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The actor in this corporate training "simulation" bears a very striking resemblance to my buddy Wayne, the original Code Ninja
Kandi Coded
Live In-Studio at KEXP
February 13, 2010
Photo Credits: Jill Rachel Photography www.flickr.com/photos/jillrachel
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Breaking out some new pens. They're so nice, I wasted so much time trying them out and planning a colour-coded study system.
For those studying history (I was studying French History):
dark green - dates
light green - titles of events
black - general notes
pink - important people
purple - significance of events
red - conflict, battles, war
dark blue - system names (e.g. gov't)
light blue - system details
This photo was a quicky, I stopped only for a second to take their picture becase I was later for an interview. Not many Oh My Goddess cosplayers left and seeing as she was paired with a code geass cosplayer....well....the chances of me NOT taking the picture were against me.
Trivium + Code Orange + Power Trip + Venom Prison at The Academy, Manchester - 20th April 2018
Photography by Jason Broadhurst
Since I've been doing some HTML stuff lately, this one tickled my funny bone.
(From icanhascheezburger)
The Learning Resource Center hosted a workshop called "Color Coding Concepts" to teach students the main uses of color as a tool of learning. The workshop was given by Cheryl Howell at the LRC of the American River College campus on March 29, 2016 (photo by Itzin Alpizar)
Photo by Kevin Thom (www.kevinthom.com).
2006 Toronto International Improv Festival marathon stage.
Code Duelo (Boston).
If I had paid more attention to the little pieces of card in front of the exhibits, I could have told you what this was and what it was for. That's a shame for you really, isn't it.
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This a second film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test the DX ISO coding, the spot metering, and the motorized film rewind. During the first test film I used mostly my external lightmeter Minolta Autometer III to check that the metering of the camera was consistent with. Here, I decided I leave the Autometer at home and to use only the Nikon F4 metering.
The Nikon F4 was loaded with a Rollei RPX100 which is the former Agfa APX100 well-known for the particular large tone range. From view 1 to 24, the AF Nikkor lens 1:1.4 f=50mm was fitted with a Yellow screw-on 52mm filter and from view 25 to the end with a Hoya HMC anti-UV protection filter. A generic cylindric metal shade hood was used all the time.
The film sensitivity was set by the camera automatically from the DX code of the Rollei RPX100 35mm cartridge. The first test film was a Fomapan 200 which is not DX coded. The Nikon F4 allows a manual ISO setting. In the DX mode, if no cartridge is present or if a not DX-coded cartridge is inserted, a red LED is blinking and not action of the shutter is possible.
The spot metering in the Nikon F4 if located behind the mirror in the reflex chamber and combined with the CCD focus sensor. The the matrix and center averaged mode is operated by different photo-diodes in the removable DP-20 photometric viewer. I mostly used the spot metering mode in my usual way, privileging the shadows. I saw that the matrix mode gave very closed results. The measure were usually manually reported to the camera in the "M" mode except for one view (Nr. 3) where I left the Nikon choosing the shutter speed (approx. 1/3000s) according to the aperture (full aperture in this case f/1.4).
As for my medium-format session, I took a bit of time to note on a session ticket the main parameter (shutter speed, aperture, focusing distance). The weather was still very mild and sunny during all the session in the afternoon.
View Nr 36: 1/250s f/8 focus at infinite
Hoya HMC AUV 1A filter (x2)
Primatiale des Gaulles, November 8, 2024
Place Saint-Jean
69005 Lyon
France
After completion, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at zero. I terminated the process manual to keep the film leader outside the cartridge.
I then processed the film developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 9min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic version 14 and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
The results show that the Nikon F4 spot metering is perfectly calibrated and consistent with my traditional way to determine the exposition. The DX coding. is operating correctly but no confirming indication of the ISO value is displayed on the camera (excepted the blinking red LED if the DX code is not correctly detected). As for all SLR's of this generation, a small window on the left-side of the camera back allows the reading of the film characteristics. All the light-tight foams are in perfect order for a camera of this age (35-year old).
Overall this second session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera. It's areal joy to use.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
Lizenz: CC BY 3.0 DE, Coding da Vinci Nord, Foto: Gerald Heinemann/Mirco Larsen/puff4.0 agency, creativecommons.org/licenses/by/3.0/de/