Today, I got a bracket to mount the remote for my Sony action cam to my gimbal. This way, I can hold everything in one hand while the other is free. So far, it seems to be a good fit. I'll have to try it in "the field" to see how practical it is. My biggest concern is the small amount of gimbal grip free to hold onto. I can adjust the angle of the remote to give me more room behind it and I can raise it up a bit more too.

This is the bracket from B&H:

www.bhphotovideo.com/c/product/1281503-REG/nikon_25941_ha...

me

film; MamiyaC330

Yes, I actually worked poolside. Really!

It’s a giant remote-controlled car (well, monster truck). She seems excited.

A real big boys toy - and I got a go.

Normally the crane is controlled by an operator in the cabin above - eventually this crane will be remotely controlled by an operator in a building about 1/2 kilometer away.

I’m pretty good about remembering all my tech gear when I leave the house: iPad, two phones, ipod, MiFi, camera (with memory card and charged battery), and remote.

But I still slip up on occasion. Today: no camera remote.

Blazer, Fang. Shirt, Moda International. Skirt, Hauber Sporting Life (thrifted). Tights, We Love Colors. Booties, Style & Co. Scarf, gift from Londyn. Bag, Fossil (gift).

My remote-less strategy is to place my purse where I plan to pose, focus the camera on the purse, lock the focus (putting the lens on manual), set the timer, and dash! This process was made even lengthier today by challenging light conditions. These pictures are in the fourth location I tried. After all that dashing, I was a little disheveled.

St Peter, Nowton, Suffolk

East window, fifty continental roundels, 16th and 17th Century, set in English glass of 1816.

To stand at Nowton church, or the almshouses where the friendly keyholder is, you would not think that we could be so close to Bury St Edmunds. Here, in rolling west Suffolk, woods and copses hide the next parish in any direction, creating an intimacy that is not belied by the occasional hazy distant view from a ridge or hilltop. Nowton church sits on one particular hill, a long track leading up from the nearest road into the silence of its tree-shrouded churchyard, an oasis of lush botanical green in the agricultural expanses.

A mile or so off in the Bury suburbs is Nowton Country Park, one of the main recreational areas of the town, and the former grounds of Nowton Hall. The Hall was the home of the fabulously wealthy Oakes family, and in 1811 Elizabeth Frances Oakes, wife of Orbell Ray Oakes and Lady of the Manor, died at the age of 42. She was buried in Nowton church, which must have been a very plain and ramshackle structure in those Georgian days. However, over the next ten years something extraordinary happened here, as we will see.

Essentially, the church in which Elizabeth Oakes was buried was a 14th century building with surviving Norman details, before the Victorians went to work on it. Walking around it, the graveyard is a strikingly beautiful adornment, still with an air of the early 19th century, with the kind of trees that Lords of the Manor and Rectors-of-leisure liked to plant in those days, including a glorious cedar. Stepping inside, this is a pleasant, shipshape little church. All around are memorials to the Oakes family in the 19th and 20th Centuries, but it probably won't be them that catches your eye, because Nowton is home to one of the largest and best collection of continental glass in England.

Not far from Nowton is Rushbrooke, which in the early 19th Century was the home of the eccentric Colonel Rushbrooke, an avid antiquarian and carpenter who I am afraid was not above the odd spot of forgery. He refurnished Rushbrooke church in the manner of the Cambridge college chapel of his youth, giving it a Henry VIII royal arms into the bargain. Items that he collected can be found in several churches in the eastern counties, for Colonel Rushbrooke spent many happy months in the first decade of the 19th century trawling around the Low Countries and buying up wooden panels and painted glass from monasteries. Many of these monasteries had been closed and ruined in the aftermath of the French Revolution and the following Napoleonic Wars, and their treasures were easily acquired for the right price.

At this time, Orbell Ray Oakes was struggling with a way to make Nowton church into a more fitting and beautiful last resting place for his wife. His solution was to purchase perhaps as many as eighty continental panels from Rushbrooke. They were installed between about 1816 and 1820 by the Norwich stained glass artist Samuel Yarington, who was an expert in these matters, working with the Norwich antiquities dealer Christopher Hampp to supply and install continental glass, mostly depicting scriptural and allegorical subjects, to English churches, mainly in the Norwich area. In those days before the great revival of church art later in the century, most English churches were very plain, especially in puritan East Anglia, and in any case coloured glass of English manufacture was not easily come by. The installation of panels of continental glass would be an easy solution, and even a few panels would be an adornment to a simple church. The Nowton scheme, of course, goes much further than this.

The panels are to be found in every window except the west window. The panels in the east window are set in nine groups of five, the larger panel in the centre of each group and four smaller panels orbiting around it in a sea of Yarington's patterned glass. There is no obvious sequential order or theological structure, and so it must be assumed that Oakes' intention was purely decorative, to beautiful his wife's last resting place. The panels were reordered on two occasions later in the century as Nowton church was restored and extended, but the original configuration of the east window in particular was not altered much. There are slightly odd panels depicting knights on brasses by John Sell Cotman set at the base of someof the aisle windows. When the glass was restored in 1970, some panels from the demolished Dagnams Hall in Essex were added at the bottom of the east window to replace glass of Yarington's that had perished.

At the west end of the south aisle is the elegant memorial to Elizabeth Oakes by John Bacon Jr. It shows her praying against an angled tombchest on the other side of which are a cross and an open book reading Thy Will Be Done. Under the tower, a brass plaque tells us that this church was embellished & decorated with painted glass collected from the Monasteries at Brussels, an Organ erected with a Peal of Six Bells, at the Expense & Gift of Orbell Ray Oakes Esq. The inhabitants inscribe this tablet as a memorial of his liberality, 1820.

Orbell Ray Oakes died in 1837 as the Victorian era began, and his son Henry James Oakes, the new Lord of the Manor, bankrolled a considerable restoration of the church under the architect Anthony Salvin. The construction of a neo-Norman north aisle necessitated the moving of some of the panels, and possibly the acquisition of some more. The nave and chancel were essentially rebuilt and the building was reroofed. The elegant remains of the medieval screen were retained, and all in all this must have been a very shipshape little building by the end of the 1870s. The Oakes family continued to live in the parish at Nowton Court, built in the 1830s. In the 20th Century, Nowton Park was acquired by St Edmundsbury District Council. The last of the Oakes family is still alive today, in her nineties, but after her the dynasty will be no more.

Around the walls of the church, memorials recall members of the Oakes family, some dying out in the Empire, some of the younger ones falling on the battlefields of France in the First World War. But having said all this, I do think this building escapes being merely a mausoleum to the Oakes family. Perhaps it is the simplicity of their memorials, or the sense of life in the building, despite its remoteness. Even so, the overwhelming feeling is of the century that rebuilt it and adorned it, which is just as it should be.

sunset on a remote beach, Great Ocean Road, Victoria, Australia

Linking Fischertechnic and Lego.

With FT I use the TXT controller, with Lego I use the Maindstorms inventor hub and the Techinc hub. To make them work together I use 2 Lego remote controllers. On each remote control there are 4 servos. This controls 4 buttons, the 3 remaining buttons can be operated manually. The servos are controlled by the TXT controller. The RoboPro program on the PC is used for this purpose. The servos themselves are controlled by my DE0 module but this can also be done with an I2C module on the TXT. All hubs use the Pybricks Python software: v3.2.0b4 Pybricks Beta v2.0.0-beta.9

There are 2 Pybricks programs running simultaneously, each controlling a different type of hub.

It is now easy to send commands from the TXT to both hubs. This can be done simultaneously or separately. The big problem with Lego hubs is that they have almost no inputs. Thus, we lack the nice 8 channel digital inputs that are present with the TXT. Through my DEO module, I even have 120 digital inputs. Via the servo controlled remote I can now at least send multiple commands to the Lego modules. The large PC screen where the program can be displayed is also indispensable.

Now to send commands from the Lego hubs to the TXT are a number of possibilities. I use a lot of hall sensors. Small magnets connected to Lego parts can send commands this way quickly and easily. I can also listen in on multiple serial lines from the hubs. That data can be used by the TXT. Thus, positions of the motors can be displayed, as well as other data from the hub. The TXT can display this data on the PC screen.

Pybricks does not have a hub to hub at this time. Now, however, commands can be sent from one hub to the TXT which then forwards them to the 2nd hub. This photo shows the total test setup.

Remote camera photo of two 5-month-old juvenile wolves of the Wenaha Pack on USFS lands in northern Wallowa County in September 2020.

Street Price: (US) $ 1900

Body Material: Metal

CCD

Effective pixels: 4.92 megapixels

CCD size: 2/3"

Colour Filter Array: G - R - G - B

Max resolution: 2560 x 1920

Lower resolutions:

1792 x 1344

• 1280 x 960

• 1024 x 768

• 640 x 480

Image ratio w:h: 4:3

Image formats:

• JPEG (EXIF)

• RAW (2576 x 1924) - final output is 2560 x 1920

• TIFF (8-bit)

Quality Levels:

1/2.7

• 1/4

• 1/8

Sensitivity equiv:

• Auto

• ISO 80

• ISO 160

• ISO 320

Lens Thread: 62 mm

Zoom wide: (W) 35 mm

Zoom tele (T) 140 mm (4 x)

Zoom type: Mechanically linked

Lens Aperture: F2.0 - F2.4

Lens Construction: 14 elements in 11 groups

Digital zoom: None

Auto Focus: Contrast detection

AF Illumination lamp: Yes, Infrared

Manual Focus: 20 cm - Infininty (focus-by-wire ring on front of lens barrel)

Normal focus range: 60 cm - InfinityMacro focus range: 20 cm - 60 cm

Min shutter:

• Program / Aperture Priority / Shutter Priority: 2 sec

• Manual: Bulb, 60 sec

Max shutter:

• IS (2560 x 1920) 1/640 sec

• PS (1792 x 1344) 1/4000, 1/18000 sec

Noise reduction: Yes, can be manually enabled

Pixel mapping: Yes, menu option

Metering

Digital ESP

• Center-Weighted Average

• Spot

Exposure adjustment: -3EV to +3EV in 1/3EV steps

Auto bracketing: • 3 images

• 0.3 - 1.0 EV in 0.3 EV steps

Aperture priority:

Wide: F2.0, F2.2, F2.4, F2.8, F3.2, F3.6, F4.0, F4.5, F5.0, F5.6, F6.3, F7.1, F8.0, F9.0, F10.0, F11.0

• Tele: F2.4, F2.8, F3.2, F3.6, F4.0, F4.5, F5.0, F5.6, F6.3, F7.1, F8.0, F9.0, F10.0, F11.0

Shutter priority:

IS mode: 2, 1.6, 1.3, 1, 1/1.3, 1/1.6, 1/2, 1/2.5, 1/3, 1/4, 1/5, 1/6, 1/8, 1/10, 1/13, 1/15, 1/20, 1/25, 1/30, 1/40, 1/50, 1/60, 1/80, 1/100, 1/125, 1/160, 1/200, 1/250, 1/320, 1/400, 1/500, 1/640 sec

• PS mode additionally: 1/800, 1/1000, 1/1250, 1/1600, 1/2000, 1/2800, 1/4000, 1/18000 sec

Full manual: As above plus these shutter speeds:

• Bulb, 60, 47, 38, 30, 25, 20, 15, 13, 10, 8, 6, 5, 4, 3, 2.5 secExposure Modes • Program AE

• Aperture Priority

• Shutter Priority

• Manual

White Balance:

• Auto WB

• 3000 K (Tungsten)

• 3700 K (Tungsten - Warmer)

• 4000 K (Fluorescent)

• 4500 K (Fluorescent - Warmer)

• 5500 K (Daylight)

• 6500 K (Cloudy)

• 7500 K (Shade)

• Manual Preset

Continuous: IS: 2560 x 1920 - 2.5 fps max 4 images

PS: 1792 x 1344 - 4.5 fps max 7 images

Built-in Flash: Yes, pop-up (manually released)

Flash Range:• Wide: 0.6 - 8.9 m (2.0 - 29.2 ft)

• Tele: 0.5 - 7.4 m (1.6 - 24.3 ft)

Flash modes:

• Auto

• Red-Eye Reduction

• Flash On

• Flash Off

Flash compensation: +/-2 EV in 0.3 EV steps

External flash: Hot-shoe (Olympus FL-40 flash)

• PC Sync terminal

Tripod mount: Yes, metal

Self-timer: Yes, 2 or 12 sec delay

Remote control: Yes, supplied Infrared

Video out: Yes, E-20P - PAL, E-20N - NTSC

Storage media:

Smart Media (up to 128 MB)

• Compact Flash (Type I / II - Microdrive 1 GB supported)

Storage included: 16 MB SmartMedia card

Viewfinder: Optical, TTL (prism), 95% view

LCD: 1.8" TFT, can be tilted by 20 degrees down and 90 degrees up

Playback zoom: Yes, 2x, 3x, 4x

Connectivity: DC-In, USB, Video Out, PC Sync Terminal, Remote control jack

Timelapse: Yes

Battery: 1 x CR-V3 Lithium (non-rechargeable) supplied

Battery charger: 2 x CR-V3 Lithium, or

4 x AA batteries (NiMH recommended)

Weight (inc. battery) 1170 g (2.6 lb)

Dimensions (inc. grip): 128 x 103 x 161 mm (5.1 x 4.1 x 6.3 in)

Wondering how far should be the world to not be heard

Intrepid 8x10

Gundlach Radar Anastigmat 12" f/6.3

Reveni Labs remote shutter release

Ektascan B/RA, E.I. 64, f/11, 4secs

D76 1:1, 6 minutes

OK, round two. I had loaded two sheets of Ektascan B/RA into the holder of course, so I thought I'd swap lenses for something a bit more normal in perspective and selected my Gundlach Radar Anastigmat 12"/6.8. Ended up using a bit of fall to get the light fixtures out of the scene (almost made it) but otherwise this is a pretty straight-on shot.

I'm pleased with the exposure: I felt the last one was perhaps a bit overexposed (so much shadow detail!) so I backed off this one a bit. But I also opened it up a couple stops to see how that would play. Took a bit of fiddling with the remote shutter: the Betax shutter on the Gundlach wants a fairly long throw on the cable release, but the mount is a bit stripped out, so i found it a bit hit or miss if the body of the remote release wasn't positioned just right. Fortunately it has a cold shoe mount, so I was able to rig a light stand and flash mount in a way to hold it where it needed to be and everything worked flawlessly.

Still rating the film at ISO 64 indoor (the lighting is quite variable, a mix of a bit of window light with shop lighting LEDs of differing color temperatures) which gave me an exposure of 4 secs at f/11. Still managed to get the focus pretty close (looks like the plane of focus is slightly in front of where I aimed; might have to check the film holder against the Intrepid's back) and was able to hold still for the requisite time for once. Not perfectly framed, but otherwise not bad.

I really do like this lens, I need to use it more. Amusingly, I had bought the shutter from somebody off LFPF and it arrived with the lens screwed into it. Lucky me!

Linking Fischertechnic and Lego.

With FT I use the TXT controller, with Lego I use the Maindstorms inventor hub and the Techinc hub. To make them work together I use 2 Lego remote controllers. On each remote control there are 4 servos. This controls 4 buttons, the 3 remaining buttons can be operated manually. The servos are controlled by the TXT controller. The RoboPro program on the PC is used for this purpose. The servos themselves are controlled by my DE0 module but this can also be done with an I2C module on the TXT. All hubs use the Pybricks Python software: v3.2.0b4 Pybricks Beta v2.0.0-beta.9

There are 2 Pybricks programs running simultaneously, each controlling a different type of hub.

It is now easy to send commands from the TXT to both hubs. This can be done simultaneously or separately. The big problem with Lego hubs is that they have almost no inputs. Thus, we lack the nice 8 channel digital inputs that are present with the TXT. Through my DEO module, I even have 120 digital inputs. Via the servo controlled remote I can now at least send multiple commands to the Lego modules. The large PC screen where the program can be displayed is also indispensable.

Now to send commands from the Lego hubs to the TXT are a number of possibilities. I use a lot of hall sensors. Small magnets connected to Lego parts can send commands this way quickly and easily. I can also listen in on multiple serial lines from the hubs. That data can be used by the TXT. Thus, positions of the motors can be displayed, as well as other data from the hub. The TXT can display this data on the PC screen.

Pybricks does not have a hub to hub at this time. Now, however, commands can be sent from one hub to the TXT which then forwards them to the 2nd hub.

Taken: NJ, USA.

The one of many remote Russian places where people don't live but survive. Despite all these places have their own beauty and charm.

The Clash - Remote Control

(Strummer/Jones)

Can't get outta here

Ogden water reservoir Halifax

A sunrise view of a remote and rugged, volcanic landscape - Kofa National Wildlife Refuge, Arizona

+ Best Viewed > Large On Black <

© All Rights Reserved

The DH class of General Electric shunting locomotives have until recently been used for shunting and trip workings around Auckland's Westfield Yard. However , since 2023 an example has been utilised at the Fonterra dairy works in Te Awamutu.

Being worked by remote control by a worker in the shunters pocket behind the loco's pilot, 2916 is seen here as it returns to the works siding, having deposited the curtain-sided wagons in the background in the mainline sidings, from where they will be picked-up by a DL locomotive from Hamilton later in the day.

Taken with GM1 and 45-175mm mounted on a Remote Control lightweight motorised gimbal atop a tripod. Total weight 450gm, within the gimbal's 500gm maximum load. The iPhone for wifi control of the GM1 was about 6 metres away.

P1090481rwcrop

Banff National Park, Alberta

More photos from our annual visit to Bird Island | Seychelles - a privately owned, remote, coral sand cay island situated in the Indian Ocean just south of the equator, some 1200km off the East African coast - the northernmost island of the Seychelles archipelago.

Crab Plover (Dromas ardeola)

An unusual black and white wader with a large black bill and long, bluish-grey legs. Adult birds have a pure white head, body and wings, but with black flight feathers and mantle, whereas immature birds have dark streaking on the back of the head, grey mantle, wings and tail. Breeds on islands from Somalia, to the Red Sea and Persian Gulf between May and July, which is later than other shorebird species that may compete for its specialist food source. Outside the breeding season, the birds move south along the East African coast (mainly Somalia, Kenya and Tanzania) with some reaching the Seychelles, Comoros and Madagascar.

Given that these birds have such a relatively restricted range we consider ourselves lucky to have seen and photographed them on each of our last few annual visits to Bird Island. On each previous occasion there have only been 3-6 birds present on the island, whereas this year there were 7 birds during our first week with another 4 joining them towards the end of our stay. They generally keep together in a mixed group of sub-adult and immature birds, mainly just standing around, or patrolling the shoreline at low tide for crabs. They’re normally on the remotest part of the beach keeping themselves well away from human presence.

Last year I noted that the various shots we have of these birds may give the impression that they are easy to photograph – they’re not! Without doubt that was the same situation this year. In fact I managed far fewer shots than in previous years and hardly a single good flight shot. But, one afternoon I got lucky, and found the original group of 7 birds together on a part of the beach that catches the late afternoon sun. I was very fortunate as I was totally alone with these birds for almost an hour, slowly gaining their confidence as I edged closer. I managed to get quite a lot of pretty decent photos with detail I have not previously achieved. I will be lucky to have that opportunity again. I’ve limited myself here to just six photos - the first five were all taken within a few minutes of each other during that one session, with the other being a group photo of 5 birds, which shows the normal long distant quality of shot that you get.

They say no man is an island – but you can be the exception to the rule if you land Bird Watch Ireland’s new job. There are two jobs up for grabs on Rockabill island, which is 7km off the north Dublin coast. The summer jobs will see two wardens placed on the island, of which they will be the only inhabitants.The wardens, who don't need to be enthusiastic birdwatchers, will be perched for three months on top of the rocky outcrop of two tiny islands that are home to a working lighthouse, accommodation and "just enough room to stretch the legs".

Applicants can forget home comforts, the shops and the pub, and must be prepared for the company of thousands of seabirds.

The work entails the monitoring and protection of the migrant Roseate, as well as Common and Arctic Terns, during the May to August breeding season.

Birdwatch Ireland development officer Niall Hatch admits the work isn't for everyone but says it's a "feather in the cap" for anyone wishing to advance their careers in environmental or similar sciences.

"It's a job for somebody who comes from a biology or environmental science background or somebody who has a lot of experience in that field," Mr Hatch told the Herald.

Mr Hatch said Rockabill is "a magical place". "When the sun is shining there and the weather is nice, it's gorgeous out there. When the weather is bad, it's pretty exposed," he added.

The job runs from May to August, during which time the wardens will only be given two weekends off the island – weather permitting. The Roseate Tern is the most endangered bird in Ireland.

When the successful applicants are left on the island they will be given provisions for their stay, and be dropped off by chartered boat.

There is a well organised site (with it's own hut) for remote control airplane enthusiasts close within the Dartford Marshes – one 'member' was keen to say that people fly planes there every day.

There was certainly some skilled flying and a challenging subject (fast and nimble) which proved a real challenge in terms of focussing for the Olympus EM-5.

Female psychic or fortune teller holding a crystal skull trying to communicate with the dead. Learn more about Remote Viewing here: www.psychicbase.com/remote-viewing/

Matthews River, AK

North of the Arctic Circle.

It's a pretty niche book - but here's the official remote research book site

Zip on a bag...olloclip macro @ 21x, tri., remote. Snapseed on iPhone.

Remote flash behind set to low power and on camera flash also set to low power.

River in remote area

St Peter, Guestwick, Norfolk

This remote village is guarded by a large and curiously arranged church. There isn't another in Norfolk like it. At first sight, it appears that the tower was built on the north side of the chancel, and yet, a closer look tells you that the tower is older than the church. How has this come about?

The tower is that of a vanished church. At one time, it was a cruciform building with a central tower, quite possibly Saxon in origin. You can see the ghost of the vanished chancel arch on the east side of the tower, and that of the tower arch to the west. It may be that there never was a north transept - certainly, that to the south, where the chancel is now, was added in the 12th century. The church was rebuilt in the 15th century immediately to the south of the old one, a typical Perpendicular affair with aisles and a clerestory. The north aisle is on the line of the original nave. The top part of the tower is contemporary with the new church.

At one time you had to get a key to see inside, but now Guestwick church is open to pilgrims and strangers everyday, making it the beating heart of its little community as well as a touchstone down the long Guestwick generations.

Like most East Anglian Perpendicular churches, it underwent a fairly substantial 19th Century restoration, but it is a harmonious interior, full of light, and retaining some old woodwork, although the great nave roof is part of the restoration. The font is 15th century, made new for the new church, and the panels hold old shields with the symbols of some Saints, the Holy Trinity and the Instruments of the Passion.

But the star of the show here is obviously the fine collection of 15th century stained glass. The fragments have been reassembled in two windows in the north aisle, and like the font were probably made for the new church. The figures include most of a feathered angel playing a harp, as well as a fine St Catherine. There are two bishops, one given the head of an old man. Fragments include the head of a Christ Child and the arm and staff of the St Christopher who is carrying him. The are the two hands of an infant Christ as Salvatore Mundi, one holding an orb. An ugly head wearing a cowl was probably intended by our anti-semitic forebears as a jew at the flagellation or crucifixion of Christ.

This medieval splendour must not distract us from the fact that Guestwick has that rarest of beasts, a very fine millennium window. It depicts the wildlife of the parish, and is the work of Adam O'Grady, who installed it over a period of nearly ten years. The great fortune of Guestwick is that he lives in the parish.

More photos from our annual visit to Bird Island | Seychelles - a privately owned, remote, coral sand cay island situated in the Indian Ocean just south of the equator, some 1200km off the East African coast - the northernmost island of the Seychelles archipelago.

Crab Plover (Dromas ardeola)

An unusual black and white wader with a large black bill and long, bluish-grey legs. Adult birds have a pure white head, body and wings, but with black flight feathers and mantle, whereas immature birds have dark streaking on the back of the head, grey mantle, wings and tail. Breeds on islands from Somalia, to the Red Sea and Persian Gulf between May and July, which is later than other shorebird species that may compete for its specialist food source. Outside the breeding season, the birds move south along the East African coast (mainly Somalia, Kenya and Tanzania) with some reaching the Seychelles, Comoros and Madagascar.

Given that these birds have such a relatively restricted range we consider ourselves lucky to have seen and photographed them on each of our last few annual visits to Bird Island. On each previous occasion there have only been 3-6 birds present on the island, whereas this year there were 7 birds during our first week with another 4 joining them towards the end of our stay. They generally keep together in a mixed group of sub-adult and immature birds, mainly just standing around, or patrolling the shoreline at low tide for crabs. They’re normally on the remotest part of the beach keeping themselves well away from human presence.

Last year I noted that the various shots we have of these birds may give the impression that they are easy to photograph – they’re not! Without doubt that was the same situation this year. In fact I managed far fewer shots than in previous years and hardly a single good flight shot. But, one afternoon I got lucky, and found the original group of 7 birds together on a part of the beach that catches the late afternoon sun. I was very fortunate as I was totally alone with these birds for almost an hour, slowly gaining their confidence as I edged closer. I managed to get quite a lot of pretty decent photos with detail I have not previously achieved. I will be lucky to have that opportunity again. I’ve limited myself here to just six photos - the first five were all taken within a few minutes of each other during that one session, with the other being a group photo of 5 birds, which shows the normal long distant quality of shot that you get.

Working remotely during the coronavirus crisis

Australia

In our front hedge. The Rainbow Lorikeets love this but they are too quick for me to capture them.

Bottlebrushes (botanically belonging to the genus Callistemon) are among the most popular and colourful Australian native plants both in Australia and overseas.

European botanists and collectors of the late 18th century showed considerable interest in the plants of the remote southern continent of Australia. Callistemon citrinus was among the plants collected by Joseph Banks and Daniel Solander in 1770 during the discovery of the east coast of Australia. By 1788, three species from the Sydney region, C.citrinus, C.linearis and C.salignus, were available to English horticulturists.

anpsa.org.au/callis7.html

9/31 Scarlet/Timberwolf October, 365 Days in Colour

The Remote Operating Centre, designed to redefine the way in which vessels are controlled. Instead of copying existing wheelhouse design the ROC used input from experienced captains to place the different system components in the optimum place to give the master confidence and control. The aim is to create a future proof standard for the control of vessels remotely.

One of Outback's duties is to check remote assets, like this oil pumping station.

OLYMPUS DIGITAL CAMERA