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Taken at the Melbourne Convention Centre.
Canon 50D with Canon EF 85mm F1.2L Mk II lens. 1/160 sec at F2, ISO 400.
This is part of my Melbourne11 Urban Elements Collection. A special thanks to my loving wife Karen (pictured above) for her endless dedication to helping me take these images.
France
1978
These shifters were made by Simplex and sold under the Swiss Edco brand as part of their short lived Edco groupo.
The Static Shift is an energetic Calgary band that put on an amazing performance at our local community festival. I heard they are making quite the name for themselves!
TIlt-shift experiments with a homemade tilt-shift lens (Helios 44 with what looks like bicycle tube to let it flex)
Lance Cpl. David Rodriguez, a 21-year-old fire team leader with 3rd Platoon, Lima Company, 3rd Battalion, 3rd Marine Regiment and native of Riverside, Calif., walks along a ridgeline after clearing compounds with Afghan National Army soldiers during Operation Tageer Shamal (Shifting Winds) in Helmand province, Afghanistan, Jan. 4. Over the past five years, coalition forces have operated with Afghan National Security Forces to defeat the insurgency in the central Helmand River valley. Driven from the green zones, or populated areas, of districts in southern Helmand, enemy fighters have sought refuge in bed-down locations west of the Helmand River. This area on the outskirts of Garmsir district has been, until now, nearly untouched by the partnered forces and the Afghan government. During the operation, Jan. 4-8, Afghan forces and Marines with 3/3 cleared the area of insurgent activity, weapons and improvised explosive device-making materials, and held shuras to address the concerns of local elders. (U.S. Marine Corps photo by Cpl. Reece Lodder)
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Many violets share numerous attributes and are difficult to differentiate from one another. Botanists estimate that there are between 500 and 600 species worldwide, approximately 85 of which can be found in North America. Luckily for the casual wildflower enthusiast, only about half of these are common in New York. There's tremendous variation among the community, with many varieties garnering oxymoronic names, such as round-leaved yellow violet and sweet white violet. While a majority live up to their names in appearance, more than a few are anything but violet, being completely white, pink and even the brightest shade of yellow, with numerous combinations and levels of mixing. All of these attributes aid in their identification.
Yellow violets appear to be the most primitive, with their flowers being the first shift away from the ancestral green. Purple, in contrast, is thought to be one of the most advanced colors. Evolution in progress can be witnessed in the tall, white, Canada violet (Viola canadensis), a native to Canada and the eastern U.S.. Many botanists speculate that the mostly white flower, often dabbed with minor purplish tingeing on the back of the petals, is transitioning from entirely white to "violet." The Canada violet grows throughout the Mohawk Valley in association with the large white trillium.
Violets can be separated into two general categories: those with stems from which leaves and flowers protrude, and those that are stemless, having appendages emanating directly from the roots, with flowers being supported on a thin and usually low, leafless stalk.
In addition to having showy blossoms, certain species possess a trait known as cleistogamy, meaning they are capable of self-pollination by means of tiny, barely noticeable flowers that resemble unopened buds. The term "cleistogamy" combines the Greek 'kleistos' meaning 'closed' with 'gamy' meaning 'marriage.' Once fertilization has occurred by means of insects or self-pollination, the seeds are ready for explosive dispersal. After the seeds are fully developed, the pods they're stored in slowly dry out, with the pod gradually tightening around the seeds, building up tension in the process, similar to the action of a spring. Later, when the pods are disturbed, or sometimes just randomly, the pressure becomes too great and the seeds are shot out like miniature cannonballs. Amazingly, seeds are capable of flying up to 15 feet away from the parent plant. Pretty impressive for such a tiny plant!
Once on the ground, the seeds are further dispersed by ants. Attached to each tiny seed is a fleshy appendage called an elaiosome that's rich in protein and lipids, but serves no direct impact to the seed's survival. Like the sweet nectar of a flower, these elaiosomes are tempting treats to insects, and ants in particular are readily enticed to collect them. Once dragged back to the colony, the energy-laden accessory is removed for consumption, and the hard seed body is dumped in a waste pit where it may ultimately sprout. This dual dispersal technique, using both physiological and biological mechanisms for seed movement, proves to be an effective evolutionary strategy, ensuring rapid colonization of available habitat.
Insects aren't the only ones that appreciate violets' tasty nature. In fact, humans find nearly all parts of the plants edible. The leafy greens can be collected to create a salad high in vitamins A and C, superseding that of an equivalent amount of oranges. Beginning in the nineteenth century, candied violets gained favor as a dessert garnishment and were widely served. Though their popularity has decreased over the years, in some circles they're still a favorite for topping sweet dishes of cake or ice cream. Traditionally, a syrup was also made by boiling the flowers in a concoction of sugar. Apart from sweetening the lips, the syrup is useful as a substitute for litmus paper. The solution turns red in the presence of an acid, green for a base.
To the Haudenosaunee and other eastern Native Americans, the flower is revered as a symbol of love. An Iroquoian myth, akin to the tragic Shakespearian Romeo and Juliet, tells of how two lovers of warring tribes were slain while trying to elope, and where each drop of blood hit the ground, a violet sprouted to commemorate their boundless passion.
While on the topic of romance, it's also interesting to note that violets used to be the traditional flower of Valentine's Day. Almost all bouquets given to loved ones sported purple rather than red. It wasn't until the 1930's that violets began to be supplanted by the thorny rose.
Violets were substantial money makers during the early part of the twentieth century. Like other popular flowers that are added to bouquets or home gardens today, violets were prodigiously cultivated in greenhouses by the millions. Rhinebeck, a quaint, pastoral town located along the shores of the Hudson River in southeastern New York, cornered this unusual market. Growers made sizable profits by shipping flowers to New York City, where there was an especially high demand. Rhinebeck's proximity to the city market, and its easy access to the railroad paralleling the Hudson helped make it the "Violet Capital of the World." At its peak, hundreds of greenhouses routinely cranked out thousands of violets per day in the spring-a fast worker could pick as many as 5,000 during a single shift. Eleanor Roosevelt herself often purchased copious amounts of various exotic cultivar varieties from nearby nurseries to line the gardens at her riverfront estate in Hyde Park, just south of the violet hotbed. She was frequently seen wearing intricate violet arrangements, making it a habit to do so at her husband's numerous inaugurations.
Small white violets are sweet-scented.
Next time you're outside in spring, keep your eyes open for the cosmopolitan violets, which can be found growing just about anywhere-from open and sunny backyards to rich, sheltered woodlands, and even in the dampest wetlands. Though small and unassuming, they nevertheless provide a cheerful reminder of the fecundity and diversity of the spring season. As English philosopher Bernard Williams succinctly said, "We may pass violets looking for roses. We may pass contentment looking for victory."
These are some mica shift pieces I had a play around with for the challenge at Aussiepolyclayers for April. I used the same technique for the hollow beads but just used a mica shift veneer instead.
The winter of 1930-31 was a bittersweet time for Howard Marmon. His pièce de resistance, the Marmon Sixteen, had debuted to great acclaim at the Chicago Auto Salon in November and the following month he received a medal for outstanding achievement from the Society of Automotive Engineers, awarded for the Sixteen’s magnificent engine. Although a second shift was added to the assembly line when full production began in April, there was trouble at the Marmon Motor Car Company. As with other luxury car makers, its profits had turned to deficits as the Depression deepened, and two rounds of pay cuts were followed by layoffs of most engineering staff. What had once been a bright future had become very, very uncertain.
Howard Carpenter Marmon was the son of an Indianapolis manufacturer of milling machinery. With an engineering degree from the University of California, he joined the family firm, becoming vice president and chief engineer within three years. Enamored of all types of machinery, he built a car of his own design, completed in 1902. Remarkable for its use of full pressure lubrication, it had an air-cooled power train with no universal joints, made possible by mounting the running gear on a separate subframe. He built six cars in 1904, unusual in their use of aluminum castings in their bodies, and sold them to neighbors.
By 1909, Marmon was in full production of water-cooled cars, including the Model 32 that would be built for seven years. In fact, it was a Model 32, called the “Wasp,” that garnered international acclaim for the company when it won the inaugural Indianapolis 500 in 1911. The Marmon 34 of 1916 made even greater use of aluminum, but teething problems with its design and Marmon’s lack of business acumen hindered sales. Marmons became more conventional during the 1920s, and the car operation was spun off from Nordyke and Marmon, the machinery firm. Although well built, Marmons were nearly indistinguishable from other prestige cars of the decade, and sales were mediocre.
In 1926, Howard Marmon began work on his masterpiece, a sixteen-cylinder luxury car. The heart of the new model was a compact even-firing 45-degree V16 of 491 cubic inches. Overhead valves were pushrod-operated, and the aluminum block had wet cylinder liners. Its operation was so smooth that a light flywheel was possible, which in turn facilitated rapid acceleration. The valve gear was carefully designed to be compact and well lubricated, making it nearly silent, despite mechanical adjustment. The Sixteen developed 200 brake horsepower, rode a chassis with a 145-inch wheelbase and was clothed in attractive Art Deco- inspired bodies.
Although the bodies were built by LeBaron, and carried LeBaron’s prestigious cowl tags, it was a father and son team of industrial designers who penned the car’s svelte lines. Credit is conventionally given to Walter Dorwin Teague Sr.; while it was his son who sketched the lines and details that ultimately entered production. A student at MIT, Walter Dorwin Teague Jr. was a gifted designer who would go on to design some of the most influential automobiles of his time.
Magnificent though it was, the Marmon Sixteen was not ready for production until early in 1931, by which time Cadillac’s V16 had been on the market for over a year. Initial prices were as low as $5,200, $750 less than the equivalent Cadillac, but Cadillac had a head start and the advantage of a larger business base. The first Marmon Sixteen customer did not take delivery until April 1931. For the year, just over 200 Sixteens were produced, out of some 5,700 total sales. The total for 1932 was just ten percent of an underwhelming 1,365 total cars, from which it seems odd that the eight cylinder cars were discontinued entirely for 1933. It is not hard to understand, though, that with just 86 Sixteens sold that year, about a third of which must have been leftover ‘32s, Marmon was in receivership by the first of May.
200bhp, 490.8 cu. in. overhead valve V16 engine, three-speed manual transmission, suspension via front and rear semi-elliptic leaf springs, solid front axle, live rear axle, four-wheel vacuum-assisted mechanical drum brakes. Wheelbase: 145"
[Text from Boldride.com]
www.boldride.com/ride/1933/marmon-sixteen-convertible-sed...
This Lego miniland-scale Marmon 1932 S I X T E E N Convertible Sedan has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the the 31st Build Challenge - 'Kickin' it Old School' - for vehicles built prior to 1950.
More boring test shots. Trying to prove a point about lens design. The Zeiss G lenses have MTF and other tech specs that remain unsurpassed. They were designed for RF Film format and are simply fabulous for this format. Each lens has a different design, and IMHO the DESIGN is the critical factor when matching a legacy lens to the A7R digital sensor. The G90 is a Sonnar design. So-called “experts” are extremely biassed and refuse to believe the Sonnar design has inherent aberration. Most Leica lenses are Sonnar, and have been attached to the A7R in many reviews with rather poor results, for which the reviewers have blamed the camera (example: Ken Rockwell review of A7 with Leica Sonnar lens, terrible magenta shift). I beg to differ with such reviews, and opine the problem is the legacy lens design and not the camera.
This shot is taken with the G90 at f2.8, in ambient day lighting from window, with focus on the red “b”. The subject is chosen deliberately to show white on white background with light falling away from subject onto the white paper thereby creating very slight shadow. This is very difficult for any lens and any digital sensor to capture properly without colour shift. Here, one can see very slight magenta shift across the white paper. This is the inherent flaw of the Sonnar design, which the ultra sensitive A7R sensor can record (IMHO no others can achieve this). The lens is perfect in every other way, and this magenta shift does not appear on film images. The G45 Planar design has NO shift, proving the Planar design is the correct match for the A7R. IMHO for non-dedicated legacy lenses, only the best of best lenses can reach the potential of the A7R sensor, and only the Planar and Distagon designs will produce the best results.
I have yet to try the Sony Lens Correction App, but hope this app may correct the magenta shift in-camera.
The Shift Into Winter campaign officially kicks off, and we are reminding everyone to prepare their vehicle for winter weather conditions. Tires with the mountain snowflake symbol, which are specifically designed to meet cold weather performance standards, are the best choice for safe travel in winter conditions.
Learn more: news.gov.bc.ca/releases/2015TRAN0138-001654
Analogue Olympus OM Zuiko Shift 35mm 1:2.8 shot with analogue Olympus OM Zuiko 50mm f/1.2 at aperture 4.
While I use my two other analogue lenses (50mm f/1.2 & 28mm f/2,8) from time to time, I never got round to trying my old shift & tilt lens. The 35mm corresponds to 70mm on my Four Thirds camera and with 70mm a shift mechanism doesn't make sense. Yes, there are the special effects the lens allows, but that's not really my thing.
Mamiya 645 AFDII + Mamiya ZD Back +Mamiya Sekor 50mm F4 Shift
Photo self-restrictions: 2 axis camera leveling + Tripod+ wide DOF
Raw to Tiff & Jpeg (Capture One)
Developed for print in Hahnemühle Photo Rag paper w/UltraChrome K3 pigment inks
Five Tilt-Shifts from our recent trip to London & the Shard..!
Made using tiltshiftmaker.com/
Our visit to Shard here - www.flickr.com/photos/mjjtlee/sets/72157632777704970/with...
Press 'L' to view larger in Lightbox.
I'm constantly shifting between b&w and color. I guess I love both, depending on the mood of the photo, depending on my mood too.
3 shots run through exposure fusion in photomatix
2 shots with a 430 cl, a 430 cr and a 580 just behind me all bounced off the ceiling, all on full power. 1 exposure had a nicer floor.
shot with a canon 5d mkii and a 24mm TS-e mkii
or check out my blog www.FirstPointProperty.com/blog
Day 52 of 365.
This is my first tilt-shift ever. The Frei Serafim Bridge has a slight overlook of Raul Lopes Avenue. For me this was a great opportunity to try one. While it wasn't the best subject matter for a tilt-shift, I was pleased with the shot. I have some future 365 ideas for the tilt-shift. I'm planning a mall-food court shot with a tilt-shift.
Morning shift change time at Dongchang Yard on the Jixi Coal Railway serving the Chengzihe Colliery. Two 'SY' class 2-8-2s are being serviced in the background by the discharge hoppers on 7th January 2010.
© Copyright Gordon Edgar - No unauthorised use
I think this is the Washington Mutual Bank Tower in downtown Seattle. It has some of my favorite metal public art in its courtyard on 2nd Avenue.
Top to bottom:
1. The mess of parts and tools used to make the lenses.
2. A ~140mm tilt shift made from a projector lens.
3. A ~32mm tilt shift made from a Fivestar 28-75mm manual focus lens with the mount and aperture ring removed.
Both lenses are mounted with a rubber hose. The top picture was taken with the 32mm TS lens.
The design of both of these came largely from johnyoptic and bhautik joshi's work. Thanks to both of you for the tutorials and write-ups on DIY tilt shifts!
A tilt shift panorama taken from Kilcreggan beach looking across the Clyde to Gouroch and Dunoon. A tilt shift panorama is taken by using the shift operation of a tilt shift lens instead of rotating the camera. Read more here wp.me/p3dJ1p-bD