and cheeks. And, according to one press account, a 4-year-old New York boy died after chewing one of these fireworks that contained arsenic.
From 1965 to 1966, the FDA seized over $100,000 worth of these products from Atlanta to Seward, Alaska, under the authority of the Federal Hazardous Substances Labeling Act of 1960. But seizing explosives comes with unique challenges. In Mississippi, no nearby commercial storage facility could be found that would accept the quarter-ton of fireworks seized there; in the end only a local dynamite company would accommodate them. In St. Joseph, Missouri, as 400,000 of the balls were being pushed into a ditch to destroy them, the fireworks exploded, shattering nearby windows and throwing the operator from his bulldozer.
Some retailers offered to relabel the balls fireworks, but the FDA denied this under the view that no labeling could prevent injury from these dangerous objects. Nevertheless, these fireworks remained on the market. FDA was challenged in court and the courts decided that appropriate labeling would be sufficient to warn users of their hazards. And indeed, further reports from FDA of injuries associated with Cracker Balls and similar products cannot be found. Oversight of such products was transferred to the Consumer Product Safety Commission in 1973.
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I bought film in La Paz, Bolivia, for about 2 U$ each... not a bad deal for Agfa Vista in South America. But as I had a closer look, it turned out as a pretty obvious fake... although the package looked pretty good. It even wasn't an ISO 100, but 200 film... args.
If anyone knows if it really is a fake or if the new owners of the brand AGFA buy film and relabel them oficially... please let me know it.
// UPDATE: It seems to be a complete fake! There is no code and no writing on the negative... which turned out with a pretty big color shift:
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Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
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(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso
Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) La Noche de Cadena 100 - Palacio de los Deportes -Madrid - 22/03/14
Tambien puedes seguirme en facebook o twitter:
(www.facebook.com/pages/Roberto-Fierro-Photography/2555424....)
(www.facebook.com/pages/THE-CONCERT-IN-CONCERT/23690438301....)
(www.facebook.com/RobertoFierroDiaz/)
(twitter.com/TheCinC)
Please do not copy or use images without permission
Por favor no copie o use imagenes sin mi permiso