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It's always exciting for any photographer being in the right place at the right time. More often than not I decide to skip an exciting shot for lack of sufficient light, while my index finger screams to let it press the shutter button all the way (have you ever heard an index finger scream ? :-)))) OK ... skip the screaming part please!
Here's the story:
I was passing by this lake one evening while the action began. The light was far from what I would have expected for a decent action shot. Big trees across the lake were blocking the sun rays and I had to take a fast decision while the hungry osprey was still circling a limited portion of the lake and appeared to have targeted some prey. I've pulled my camera from my bag and did a quick light assessment. I realized that chances are slim for a super fast action shot, but I had to instantly decide for a compromise. I did all that while Mr. Osprey was descending like a rocket. While I've managed to capture the entire action from hitting the water, diving, taking off with the prey, I had to split the action to be able to show it on Flickr. I've been shooting tons of panoramas and avoid publishing them due to Flickr's width limitation. As you can see here the whole action was witnessed by the couple sitting on the bench across the water (I've decided not to crop that part).
Luckily my good old Canon 50D managed to maintain the high shot burst rate (jpeg+raw) for the entire duration. I'm afraid that my new 60D might fail in this department. And if it does then what ? ... back to Canon 7D which has played pranks to me repeatedly? Ugh...
BN 12345 rests on an industrial spur near Washougal, WA. At some point, either due to graffiti or a deliberate patch, a BNSF logo was placed where the BN one once was.
Late day and limited light left me in doubt on posting this photo, but the trio of sequentially numbered new Union Pacific C44ACCTEs rolling east along the Mohawk River in Cranesville (Amsterdam), NY did the trick. New engines out of GE, in Erie PA would often make a break-in/test run to the huge yard and facilities at Selkirk, NY before heading back west to their new owners.
the assignment was to make a 4 block statement...the first block is to be the name of your supposedly running strip work...I mention Oech in the bottom note...Roger Von Oech has written tons of books...a Whack In The Head is just one...
it's sure great to get some feedback here as I didn't get one instructor's remark that I know of, from the skool..on any class I took this term...learned some cool stuff, tho...
this type of "art" has been known as the "comics"...or I'd say "commentary" , such as Mad Magazine etc...with the graphic art novels, such as Ethel & Ernest by Raymond Briggs...a true story...it's a whole new exciting ball game. Comics And Sequential Art by Will Eisner would be worth buying for those who want to enjoy it, even more...rsvp if you have something to add ...
I am looking forward to trying a Day In The Life Of Me...assignment, next....
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With 66424 Driver Paul Scrivens 1969 - 2021 having failed, 66425 Nigel J Kirchstein 1957-2021 was sent to rescue 4E49 Daventry to Doncaster Marshgate Sidings, seen here passing Cossington.
Spinning is an ancient textile art in which plant, animal or synthetic fibers are drawn out and twisted together to form yarn. For thousands of years, fiber was spun by hand using simple tools, the spindle and distaff. Only in the High Middle Ages did the spinning wheel increase the output of individual spinners, and mass-production only arose in the 18th century with the beginnings of the Industrial Revolution. Hand-spinning remains a popular handicraft.
Characteristics of spun yarn vary according to the material used, fiber length and alignment, quantity of fiber used, and degree of twist.
HISTORY
HAND SPINNING
The origins of spinning fiber to make string or yarn are lost in time, but archaeological evidence in the form of representation of string skirts has been dated to the Upper Paleolithic era, some 20,000 years ago. In the most primitive type of spinning, tufts of animal hair or plant fiber are rolled down the thigh with the hand, and additional tufts are added as needed until the desired length of spun fiber is achieved. Later, the fiber is fastened to a stone which is twirled round until the yarn is sufficiently twisted, whereupon it is wound upon the stone and the process repeated over and over.
The next method of spinning yarn is with the spindle, a straight stick eight to twelve inches long on which the yarn is wound after twisting. At first the stick had a cleft or split in the top in which the thread was fixed. Later, a hook of bone was added to the upper end. The bunch of wool or plant fibers is held in the left hand. With the right hand the fibers are drawn out several inches and the end fastened securely in the slit or hook on the top of the spindle. A whirling motion is given to the spindle on the thigh or any convenient part of the body. The twisted yarn is then wound on to the upper part of the spindle. Another bunch of fibers is drawn out, the spindle is given another twirl, the yarn is wound on the spindle, and so on.
The distaff was used for holding the bunch of wool, flax, or other fibers. It was a short stick, on one end of which was loosely wound the raw material. The other end of the distaff was held in the hand, under the arm or thrust in the girdle of the spinner. When held thus, one hand was left free for drawing out the fibers.
A spindle containing a quantity of yarn rotates more easily, steadily, and continues longer than an empty one; hence, the next improvement was the addition of a weight called a spindle whorl at the bottom of the spindle. These whorls are discs of wood, stone, clay, or metal with a hole in the center for the spindle, which keep the spindle steady and promote its rotation. Spindle whorls appeared in the Neolithic era. They allowed the spinner to slowly lower, or drop, the spindle as it was spinning, thus allowing a greater quantity of yarn to be created before it had to be wound onto the spindle; hence the name "drop spindle," which is now most commonly used for the hand spindle with whorl attached.
In mediæval times, poor families had such a need for yarn to make their own cloth and clothes that practically all girls and unmarried women would keep busy spinning, and "spinster" became synonymous with an unmarried woman. Subsequent improvements with spinning wheels and then mechanical methods made hand-spinning increasingly uneconomic, but as late as the twentieth century hand-spinning remained widespread in poor countries: in conscious rejection of international industrialization, Gandhi was a notable practitioner. The hand spinning movement that he initiated as a part of the Indian freedom struggle has made the handwoven cloth known as "Khadi" made from handspun cotton yarn world famous. Women spinners of cotton yarn still continue to work to produce handspun yarn for the weaving of Khadi in Ponduru, a village in South India.
A great wheel (also called a wool wheel, high wheel or walking wheel) is advantageous when using the long-draw technique to spin wool or cotton because the high ratio between the large wheel and the whorl (sheave) enables the spinner to turn the bobbin faster, thus significantly speeding up production.
A Saxony wheel (also called a flax wheel) or an upright wheel (also called a castle wheel), can be used to spin wool or cotton, but are invaluable when spinning flax (linen). The ends of flax fibers tend to stick out from the thread unless wetted while being spun. The spinner typically keeps a bowl of water handy when spinning flax, and on these types of wheels, both hands are free (since the wheel is turned with a treadle, rather than by hand), so the spinner can use one hand to draft the fibers and the other to wet them.
INDUSTRIAL SPINNING
Modern powered spinning, originally done by water or steam power but now done by electricity, is vastly faster than hand-spinning.
The spinning jenny, a multi-spool spinning wheel invented c. 1764 by James Hargreaves, dramatically reduced the amount of work needed to produce yarn of high consistency, with a single worker able to work eight or more spools at once. At roughly the same time, Richard Arkwright and a team of craftsmen developed the spinning frame, which produced a stronger thread than the spinning jenny. Too large to be operated by hand, a spinning frame powered by a waterwheel became the water frame.
In 1779, Samuel Crompton combined elements of the spinning jenny and water frame to create the spinning mule. This produced a stronger thread, and was suitable for mechanisation on a grand scale. A later development, from 1828/29, was Ring spinning.
In the 20th century, new techniques including Open End spinning or rotor spinning were invented to produce yarns at rates in excess of 40 meters per second.
CHARACTERISTICS OF SPUN YARNS
MATERIALS
Yarn can be, and is, spun from a wide variety of materials, including natural fibers such as animal, plant, and mineral fibers, and synthetic fibers. It was probably first made from plant fibers, but animal fibers soon followed.
TWIST AND PLY
The direction in which the yarn is spun is called twist. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). Tightness of twist is measured in TPI (twists per inch or turns per inch).
Two or more spun yarns may be twisted together or plied to form a thicker yarn. Generally, handspun single plies are spun with a Z-twist, and plying is done with an S-twist. This is a cultural preference differing in some areas but surprisingly common.
PLYING METHODS
Yarns can be made of two, three, four, or more plies, or may be used as singles without plying. Two-ply yarn can also be plied from both ends of one long strand of singles using a center-pull ball, where one end feeds from within a ball of yarn while the other end feeds from the outside. So-called "Andean" plying, in which the single is first wound around one hand in a specific manner that allows unwinding both ends at once without tangling, is another way to ply smaller amounts of yarn. The name comes from a method used by Andean spinners to manage and splice unevenly matched singles being plied from multiple spindles. "Navajo" (aka "chain-") plying is another method of producing a three-ply yarn, in which one strand of singles is looped around itself in a manner similar to crochet and the resulting three parallel strands twisted together. This method is often used to keep colors together on singles dyed in sequential colors. Cabled yarns are usually four-ply yarns made by plying two strands of two-ply yarn together in the direction opposite to the plying direction for the two-ply yarns.
CONTEMPORARY HAND SPINNING
Hand-spinning is still an important skill in many traditional societies. Hobby or small scale artisan spinners spin their own yarn to control specific yarn qualities and produce yarn that is not widely available commercially. Sometimes these yarns are made available to non-spinners online and in local yarn stores. Handspinners also may spin for self-sufficiency, a sense of accomplishment, or a sense of connection to history and the land. In addition, they may take up spinning for its meditative qualities.
Within the recent past, many new spinners have joined into this ancient process, innovating the craft and creating new techniques. From using new dyeing methods before spinning, to mixing in novelty elements (Christmas Garland, eccentric beads, money, etc.) that would not normally be found in traditional yarns, to creating and employing new techniques like coiling, this craft is constantly evolving and shifting.
To make various yarns, besides adding novelty elements, spinners can vary all the same things as in a machined yarn, i.e., the fiber, the preparation, the color, the spinning technique, the direction of the twist, etc. A common misconception is yarn spun from rolags may not be as strong, but the strength of a yarn is actually based on the length of hair fiber and the degree of twist. When working with shorter hairs, such as llama or angora rabbit, the spinner may choose to integrate longer fibers, such as mohair, to prevent yarn breakage. Yarns made of shorter fibers are also given more twist than yarns of longer fibers, and are generally spun with the short draw technique.
The fiber can be dyed at any time, but is often dyed before carding or after the yarn has been spun.
Wool may be spun before or after washing, although excessive amounts of lanolin may make spinning difficult, especially when using a drop-spindle. Careless washing may cause felting. When done prior to spinning, this often leads to unusable wool fiber. In washing wool the key thing to avoid is too much agitation and fast temperature changes from hot to cold. Generally, washing is done lock by lock in warm water with dish-soap.
EDUCATION
There are number of guilds and educational institutions which offer certificate programs in handspinning. The Handweavers Guild of America (HGA) offers a Certificate of Excellence in Handspinning. Olds College in Alberta, Canada, offers a Master Spinner program both on campus and by distance education. The Ontario Handweavers & Spinners offer both a Spinning Certificate as well as a Master Spinning Certificate. These programs feature in-depth examinations of handspinning topics, as well as extensive assignments and skill evaluations.
TECHNIQUES
A tightly spun wool yarn made from fiber with a long staple length in it is called worsted. It is hand spun from combed top, and the fibers all lie in the same direction as the yarn. A woolen yarn, in contrast, is hand spun from a rolag or other carded fiber (roving, batts), where the fibers are not as strictly aligned to the yarn created. The woolen yarn, thus, captures much more air, and makes for a softer and generally bulkier yarn. There are two main techniques to create these different yarns: short draw creates worsted yarns, and long draw creates woolen yarns. Often a spinner will spin using a combination of both techniques and thus make a semi-worsted yarn.
Short draw spinning is used to create worsted yarns. It is spun from combed roving, sliver or wool top. The spinner keeps his/her hands very close to each other. The fibers are held, fanned out, in one hand, and the other hand pulls a small number from the mass. The twist is kept between the second hand and the wheel. There is never any twist between the two hands.
Long draw is spun from a carded rolag. The rolag is spun without much stretching of the fibers from the cylindrical configuration. This is done by allowing twist into a short section of the rolag, and then pulling back, without letting the rolag change position in one's hands, until the yarn is the desired thickness. The twist will concentrate in the thinnest part of the roving; thus, when the yarn is pulled, the thicker sections with less twist will tend to thin out. Once the yarn is the desired thickness, enough twist is added to make the yarn strong. Then the yarn is wound onto the bobbin, and the process starts again.
SPINNING IN THE GREASE
Handspinners are split, when spinning wool, as to whether it is better to spin it 'in the grease' (with lanolin still in) or after it has been washed. More traditional spinners are more willing to spin in the grease, as it is less work to wash the wool after it is in yarn form. Spinners who spin very fine yarn may also prefer to spin in the grease as it can allow them to spin finer yarns with more ease. Spinning in the grease covers the spinner's hands in lanolin and, thus, softens the spinner's hands.
Spinning in the grease works best if the fleece is newly sheared. After several months, the lanolin becomes sticky, which makes the wool harder to spin using the short-draw technique, and almost impossible to spin using the long-draw technique. In general, spinners who use the long-draw technique do not spin in the grease.
Such spinners generally buy their fibers pre-washed and carded, in the form of roving, sliver, or batts. This means less work for the spinners, as they do not have to wash out the lanolin. Spinners then have available predyed fiber, or blends of fibers, which are hard to create when the wool is still in the grease. As machine carders cannot card wool in the grease, pre-carded yarn generally is not spun in the grease. Some spinners use spray-on lanolin-like products to get the same feel of spinning in the grease with carded fiber.
WIKIPEDIA
Sequentially numbered Dash 9's 9499 and 9498 bracket a third Dash 9 sister as intermodal train 20T speeds east into Springfield, Illinois. In the background a large September moon prepares to set behind the western horizon.
NS 9499 - D9-44CW
NS 9287 - D9-44CW
NS 9498 - D9-44CW
Cockrell Lane - Springfield, IL
September 4, 2020
Thornaby pair 37008 & 37007 at Wigan North Western with a northbound oil train on very wet 25th February 1982. Not often you saw double headed locos in numerical order! I think the train had stopped for a crew change.
The trailing loco 37007, is amazingly still going in the form of 37604 (having been 37506 before that from 1985 - 1995) and has racked up 56 years service. The leading loco 37008 wasn't so lucky and was withdrawn in February 1992.
At the end of a week of sequential storms rolling into Northern California, 16 to 20 ft swells continued slamming the Northern California coast. Friday's clearing last week provided an opportunity to get to the Point Reyes coast in hopes of a dramatic clearing at sunset. I packed up camera gear, food, water and storm gear and drove to McClures. Read on in comments for what happened next.
When I arrived I was stunned by the dramatic and visceral release of energy as the wave fronts crashed and the surf advanced towards the seemingly indomitable bluffs, …Newton's three laws of motion all in full play. High storm tides, around 5 1/2 feet (about 3 to 4 feet above the mean high tide), greeted me at McClures Beach just before the peak height.
From a short distance below the foot of the trail, besides the vigorous fresh water flow from the adjacent drainage, I surveyed the the scene as far as I could to the north and south. Recalling a conversation I'd just had with some rangers at the trailhead, telling me that one of their colleagues had been chased ten paces, back up the trail, by a high rogue wave the day before, I wrestled internally if perhaps this might not be a good time to get settled in here with my trip. I was also keenly aware that a woman had been reported missing in the area, perhaps succumbing to the dangerous storm conditions at the beach. However, after observing the surf's reach for about 30 minutes and noticing that even the highest surf didn't reach the bluffs to the south of the trail, I found a spot in the shattered granite where I felt relatively safe to stage my gear and look for a decent composition (still not stellar at composition, but I'm learning). Relatively safe being perhaps a little misleading. I knew that a higher energy rogue wave surge could find its way to me if I was too low. Plus, the bluffs behind me had recently been actively yielding parts of themselves to the sea. So having made the perhaps risky choice to remain, I had to find a composition spot that had a secure escape route, depending on which direction the threat would come from. Having decided to wait until about an hour after high tide, I finished my lunch and enjoyed the full on wonder of the scene, the light gradually warming on the horizon, while I continued my internal dialog and alertness about the safety of the situation.
After trying to dial in a composition for some longer exposure shots, I finally found a suitable high spot where deep surf (y'know, just over my boots), hadn't reached in about 30 minutes. I was there for about 20 minutes trying to dial something in, often looking through the viewfinder (since my old D70s has no live view) constantly having to adjust exposure with advancing and receding white foam. For about 10 minutes, I clicked off a few exposures to try and capture the magic motion swirlies.
Then, …a split second following the above exposure, the surf was upon me. With what I thought would be no more than about a foot of water swirling at my feet, holding fast my tripod, I suddenly braced sideways to the sea and all was ok. The surf wasn't splashing high and my gear stayed dry. Hearing the message clearly, I started to lift my tripod to run up through the rocks an then, …the next wave's surf, perhaps 2 seconds behind the first, rose and surged around me. Yes, my back was turned. I know, never ever turn your back to seas like that. As time slowed down, I steeled myself for the water's energy, using two firmly planted vibramed feet, knees bent and core tight. Suddenly, the water had me. With right hand gripping tripod and camera, seconds lasting minutes, I lost my balance. As I was falling towards the rocks, my left hand reached out blindly into the surf, to find something, anything to arrest falling fully into the surging surf, soaking myself and likely ruining my camera and lens. Miraculously finding purchase with my left hand and holding a firm stance, the surf washed over my shoulders, seeking and rapidly finding openings in my storm gear. Instinctively hunting for more immediate stability, my left knee blindly dropped through the white surf to the rocks as I looked up at my camera. Yes! It was still out of the water! Confident I was not going to get pulled back to sea or bashed on the rocks, able to think instead of relying on survival instinct, I realized that I had been struggling to maintain my balance not just for myself but to keep my camera dry. As I looked up to the sky, there it was, held high at arms length like a trophy, made even higher by the tripod, enough to avoid the splashing surf around me. As the water receded, I carefully righted myself, buzzing and wide eyed from adrenaline, and confirmed I was uninjured and my gear was indeed dry. WOW! THAT was crazy! Amazed at my luck, I walked, dripping, back up to my staging spot, hyper-alert for more rogue attacks from the sea.
It wasn't that cold, so I removed all my wet gear to wring everything out. I discovered a couple scrapes and bruises, but it was nothing compared to the possibilities. Within about 20 minutes, with the tide having receded a bit more, I was dressed and ready to get back to what I went there for. Yes, I picked a slightly higher spot and rehearsed my escape. I clicked away until after sunset, remaining energized by my adventure and reviewing how lucky I was.
I know there are few folks in my Flickr community that love to photograph coastal locations. I think its safe to assume they're probably somewhat smarter than me. Although I think I've been sent a clear message and I count myself a little wiser now. Perhaps some of you have experienced similar adventures. Everyone please be careful out there.
Harsh weather awaits these sequentially numbered PL42ACs. At the moment, both are safely tucked under the shelter of the depot sheds in Hoboken on depot tracks 12 and 13.
NJTR PL42AC 4019
NJTR PL42AC 4020
Sequential action of the Shot Put of Finnish decathlete Sami Itani at the 21st European Athletics Championships held at the Olympic Stadium, Helsinki, Finland on 27th June 2012. These sequential images were created by Finnish sports photographer Trackpic (www.trackpic.net) and processed in photoshop by me.
Maximum resolution of 5000 x 1700 - 150 dpi can be seen at All sizes - Original.
When I was putting this together I noticed that they were numbered sequentially. Guess I just don't know when to give up.
90 039 and 90 040 head south with 4M25 Mossend to Daventry, 1F43 to Liverpool Lime Street awaits the right away from the guard.
Sequential shot after shot, and one worked out.
Web sites using this photo:
www.beautifulnow.is/bnow/experience-the-magnificence-of-d...
www.theworldorbust.com/5-reasons-why-fort-lauderdale-shou...
owpbrokers.com/mls-search/neighborhoods/
www.kadinlarkulubu.com/forum/threads/sevdigim-sozler.5412...
twitter.com/NevalSahinucer/media
www.aircharteradvisors.com/private-jet-hire/florida/fort-...
owpbrokers.com/mls-search/neighborhoods/
beautifulnow.is/discover/soul-impact/experience-the-magni...
www.kadinlarkulubu.com/forum/threads/sevdigim-sozler.5412...
twitter.com/571_lowe/status/1021786385630613505
beautifulnow.is/discover/soul-impact/experience-the-magni...
Winter bill board
I will include this photo in the sequential part of this inquiry - when complete it can be compared with minimal music - a sequence of small changes.
Sort-of an attempt to combine the "Matrix" style with the OOB technique...I hope to refine it better on my next effort.
A composite of several images, taken at 1/2000 sec., in Continuous HIgh mode.
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Sequential Discovery Lego Puzzle Box - A Treasure Chest Full of Adventure
Support now on Lego Ideas: ideas.lego.com/projects/5ff51711-6072-49fe-8d39-aa8c0bd815b4
Sequentially numbered ACS64s side by side at Washington Union Station. Number 653 is coming out of the track being used as a motor pocket in preparation to backing onto its train.
hey a familiar subject again. but shooting with a structure in mind was more fun than before. also got to try out the off camera flash for the first time in a while, to light my kitchen like caravaggio. one grid spot and one bounced off the ceiling.
the recipe for salsa is: burn everything with iron, smash everything with rocks.