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Comparing the new Apple Wireless Keyboard with a Pilot G-2 gel pen (it was handy)
Sent from my iPhone
bizarre! the other morning, around 8 am, this bus was parked in my midtown
Sacramento neighborhood - nowhere near its route - with this odd sign
displayed. I presume the driver was grabbing a snack from the market across
the street.
Taken with my iPhone. :D
See the review of the 80-200/2.8 here!
filipinoisephotography.blogspot.com/
My Nikon D2H with my Nikkor 80-200mm f/2.8D AF-D ED two-ring mounted.. The nifty fifty was thrown in just to give a quick size comparison.
Chrysler Charger E49 1:18 model by AutoArt.
I made this one so you can see the size of 1:18 car models.
This experiment was for the exercise in the www.strobist.com called " Lighting 102: Unit 2.1 - Apparent Light Size".
Camera: Canon EOS Rebel xt
Flash: Speedlite 430ez (left, 45 degrees, top)
Background: White sheet
View LARGE image here
*Feel free to comment. I welcome all! Thx!*
The annual Thick as a Brick Competition looks like it will be a challenge this year with some solid competition from an actual brick or at least a paving stone pretending to be a brick.
Life-Size Mouse Trap at Maker Faire '09 (3 of 13)
Aha, that's what this is, a life-size Mouse Trap game!
Maker: Frederick H. Evans (1853-1943)
Born: UK
Active: UK
Medium: photogravure
Size: 3 1/2" x 4 1/2"
Location: UK
Object No. 2015.291f
Shelf: PHO-1911
Publication: Illustrations Prepared for the Memorial Edition of the Works of George Meredith, Constable and Company, Ltd, London, 1911
Other Collections:
Notes: Frederick H. Evans (26 June 1853 – 24 June 1943) was a British photographer, best known for his images of architectural subjects, such as English and French cathedrals.[
Evans was born and died in London. He began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans' subject matter. Almost as soon as he began, however, the cost of platinum - and consequently, the cost of platinum paper for his images - began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether. Evans' ideal of straightforward, "perfect" photographic rendering - unretouched or modified in any way - as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era - though some professionals privately felt that the Evans' philosophy favoring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field. Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded. Evans was made an honorary fellow of the Royal Photographic Society in 1928, he was also a member of the Linked Ring photographic society
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