View allAll Photos Tagged developing
Airesflex
Arista EDU Ultra 100
developed in Diafine @ 200
I've decided I'm not going to go outside anymore. I think I'm just going to be a cat portraitist. :)
33rd Midsummer fest, Sweden hills, Tobetsu, Hokkaido.
I cannot tell which foods are derived from Sweden :-)
Canon AV-1, Tokina AT-X28-85mm, F 3.5-4.5, negative for cinema ( F64D ), exposed as ISO 40, developed as described previously.
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Marie Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.
Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466/1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.
Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced for them also many cartoons, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia (c. 1476). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli), the Baptism of Christ, and Delivery of the Keys. Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. These works were later destroyed to make a space for Michelangelo's Last Judgement.
Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety.
4 big thunderstorms developed this afternoon out on the Plains near Broome. This one combined with another later to produce a wild show heading into Broome.
Royal New Zealand Air Force (RNZAF) NZ6460 Aermacchi MB-339CB c/n 6786.
The only Italian-made aircraft to fly with the RNZAF, the Macchi gave a generation of Air Force pilots their introduction to fast jet flying.
The MB-339 was developed during the 1970s in response to a request from the Italian Air Force for a replacement jet trainer. A derivation of its predecessor, the MB-326, the prototype first flew on 12 August 1976, and the first aircraft entered production soon after.
The RNZAF acquired 18 Aermacchi MB-339CBs in 1990, with deliveries beginning in 1991. All 18 aircraft were operated by No. 14 Squadron RNZAF at Ohakea. The MB-339, or ‘Macchi’ as it became known in the RNZAF, provided RNZAF pilots with the advanced flying training component of their ‘wings’ course. The Macchi also had a second-line attack capability when equipped with 12.7mm gun packs, bombs and rockets. With the disbandment of the RNZAF’s Air Combat Force in 2001, the Aermacchi was retired and put into storage at Ohakea. The majority of the fleet was sold in 2012, with the remainder being allocated to aviation museums around New Zealand.
NZ6460 was the first Macchi to be assembled and test flown in New Zealand and was officially handed over to No. 14 Squadron on 19 April 1991. On 28 November 1994, its pilot was forced to make a wheels-up landing at night following a ‘flame-out’ of the engine. A metal object had been ingested resulting in a complete loss of power shortly after take-off. The aircraft required extensive repair in Italy. As part of No. 14 Squadron’s aerobatic display team, the Black Falcons, NZ6460 took part in many displays around New Zealand throughout 2000 in celebration of the new millennium. It was transferred to the Air Force Museum of New Zealand in 2012.
Dawlet Khan, Bermel District Sub Governor, hands out various items to the children in Faqiran Village after a Shura he held on the spot. Afghan National Army and Rakkasan Soldiers provided security for the Shura. (U.S. Army Courtesy Photo)
Just a little thing to show I'm not dead. As I noted in my previous post, I recently moved to New York City for a job and have been too tired to get out and shoot often. On a recent walk to break that pattern, I was testing a Minolta CLE and Rokkor 90mm f/4, my first introduction to the Leica M system. It's a blast. That being said, I also used it as an opportunity to test out ADOX Rodinal developer for the first time, which didn't quite go as planned when I wound up having a devil of a time just reeling up my film. The negs got beat up quite badly, but there's still usable. Learning to use Rodinal though should be interesting. Stand-developed in Rodinal, Ilford Delta 100.
Developed using the principles of New Urbanism, CLC worked with its private sector partners to create a compact, pedestrian-friendly community. Our shared goal was to build a space where residents are never more than a few minutes away from parks, schools, green space and access to public transit. With 1,600 housing units ranging from single-family homes to townhouses and apartments, as well as retail shops and services located on the property, the development offers something for everyone.
Garrison Woods also celebrates its association with its military past, by retaining existing street names from the former Canadian Forces Base. As a gesture of respect to the Base’s history, Garrison Woods also incorporates memorials to pay tribute to the men and women of Canada’s military.
Garrison Woods was completed in 2004, and has since become one of Calgary’s most desirable neighbourhoods.
_______
La SIC et ses partenaires du secteur privé ont utilisé les principes du nouvel urbanisme pour créer un quartier compact et invitant pour la marche. Le but consistait à construire un secteur où les gens sont à quelques minutes à pied des parcs, écoles, espaces verts et transport en commun. Le quartier compte 1 600 résidences de toutes sortes, des maisons individuelles aux maisons en rangée et aux appartments, de même que des commerces et services qui répondent aux besoins des résidents.
Garrison Woods est un endroit qui commémore l’histoire militaire des lieux, en conservant les noms des rues de l’ancienne base des Forces canadiennes. En guise de respect pour l’histoire de la base, des monuments ont aussi été érigés à Garrison pour rendre hommage aux hommes et aux femmes qui ont servi dans les Forces canadiennes.
Garrison Woods a été terminé en 2004 et, depuis, est devenu un des quartiers les plus recherchés de Calgary.
This one was hard to shoot, and took a bit of patience to get. And you're probably thinking, how can that be, it looks straightforward. Well, my first composition from this point was to be just looking across Morrison Lake to a cottage on the other side, but the dull flat sky made the image boring, so I turned the camera until I found a shot I liked, and this was it. The trouble arose because I was standing on a less-than-stable dock, it was a matter of standing perfectly still until the motion stopped before pressing the shutter.
Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - New55 Atomic-X @ ASA-100
Blazinal (1+100) 60:00 @ 20C (Stand Developed)
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
200iso C41 film expired 15 years ago. Developed in HC110 1+47 for 10 minutes. 10 minutes fix then 20 minutes in fix + lemon juice to clear some off the un-developed colour layer masking.
Developed in the mid-1930s for the Regia Aeronautica (Italian Royal Air Force), the Saetta was one of its principal fighters during World War II.
The Regia Aeronautica first employed the Saetta against the British on the Mediterranean island of Malta. Italian pilots also flew the MC.200 in Greece, North Africa, Yugoslavia and the Soviet Union. The U.S. Army Air Forces fought against MC.200s in North Africa and over Italy itself.
The MC.200 on display was transferred from the Regia Aeronautica's 372nd Squadron in Italy to the 165th Squadron in North Africa during November 1942, just in time to be abandoned at Banghazi airfield following the battle of El Alamein.(Air Force Museum, Dayton Ohio, 2007)
With many navies developing more and more powerful and capable armored cruisers around the world, the Vinnish navy sought to make sure their next cruiser would be able to compete. At first, the Sumpflands were to have a conventional layout, with just two main gun turrets. Then, that changed to three, then four. The problem with this then was the question, how much value do more guns have when they can't all train on the same target? An ingenious, albeit controversial and mechanically and practically questionable solution was engineered to solve this problem.
The turrets would be able to physically traverse across the deck to the opposite side to attain an optimal firing position. This was achieved via rails laid into grooves across the deck. The turret would unlatch from its barbette, slide across the deck, and anchor itself to a port on the opposite side. After firing, the recoil would assist in throwing the turret back along the track to its barbette, where it would lock back in place to reload and prepare to travel again. Although somewhat simple on paper, in practice this system proved to be complex, maintenance intensive, and vulnerable to catastrophic failure in battle. A well-placed hit could blow a turret right off of its barbette, or jam it into place and prevent it from traversing or traveling. However, despite these complications, the idea was actually implemented on the lead ship of the class. It remains to be seen whether this unique innovation will be of benefit or detriment to the Vinnish navy in combat.
This photograph shows what a full port broadside would look like, with the starboard side turret "slid" into position.
PERKS & QUIRKS:
Guns: 9" (+1)
Armor: 7in (+2)
Speed: 18kn (-1)
Range: 9000km (-1)
Torpedo Tubes: 2 (-1)
Cliffe's Sliding Gun Turret: +3
Mechanically Complex: -1
Very High Maintenance: -2
The staircase of annex to the Aarau art museum. Architects: Herzog & de Meuron.
I meant to go there for a long time and finally made it. As this building had been taken in all it's angles, I always had in mind to take the fisheye with me.
Camera: Pentacon six TL, Biometar 80/2.8 MC. Film: Kodak Portra 400VC, home-developed with the Rollei DIGIBASE C41 Film KIt.
22 May 2012
At the UNFCCC negotiations in Bonn today, young people took action to highlight how carbon trading is distracting developed countries from making real, ambitious emissions reductions.
The youth constituency at the UN climate talks staged a mock-celebration of new market mechanisms. ‘Carbon traders’ in suits and party gear celebrated carbon offsets, while others called upon negotiators not to be distracted by the false promises of carbon trading.
The action highlighted how market mechanisms allow developed countries to avoid making real domestic emission reductions, placing a burden on developing countries and putting local communities and indigenous peoples at further risk.
READ THE FULL PRESS RELEASE HERE: pusheurope.eu/media/pressrelease-23052012/
Built late 1840s by Henry Evans, occupied by George Fife Angas when he arrived 1851, after his death property was transferred to Charles Howard Angas, remained in Angas family until 1965. Sold to horse trainer Colin Hayes and developed as a horse training & breeding complex, sold 2013 & 2023, now private.
“On Friday night, about 12 o'clock, a fire broke out in a paddock belonging to Wm. Clark, Esq., close to Angaston. . . . on Saturday forenoon it burst out again, and a wind blowing at the time, carried the flames across the country destroying everything they came near. Several of our small farmers are severely injured as to property. . . It still carried on, and reached Mr. Angas's paddocks, which have also been consumed. At one time great fears were entertained that the residence of the Hon. G. F. Angas, Lindsay Park, would be consumed, but, fortunately, it escaped.” [Advertiser 26 Jan 1860]
“ANGAS.— [Died] On the 11th January, at Lindsay House, near Angaston, Rosetta, the beloved wife of George Fife Angas, aged 74 years.” [Register 16 Jan 1867]
“During the past week, the Sunday School children of Angaston and its vicinity, nearly seven hundred in number, experienced a day's enjoyment at Lindsay Park, being hospitably entertained by its respected owner Mr G. F. Angas.” [Bunyip, Gawler 23 Mar 1872]
“For some time past the people of Angaston have felt the want of a piece of land as recreation grounds, suitable for holding athletic sports, cricket, and football matches, and kindred field-sports ; consequently a deputation representative of the various Clubs, accompanied by local dignitaries, drove out, preceded by a coach and four containing the Angaston Brass Band, to Lindsay Park to make an application to Mr. G. F. Angas to kindly consider and provide for the requirement of the township. A letter signed by about 200 persons having been read to Mr. Angas, he expressed his willingness to give favourable consideration to the request.” [Evening Journal 1 Aug 1876]
“The 1st of May being the anniversary of Mr. G F. Angas's birthday. . . a number of residents in Nuriootpa, Light's Pass, Keyneton, and Angaston assembled in Angaston about 3 o'clock on Wednesday afternoon, and drove out to Mr. Angas's picturesque residence at Lindsay Park to congratulate him on his having entered his 90th year. Arriving at the Park Lodge a procession was formed of gentlemen on foot, headed by the Angaston Brass Band playing suitable airs, and proceeded through the beautiful garden grounds up to the house, where they were received and subsequently entertained by Mr. John H. Angas on behalf of his venerable father. All available standing room in the house, on the balcony, and piazza was filled.” [Register 4 May 1878]
“ANGAS.— [Died] On the 15th May, at Lindsay Park, Angaston, George Fife Angas, aged 90 years.” [Register 17 May 1879]
“Mr. Angas, who ranks among the founders of South Australia, and has been resident in the colony for more than a quarter of a century, was born on May 1, 1789. . . early years were spent at Newcastle-upon-Tyne, where his father carried on an extensive business as coach manufacturer, merchant, and shipowner. . . Mr. G. F. Angas. . . while he was still an apprentice, he was the means of establishing a Benevolent Society for helping the aged and distressed coachmakers of the town; and afterwards, with the view of encouraging provident habits in the workpeople, a Savings Bank was opened under the auspices of the Society. He very early became a Sunday school teacher, and was also instrumental, with other persons, in forming the Newcastle Sunday- school Union in 1816. . . he did not adopt South Australia as his home until 1851. . . he arrived in the Ascendant. . . election to the Legislative Council. . . In 1857 he entered the first Parliament under the new Constitution as a member of the Upper House. . . he was identified more particularly with the Baptist denomination, but his giving was not restrained by sectarian preferences. He assisted in the erection of churches throughout the colony, and was a generous contributor to Bible, Missionary, and all kindred Societies, not only in South Australia, but also in other parts of the world. He also gave considerable sums towards the building of schools. . . Bushmen's Club and the Sailors' Home.” [Register 17 May 1879]
“Mr. G. F. Angas commenced an independent and successful career as a merchant and shipowner in London and Newcastle. Mr. Angas continued to trade with Honduras in mahogany, dye-woods, &c., a business which had been opened up by his father. . . In 1822 Mr. Angas induced the Baptist Missionary Society to send out a minister to Belize, giving him a passage in one of his vessels, and also contributing towards his maintenance. . . Mr. Angas opened up communication with Colonel, afterwards Sir George, Arthur, Governor of Honduras, on the subject of abolishing slavery in that part of the British dominions. . . In the year 1824 some 200 or 300 Indians were set free as the result of these efforts, and subsequently, during Colonel McDonald's superintendence, the like justice was extended to some who were held in the same condition by British subjects on the Mosquito Shore. . . In 1831 Mr. Angas assisted the Rev. Dr. Cox in the establishment of the British and Foreign Sailors' Society (with which was incorporated the Port of London and Bethel Union).” [Express & Telegraph 16 May 1879]
“In 1834, through the efforts of the gentlemen who composed the South Australian Association, an Act of Parliament was obtained authorizing the formation of the colony, and Mr. Angas then accepted an appointment on the first Board of Commissioners. . . The Act required that before the Commissioners entered upon the exercise of their general powers £35,000 worth of land must be sold; but several months after the land had been offered at £1 per acre only & portion of the stipulated quantity had been applied for. At this juncture Mr. Angas and two other gentlemen stepped in, and upon the Commissioners agreeing to reduce the price to twelve shillings per acre, advanced the money to buy the remainder of the sections. These they handed over to the South Australian Company at cost price.” [Adelaide Observer 17 May 1879]
“one of his most important purchases being what was then known as the Barossa Special Survey, a beautiful district, in the midst of which he has for many years past made his home. In 1837 he laid the foundation of German emigration to South Australia by helping out under Pastor Kavel some hundreds of Lutherans, who, in consequence of their opposition to the Government scheme for uniting the Reformed and Lutheran Churches, were suffering religious persecution in Prussia. . . co-operating actively with the Aborigines' Protection Society, and in 1838 assisting the Dresden Missionary Society to forward the Revs. Teichelmann and Schurmann to labour as missionaries among them.” [Evening Journal 17 May 1879]
“As his town residence (Prospect Hall) was situated at Bowden, the poor of Bowden, Brompton, and neighborhood for years largely enjoyed Mr. Angas's liberality; being allowed in addition to the services of a Scripture reader the sum of £50 per annum to provide them with blankets, firewood, &c., in the winter, and dinner at Christmas.” [Advertiser 17 May 1879]
“The remains or the late George Fife Angas were conveyed from residence, Lindsay House, Angaston, to the family vault in Lindsay Park on Tuesday afternoon. The shops and principal places of business were closed during the day, and flags were hoisted half-mast high in Angaston in honour of the deceased. . . over 500 persons were present. . . The procession slowly wended its way through the park to the vault, which is situated about a quarter of a mile from the house. The vault was beautifully decorated inside with flowers in wreaths and festoons, plants, &c.” [Register 21 May 1879]
“Elder's Wool and Produce Company (Limited) report having sold by auction, at Angaston, on Tuesday, September 11, under instructions from the executors of the late Mr. G. F. Angas, the following valuable landed properties:— Lindsay Park Estate, near Angaston, the residence of the late G. F. Angas, comprising 2,716 acres, at £10 1s. per acre, the purchaser being Mr. Charles Angas.” [Advertiser 12 Sep 1883]
“a drive through lovely country to Lindsay Park, which was the home of Mr. George Fife Angas, and is now vacant.” [Evening Journal 31 Dec 1887]
“As we dismounted at Lindsay Park to inspect the magnificent gardens, with their abundance of blooms, a herd of fallow deer scampered away to a hiding place over the hilltops, and a. stately emu, with conceited dignity, followed in their wake.” [Register 17 Nov 1902]
“Mr. and Mrs. C. H. Angas have left -town and gone to Lindsay Park, Angaston, where they will spend the summer.” [Critic, Adelaide 11 Oct 1916]
“Lindsay Park is a beautiful spot, with its terraced gardens, spacious lawns, and gay flower-beds, and altogether an ideal place for a. fete.” [The Mail 10 Nov 1917]
“A fete in aid of the Red Cross funds was held at Lindsay Park, Angaston, the residence of Mr. C. H. Angas. . . There were stallholders for fancy goods, produce, sweets, strawberries, afternoon tea, flowers, ice-cream, with a concert party, sideshows, and sports for the children. . . The proceeds were nearly £250.” [Advertiser 22 Nov 1917]
“ANGAS. — [Died] On the 11th December, at Lindsay Park, Angaston, Charles Howard Angas, aged 67 years.” [Register 12 Dec 1928]
“Mr. C. H. Angus. . . was the only son of the late Mr. J. H. Angas, and was one of South Australia's leading pastoralists. . . Surviving of his family are three sons and one daughter, Mr. Ronald Angas (Collingrove), Mr, Dudley T. Angas (Hill River), Mr. J. Keith Angas (Lindsay Park), and the Hon. Mrs. R. N. D. Ryder (London).” Northern Argus 14 Dec 1928]
A stiff paper is best, but there's a lot of stress where the curves meet the edge, so you'll want a tough paper, too. Something long fiber.
The 133rd Airlift Wing’s human resource advisor and Wing Culture Council, held a special brown bag lunch and guest speaker in St. Paul, Minn., Feb. 23, 2014. Airmen from the Wing gathered after to converse and laugh with the speaker, Andre Koen, about his informative and interactive discussion on developing cultural competencies. (U.S. Air National Guard photo by Senior Airman Kari Giles/Released)
Marburg developed at the crossroads of two important medieval routes. The settlement was protected by a small castle built during the ninth or tenth century. Since 1140 Marburg has been a town, owned by the Landgraves of Thuringia, residing on the Wartburg above Eisenach.
In 1228, the widowed Elizabeth of Hungary (aka Elizabeth of Thuringia), chose Marburg as her dowager seat. The countess dedicated her life to the sick and would become after her early death in 1231, aged 24, one of the most prominent female saints of the era. She was canonized already in 1235.
Marburg was a provincial town in Hesse, known for the University, the oldest Protestant-founded university in the world, founded in 1527. In 1529, Philipp I of Hesse arranged the "Marburg Colloquy", to propitiate Martin Luther and Huldrych Zwingli.
St. Elisabeth had founded a hospital here in 1228, where she cared for sick and needy people until her death. She was buried in the hospital chapel. Immediately began a pilgrim's stream and numerous miracles of healing were witnessed.
In honour of St. Elizabeth the Elisabethkirche ("St. Elizabeth's Church") was built by the Order of the Teutonic Knights. The church is one of the earliest purely Gothic churches in German-speaking areas, and is held to be a model for the architecture of Cologne Cathedral. The church was consecrated in 1283. The work on the two towers continued until 1340.
In 1539, Landgrave Philip had the bones of St. Elizabeth removed to set a mark against the cult of the relics, almost all of the formerly Catholic friars converted to Protestantism. Part of the originally rich figure jewelry got removed.
The Gothic choir.
T-72M1 (E1994.6) - After World War 2 Soviet tanks developed along logical traditional lines. In 1960 work began on a new design, the T-64, which incorporated many revoluntionary and untried features but it was not a great success and in 1970 the prototype of T-72 appeared, which could be described as a simplified version of T-64.
In 1995 production was estimated at around 25,000 tanks, although this included licence built versions from India, Poland, Romania, the former Czechosolvakia and Yugoslavia. Our exhibit was in service with the former East German Army; it is the model T-72M which was produced for export only. Tanks of this type were employed by the Iraqi Republican Guard during the Gulf War (1991), by the Syrian Army in Lebanon, by various elements in the former Yugoslavia and, of course, in Chechnya.
The striking feature of T-72 is the low profile. This is achieved by careful design but in particular by the elimination of the loader who, because he has to work standing up, largely dictates the height of a tank. He is replaced in this vehicle by an auto-loader, which can feed the gun at any angle with a separate projectile and charge case. The ammunition is arranged around the turret rather like the carousel of a slide projector. Ammunition stowage is limited, the rounds are unprotected so there is a high fire risk, the mechanical equipment is prone to break down and the rate of fire, due to the action of the auto-loader, is slow.
Precise Name: Main Battle Tank T72M1
Other Name: Obiekt 172M-1, Ural
The T72 is the most widely used main battle tank in the world. It has been manufactured in six countries, is in service with the armies of 35 nations and has fought in all the major wars of the last 20 years.
In 1967 the Soviet Army adopted the T64 Main Battle Tank as its future standard tank. The most revolutionary aspect of the new tank was the use of an auto-loader to feed its 115mm smooth bore gun. The T64 was very complex and very expensive; characteristics that made it unsuitable for export to the Soviet Union’s allies. Moreover the T64’s high cost would limit the number of tanks that could be bought and worse, the early versions proved unreliable.
The Vagonka Design Bureau was running out of work as T62 development finished. Its leader, Leonid Kartsev, persuaded the Minister responsible for tank production to allow him to modify the T64 and also to permit the Vagonka Bureau to build six prototypes. This decision was made without reference to the Main Armour Administration in the Soviet Defence Ministry who were supposed to control tank policy! The revised tank, Obiekt 172, had a new, more reliable, Vagonka auto-loader, a 125mm gun, a redesigned suspension and a new engine and power train.n.Obiekt 172 tanks were tested during 1968-70. Following modifications Kartsev’s new tank was accepted as the T72 in 1971. This was a compromise between the advocates of the T64 and those who wanted a cheaper tank that could be bought in large numbers. It gave the Soviet Army a ‘high/low mix’ of vehicles: the T64 at the high end would equip first echelon units in East Germany, the low end T72 would go to the follow up forces and for export. The adoption of the T72 also kept the Vagonka Bureau in business.
Gun - 125 mm Smoothbore Autoloader
Armament - Main Weapon Type
12.7 mm & 7.62 mm Machine Guns
V-46.6, 12 cylinder, water cooled
60kph Maximum (Speed - Road)
Diesel Type (Fuel)
125mm Calibre (Main Gun)
780bhp Power (Engine Output)
220gall Volume (Fuel)
550km Radius (Range)
Maximum (Armour Thickness)
44rounds Number (Projectile)
6.95m Length (Overall)
3.59m Width (Overall)
41,500kg Weight (Overall)
2.19m Height (Overall)
Voigtlander Bessa R4A and Voigtlander Color-Skopar 21mm f/4
Fotokemika Efke R50
developed in Rodinal (1:50)
camera and lens borrowed from tcastlen. Thanks Tim!
Compared with advanced economies and large developing economies, Mexico has derived relatively little growth from productivity improvements. In the United States and India, for example, 67 percent of GDP growth comes from growth in labor productivity--raising output per unit of work. In China, more than 90 percent of GDP gains from 1990 to 2012 came from productivity improvement. In Mexico, however, more than 70 percent of GDP growth came from a rapidly growing labor force. When the growth of the labor force slows (expansion is expected to drop from 2 percent a year to 1.2 percent), Mexico will need to raise productivity faster to sustain GDP growth. For the full report "A tale of two Mexicos: Growth and prosperity in a two-speed economy," click here bit.ly/1pbaqZm
Image Description from historic lecture booklet: "After the place has been established for ten years the shrubbery is developed, trees have grown up along side the house and arbors have been constructed. very often there is a flag pole in the front yard."
Original Collection: Visual Instruction Department Lantern Slides
Item Number: P217:set 067 051
You can find this image by searching for the item number by clicking here.
Want more? You can find more digital resources online.
We're happy for you to share this digital image within the spirit of The Commons; however, certain restrictions on high quality reproductions of the original physical version may apply. To read more about what “no known restrictions” means, please visit the Special Collections & Archives website, or contact staff at the OSU Special Collections & Archives Research Center for details.
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
秋日的某天 (不是只有一天)．一如以往．走走拍拍．生活+點滴．人事+光影．是記錄的事實．也是回憶的準備．2015 秋天的汐止小鎮…
.
註：「小鎮」要比大都會好多了，光是 "人少"、"無所謂流行" 以及 "不會太濃的人情味"，就好得剛好到位。
.
Notes:
1. With a greedy mind, film tail was torn apart from spool winding the last frame... (darn!)
Luckily, I got a changing bag (暗袋), and reusable cartridges that helped me from such a situation :-)
2. Yes, with fresh film, plus a little over (exposure), this vintage RF camera works well (to me )... == [使用新鮮的底片，並稍微地 over (過曝) 一些些，這部老相機拍出來的影像似乎還 OK。]
.
* PS - This roll got exposed on 2015/09/05, developed/scanned by a local studio 天虹數位影像 2015/09/12, and re-scanned with "Epson Perfection V600 Photo" on 2015/09/13.
A little view at developing a tattoo of the Colombian artist Logo (Andres Felipe Methza) with his own style illustration.
special thanks to soundtrack
Maybeshewill - he films the clouds pt.2
camilograld_photographer@yahoo.com
Watch this video on Vimeo. Video created by Camilo Grald.
Nikon F with Nikkor-O 2.1cm F/4
Yellow filter
Kentmere 400 @ 1600 iso
Adox APH-09 1+50 ( Still working on the developing time )
Impression during the Session "AI and Computing: Developing the Next Mathematics with Massachusetts Institute of Technology " at the Annual Meeting 2019 of the World Economic Forum in Davos, January 23, 2019. Congress Cenre - IdeasLab. Copyright by World Economic Forum / Valeriano Di Domenico
.
100% Photographed using film, and developed by me.
Quick previews... Captured at the Nisei Week Grand Parade in Little Tokyo, Los Angeles, CA
Member of the Kanzuma school "Miyako Sensei" Daughter of Fujima Kansuma (Odori Japanese Dance school, and Kabuki theater style).
CanonCamera 35mm 1V HS
LensCanon 70-200mm f2.8L IS
Scanner Epson V600 Photo
KodakPortra 400 35mm film
2014 © Aleksandr|Photography.
AllRights reserved.