View allAll Photos Tagged Shift
9/7/25 Lifeguards diving from Steeplechase Pier after the end of the last shift of the summer. Nikon Zf. Nikkor Z 40mm 1:2.
Despite similar looks, this tessellation is not Momotani’s Wall — it is a different pattern designed by myself. Its relation to Momotani’s Wall is roughly such as the relation of Pythagorean Tiling to Rectangle and Square Flagstone.
The twists being placed around the rectangle with rotational but without axial symmetry lead to some interesting properties. First, the tessellation is not rectangular, although the staggered rectangles create a roughly rectangular outline whose sides are not parallel to the sides of the bricks. Second, unlike Momotani’s Brick Wall, the bricks in this design can be made with different proportions. The height is always two grid units and the length can be arbitrary as long as it’s at least two grid units. In this fold, the proportions are 3:2. The case with square bricks is the same design as Pythagorean Tiling with 1:1 ratio and the way I came up with the idea for Shifted Bricks was by modifying that model. It is even possible to mix different brick lengths in a single model as long as the length is consistent along each strip of bricks whose top and bottom edges are adjacent.
Shifted Bricks is an iso-area tessellation. In contrast to Momotani’s Wall, the bricks on both sides are parallel rather than perpendicular to each other. The direction of the slant between brick columns is mirrored between the sides. In the pictures you can see that I folded the model in such way that the front side is completely clean while the back side has some visible construction creases. Folding both sides cleanly seems possible for but rather tedious for larger grids (the model shown here is from 32×32 grid).
I will be teaching this model at the online CDO convention this November. If you want to try making a clean fold (with lots of precreasing), you can use the instructions I made available at origami.kosmulski.org/instructions/shifted-bricks
This is how the nuclear flask train looked back in 1997 when info regarding this was sparse. The only thing I can remember about going to this location at the time was the political voting shifting from Tory to Labour. The outcome of which I would leave you to decide whether good or bad....?
Northern Rail 195010 leaves the line to Barnsley at Wincobank Jct on route to the next stop at Sheffield , whilst working the Sunday 1Y21 1009 Leeds - Nottingham .
3 1 21
A trio of consecutively numbered RSD15's wait for the 3PM Hill crew to show up while in the background a couple U23C's and a RSD12 await the 3PM Tilden crew. A warm hazy May afternoon in 1986. The LS&I was a great place to shoot back in the day.
The Arpley Junction signalman is seen browsing TRUST. Only one train on a 12 hour shift here these days, how busy was it in the 1980s! Photo taken on Monday 22nd September 2025. Photo: Ivan Stewart
Windswept grasses, Grand Mere State Park, Michigan.
Taken on August 21, 2016
Mamiya M645 1000S
Sekor C 80mm f/2.8 with 25A red filter
Ilford FP4 Plus
A wonderful warm day provided such welcomed pleasure, as the evening came a cool front approached and treated all to a delightful show...Burgerhill rhinebeck
Thanks for all the views and kind comment! Thanks for the explore
As the photographer, I have the copyright to all images in my flickr stream. Please do not use without my prior permission. Thank you.
After the wonders of Moissac, I drove back North 125 kilometers to the small town of Souillac, back in the département of Lot but still in the old province of Quercy (and in the modern region of Occitania). According to unconfirmed local stories, the abbey of Souillac was founded by Saint Éloi (†660) before it was taken over by the Benedictines from Aurillac in the 900s. From that period, only the Western tower-porch remains.
Less famous than Moissac, this abbey was, for me, at least as interesting, beginning with the church, which has not been altogether transformed in the Gothic style like in Moissac, but retains its beauty and genuineness from the 1100s, as I hope you will see through the photos I will upload.
Sculpture is also at least as amazing at that of Moissac, and even more so in some respects —and it is in much better condition, for reasons that we will explore together as I caption the relevant photos.
Listed as a Historic Landmark on the first list of 1840, the abbey is not on the path to Compostela and was never known for housing any particularly famous relics, which is why the church, dedicated to Saint Mary, has no ambulatory around the choir.
I was very nicely received in Souillac by the local authorities as the photos I took contributed to the documentation of the nationwide crowdfunding project that is in place to restore parts of the church, under the ægis of the Fondation du Patrimoine (Mission Bern), for which I work as a pro bono photographer: www.fondation-patrimoine.org/les-projets/abbatiale-sainte....
As I mentioned above, the oldest part of the abbey church is the western tower-porch from the 900s, with parts that are even older, from the 800s. During the consolidation works undertaken on the tower in the 1950s, which involved excavation to pour concrete and stabilize the base of the tower, a Merovingian cemetery was found with sarcophagi from the 400s and 500s, some quite plain, some very ornate.
They have been kept in an underground room under the tower. This space is not open to the public but I was given access to take pictures.
One of the sarcophagi was, for reasons of economy, shut with these two carved stones re-used from a Carolingian chancel enclosure.
Some of the tombs found in that small necropolis were much more recent, 12th or 13th century.
(The new feature of the Pentax K-3II)
Pentax K-3II
DA 35mm 2.8 Macro Limited
Out of camera jpeg
If you want to see the same image, the same file without Pixel Shift Resolution (in camera raw), click here:
www.flickr.com/photos/lepidoptorologicbeauty/18548968756/...
The sands shifted as the spring breeze swirled into existence, chasing the last of the clinging frosts from the dunes. Grain tumbled over grain; a slip swelling into a landslide, uncovering what had remained buried for decades. The glimmer of crystal, a shining drop of blue amidst the sand...
Read the rest of the story on the blog!
eclecticequations.blogspot.com/2020/04/fantasy-faire-2020...
Outfit: Meira (bodysuit/red & cropped blazer/black) by GIZ SEORN *Get this item at the K9 event!* www.flickr.com/photos/54159573@N05
Tattoo: Puppy Spots by DAZED www.flickr.com/photos/-gossip_girl-/
Access: Olesya Lace Coat (Onyx) by Rowne www.flickr.com/photos/houseoffox/
Wings: Faery Wings by -FAS- www.flickr.com/photos/idrialghost/
A test shot of the 16 image pixel shift multi shooting mode on the newer Sony cameras.
Download the the full resolution 240MP image and see what you think.
Unfortunanetly the high resolution mode confirmed that my lens is slightly decentred, with a softer left side performance. Ironically, this is harder to see at normal resolutions. Some times, ignorance is bliss!
Shift key on a 1947 Smith-Corona Clipper typewriter. "Floating Shift" refers to the mechanism used to shift to uppercase letters. On this machine, the segment (all the typebars and their pivots) moves downward when you push the shift key. On some other machines, the shift is achieved by shifting the entire carriage up, which requires more effort.
Another shifted composition. This is a side view of the building that once served as the locomotive shops for the Monessen Southwestern Railway.
I got talking cars tonight... and Lego_Knight and ARA were posting their cars... so here's mine.
...and yes I do somewhat regret not getting a bigger MOC transporter.
...and yes, my hockey gear DOES fit inside (I brought with me for test drives!)
Wind-sculpted textures of the Mesquite Flat Sand Dunes in Death Valley National Park, where shifting sands echo the movement of water across a vast desert landscape. Side-lit by low-angle sunlight, the intricate ripple patterns and flowing contours reveal the constant, unseen forces that shape this environment over time. The interplay of light and shadow transforms the dunes into an abstract study of motion, rhythm, and impermanence. In this fleeting moment, the desert’s surface becomes a quiet record of nature’s invisible currents at work.