The sexy 4 buckled sandals have her feet and ankles strapped beautifully, imprisoning them with white patent leather. The heavy leather cuffs with their straps pulled tightly are secured in place. She tries to flex her feet but they won't move, she can only wiggle a few of her toes, the sandals are too snug. She then tries to move her ankles but strains against the double buckled cuff which encircles her lower leg. She looks at the devices placed upon her and gives up, the wide 4 strapped calf cuffs are overwelmingly restrictive. The only movement she can muster is a slight toe out as her calves are bolted together. Little does she know that in the next few days the front of the sandals will be connected by a metal bar and extensions will be made to brace her legs together entirely. I can make a bondage device for you that you have only dreamed of. PLEASE LEAVE A COMMENT as I am curious to the attraction to braces and this type of bondage. These are for sale. As usual, I can make these for you as well as any other type of leather and/or metal bondage device you can think of. I can also make you "conventional" orthopedic leg and body braces as well as "bondage" style braces, contact me at my1970junk@msn.com.

ALSO Join the Flickr group "Leg Brace Desires" and get in the conversation

 

The Tower of Babel is a high-tech communications device of Atlantean origin. Essentially a large particle accelerator, it fires a powerful beam of energy at a satellite in geosynchronous orbit. The satellite further focusses and aims the beam, allowing for interstellar messages to be sent to nearby star systems. The satellite can also aim the beam back down to Earth, wiith enough power to level whole cities.

 

Inspired by the anime series "Nadia - Secret of Blue Water". There is a scene in the series which I love. The Neo-Atlanteans test fire their reconstructed Tower of Babel, destroying an island in the process. Gargoyle, the leader of Neo-Atlantis, looks at the burning island and says: This is the light of God that shall once more rule the Earth. Captain Nemo, out on the sea and looking at the same scene, has a different viewpoint: This is the light of the devil that will once more destroy the world.

 

I had some fun with this build, basically just stacking bricks upon each other.

I named this one 'The Device' because that's what they call the mysterious Egyptian contraption in the movie 'Stargate' before they find out what it actually is.

 

I kind of feel the same about this weird gizmo that lives outside Glasgow Science Centre. If anyone has any ideas about what this is, what it does or who designed it, I would love to hear more.

 

It may well be a covert transmitter to Science Centre security who appeared on the scene right after I took this shot and said I couldn't take photos. When I questioned this he made some lame excuse about the management of the Science Centre chasing me because they don't like people taking photos so close to the BBC TV studios.....eh?

 

Maybe 'The Device' was actually his spaceship.....

SONY DSC-RX100, 2014/6/14, Chichibu mining district, Chichibu-shi, Saitama Prefecture, Japan

DSC00700_3

My buddy "buetts" [https://www.flickr.com/photos/buetts/] gave me this brilliant little aparatus that listens to the speed of light. I have no idea how he did it, but all you need is the free software Audacity and this little black box [http://www.flickr.com/photos/buetts/8515982132/in/photostream] to test all your cameras.

Once you've downloaded the software, plug in the tester. Then you need to have a strong light in front of the lens. This is best done with anything to lay a torchlight on (and don't have a "helper" who's constantly complaining about this and that and gnagnagna).

Make sure you have the setting on your computer so that the "earphone"-plug is on "input"!

Switch the box on, start a record in audacity, and fire the shutter. Stop the record, go backward in it to search for the peaks and measure from start to stop.

Buetts has made a litte video to show the procedure : [http://www.flickr.com/photos/buetts/8516184497/in/photostream/]

 

Now that I know, how it works, it is a breeze. Easy. And super-exact. I\'ve tested some of my cameras and found that the Kiev/Hartblei is the most exact. Almost to the spot.

For example: 1/125 is 0.008 sec. The Kiev is on 0.009 sec. My Pentacon Six is (same 1/125) on 0.012 sec. Which is still close enough.

 

Buetts buetts sells these devices, so if you would like to have one: get in touch with him.

 

If you are frolicking in the waters of Play La Ropa, its good to have a floatation device handy to assist you getting past the breakers.

I clean my phones regularly for maximum performance.

 

Date: January 10, 2012

Camera: Sony SLT-A77V

Exposure: 1/25 sec at f/2.2, ISO 200

Lens: 50mm F1.4 at 50 mm

  

© 2012 Benjamin Torode

Toronto Fire's Aerial 325 in comparison with Singapore's Aerial Ladder 171, showing the differences between an American and European design aerial ladder truck.

 

A325 is equipped with a Smeal 105ft (32m) aerial device while AL171 has a Metz 184ft (56m) ladder platform.

Both trucks have a pump but only A325 has a tank.

Happy Valentina's Day! 🚀 👩‍🚀 💫

 

Today is the 57th anniversary of the first woman in space — Russia's Valentina Tereshkova on Vostok 6, a scary bullet of a capsule that could not make a soft landing, necessitating a skydive leap during reentry (just as Yuri Gagarin had to do).

 

She was 26 at the time and an amateur skydiver. She is the youngest female astronaut and the only woman to fly solo. To date, only 12% of astronauts have been women, despite being arguably better suited for the job. That should change.

 

After the flight of Yuri Gagarin in 1961, Nikolai Kamanin, director of cosmonaut training, read in American media that female pilots were training to be astronauts. In his diary, he wrote, "We cannot allow that the first woman in space will be American. This would be an insult to the patriotic feelings of Soviet women." Approval was granted for five female cosmonauts in the next group, which would begin training in 1963. To increase the odds of sending a Soviet woman into space first, the female cosmonauts began their training before the males.

 

With a single flight, she logged more flight time than the combined times of all American astronauts who had flown before that date.

 

Her call sign in this flight was Chaika (Russian: Ча́йка, or 'Seagull'), later commemorated as the name of an asteroid, 1671 Chaika. After her launch, she radioed down:

 

"It is I, Seagull! Everything is fine. I see the horizon; it's a sky blue with a dark strip. How beautiful the Earth is"

— Wikipedia

 

As planned in all Vostok missions, Tereshkova ejected from the capsule during its descent at about four miles above Kazakhstan and made a parachute landing, quite a thrill ride for this skydiver!

 

She had dinner with some local villagers in the Altai Krai who helped her to get out of her spacesuit.

 

Her flight became Cold War propaganda to demonstrate the superiority of communism. At the 1963 World Congress of Women, Soviet leader Nikita Khrushchev used Tereshkova's voyage to declare the USSR had achieved equality for women.

 

I bought this in France from Tereshkova’s instructor at the Zhukovsky Air Force Engineering Academy. His translated description: "This is an angle measuring device of the Russian aerospace for astronomic navigation, especially for calculation of flight angles. It was personally used by the Soviet cosmonaut Valentina Tereshkova. It is the model CMK 3 numbered 2416305 (badge on the device). The device still possesses the original leather strap. It consists of a turning wheel that is marked with degree values. Once the zero point on the scale is adjusted to a certain height, the orbs’ and targets’ location can be measured. In 1963, Tereshkova was the first woman to fly into space and remained the only woman in space until Svetlana Savitskaya’s flight in 1982. The device is in good condition with traces of use. The dimensions are 12 x 19.5 x 6 cm (height x width x depth)."

 

Part of the space collection at work. More angles below.

"Left to my own devices"

Featuring Loovus Dzevavor new Mini Collection with mesh appliers

 

Check it out!

 

B L O G: bijinlicious.wordpress.com/2014/01/07/loovus-dzevavor-pat...

Left behind by people who did some fencing work for us.

 

uploaded with Uploader for Flickr for Android

Bildaufnahme aus einem Psychiatriemuseum,Image capture from a psychiatric Museum

SCENE ONE, The Void

~~~~~~~~~~~~~~~~~~~~~~~~~

Mystic jumped in the portal, and appeared in this weird realm... She saw piles of electronic devices on the ground, piles upon piles of them. She looked up, and saw clouds, all of which were coming down with lightning. Most of the lightning, going to Voltage. Standing there, silent. He had a cape, and large gauntlets... Larger shoulder pads, and glowing white eyes... Mystic didn't think he saw her, so she walked towards him, slowly...

 

Voltage: I can see you, you know.

 

Mystic jolted in shock...

 

Mystic: W-What is this place?

 

Voltage: I call it...

 

He turned around to face Mystic...

 

Voltage: ...The void.

 

Mystic: Looks like you're getting better at naming things, huh?

 

Voltage: Hm. Humor... The void is simply the beginning of places I'll be in control of...

 

Mystic: Where did all of these devices come from? Where did here come from?!

 

Voltage: This is a world I created, by using devices I stole from Heethro. I also took all devices from your puny country and put them here.

 

Mystic: Wait, so all phones, computers...

 

Voltage: ...Typewriters, printers, blenders, ovens, televisions... you name it. All of it is here now, and it's not coming back. The only way it can come back is if the void is killed, and it's not going to be. Never.

 

Mystic: *deep breath* Okay... I have to do this.

 

Mystic throws a punch at Voltage, but he catches it.

 

Voltage: Predictable.

 

Voltage grabs Mystic by the head, throws her in the air, and then fired a huge beam of electricity at her!

 

Mystic: Aghh!!!!!

 

Voltage: You're going to die in here, you know.

 

Mystic flies back at Voltage, but Voltage steps to the left, and Mystic falls to the ground.

 

Mystic: Ach!

 

Voltage steps on her back...

 

Voltage: You really are pathetic... Soon, I will have full control over everything, and you're not even trying to stop me...

 

Mystic gets up, only to have Voltage hold them in the air by the throat...

 

Voltage: Just let go... No one's going to save you, this is you're fault...

 

Mystic: *cough*... N-...*wheeze*-...N-no i-it's not...

 

Mystic shoots lasers out of her eyes and mouth, blasting Voltage back!!!

 

Mystic, fallen over: *cough*... It was my choice. And it wasn't a bad one.

 

Voltage: Ach-S...Sure, tell that to yourself.

 

Mystic sprints over to Voltage...

 

Mystic: Aghh!!!!

 

Mystic punches Voltage in the face, damaging his mask!

 

Voltage: Agh!!! *cough*... That won't save you...

 

Voltage picks up the shard of his mask, flies upward, and throws it at Mystic, piercing her arm, and making her bleed!

 

Mystic: Aghh!!!

 

Voltage drops back down to Mystic...

 

Voltage: You are worthless.

 

Mystic: *cough*... No, you.

 

Mystic stabs Voltage in the stomach with her claws!!!

 

Voltage: Ach!!! *cough*... Not as if that will do anything.

 

Voltage grabs Mystic, and holds her up against the lightning!!!

 

Mystic: AGHHH!!!!!!!!!!!!

 

Voltage: Feel it!!!!! Feel the power of a god!!!

 

Voltage throws Mystic onto the ground, she's covered in dirt, blood, scars, bumps and bruises... Blood drips from her mouth, and her eyes close...

 

Voltage: *wheeze*... Huh.... *cough*... She's dead... F-Finally... That was difficult.

 

Suddenly, the lightning rushing to Voltage disappears...

 

Voltage: Hm?

 

Suddenly, a burst of lasers comes from the sky, hitting Mystic's body...

 

Voltage: What in the-?!

 

Mystic slowly gets up, lasers coming off of her, as her eyes glow...

 

Voltage: W-What's going on...

 

Mystic grabs Voltage by the neck...

 

Mystic: ...I was waiting for you to admit it was hard.

 

She punches him the face, knocking him out!!!

 

Mystic: That was not difficult, that was easy as frick.

 

All the devices fade away, going back to Canada! The whole void starts to shake...

 

Mystic: Shoot... I need a way out of here... Um.. Oh!

 

She takes off one of Voltage's gauntlets, creates a blue portal with it, and jumps through!

 

SCENE TWO, Back at the Criminal Base

~~~~~~~~~~~~~~~~~~~~~~~~~

Mystic pops through a portal in the criminal base, and the portal closes behind her. Jen hugs her...

 

Jen: I'm stoked you're back!

 

Mystic: How long was I gone?

 

Jen: Like, 2 weeks?

 

Mystic: Holy crud, it felt like an hour, tops!

 

Jen: Yeah, I just kept coming back here to see if you came back yet. Glad you finally did.

 

Mystic: Huh... Well that's good. I thought I died for a second, not even sure how I beat Voltage...

 

???: But I do.

 

Mystic: Who said that?

 

A hole appears in the ceiling, as a laser comes from the sky, and Scythe comes down from it!

 

Jen: Holy sh#t!

 

Scythe slaps Jen in the face.

 

Scythe: Why weren't you answering my calls?

 

Jen: Yeah, deserved that one. Gave my phone away.

 

Mystic: Who are you?

 

Jen: I'll explain later.

 

Scythe: But basically, I was the original owner of those devices Voltage used to make The Void. They had a camera on them. I used that camera to watch what was going on, and I also used another device I owned to let you kick his ass.

 

Mystic: Cool, I guess. That'll be much cooler when Jen explains who the heck you are and what you're relation is to all of this.

 

Scythe: Jen and I kissed.

 

Mystic: What?

 

Jen: I'll explain later.

 

SCENE THREE, On the Way Home, 30 minutes later

~~~~~~~~~~~~~~~~~~~~~~~~~

Jen and Cassie walk back to the apartment...

 

Cassie: So you met them on Heethro?

 

Jen: Mhm.

 

Cassie: You gave her your number?

 

Jen: Mhm.

 

Cassie: ...And her name is Scythe?

 

Jen: That's the English translation, in Heethron it's "Ülwish".

 

Cassie: ...Huh.

 

They both arrive to the apartment, and see multiple strange alien creatures running rampage in the apartment!

 

Aliens: Take that, Earthen society!!!

 

Cassie: ...Oh boy.

 

~Scarecrow

    

A big 15th Century aisled church with a vaulted tower. It has contemporary wall paintings and an incised stone tomb-slab.

 

All Saints stands east of the castle hill and reconstruction after the raid of 1377, probably on the previous site, was leisurely, for a will of 1436 speaks of it as ‘new’ (VCH 9 p21) and it does not follow that it was finished even then. Built of local stone, some of it greensand, it forms a single whole. Re-used stones, some carved with chevrons, suggest its predecessor contained C12 work. In the early C19 the south porch is said to have had a rounded arch (Horsfield I p252), but it can hardly have survived from this earlier church, though some foundations of uncertain purpose and date found nearby (VCH ibid) might have.

 

The nave arcades of the present church confirm that the rebuilding was mainly in the early C15, for the heads of two moulded orders spring from upward extensions of the octagonal piers, a device more common in the C14. The aisle windows are renewed and with the exception of the east window in the north aisle their tracery was missing when Sir Stephen Glynne first visited the church before1840 (SRS 101 p141), but the Sharpe Collection drawing (1797) shows similar openings and the complete original east window in the north aisle shows the renewal of the tracery was accurately done. The rood-stair at the east end of the south aisle is contained in what looks like a big buttress. There is space for a clerestory but no windows and though there is flint and stone chequerwork decoration on the south side, the roof on the north side in 1797 was continuous, so this may not be original. Only the north aisle retains some old roof timbers.

 

The chancel, like the nave, has three-light side windows with panelled tracery. The chancel arch has thin abaci, chamfered responds and a head of two wave mouldings. All north windows except one are concealed by C19 vestries, entered by an original four-centred doorway that formerly led to the outside. The five-light C19 east window differs from the three-light one in the Sharpe drawing, which was not original as it had wooden mullions.

 

The tower was almost certainly built last, possibly as an afterthought or at least after a gap, for its north and south walls incorporate large buttresses belonging to the west end of the nave. Despite much restoration, it is massively handsome with a north east stair turret, a four-light west window with a castellated transom and a doorway with shields in the spandrels. Window and doorway are contained in a single arch, separated by a quatrefoil-frieze. The tower arch has a head of two moulded orders and in the tower space is a star-vault (cf St Clement), springing from grotesque corbels. The large central opening, surrounded by the signs of the zodiac, allowed the bells to be hoisted up. The two-light windows with ogee heads and finials of the second stage are doubtfully C15 and may be C19, but cannot be seen on the Sharpe drawing. Beneath them to north and south are big flintwork crosses. The third stage has chequered battlements above carved grotesques that include what looks like a cat, a tiled cap and square, uncusped bell-openings divided by transoms, which look later C15.

 

Changes to town churches after the Reformation were frequent, particularly in prosperous times, as the C18 was in Hastings. All but one window had been altered by the time of the Sharpe drawing (see above) and this was still the case at the time of Nibbs’s engraving (1851). The south porch noted by Horsfield probably dated from this period, though a predecessor, probably C15, in so large a church is likely. The Sharpe drawing also shows a dormer at the north west corner of the nave, which would have lit a gallery. Restoration started in the chancel and though no date is known, Sir Stephen Glynne on his second visit in 1868 (SRS 101 ibid) noted its windows had been restored and the roof is probably contemporary. The presence of C A Gibbs‘s glass of 1865 in the east window (see below) probably provides an approximate date and it is conceivable that W Butterfield did this earlier work, though of the Gibbs family it was A Gibbs with whom he usually worked. Butterfield certainly undertook the rest in 1869-70 (B 27 p421). In 1869 his work was already controversial and in reviewing his work here The Architect (1 p158) hoped he would not introduce any painted decoration. In fact, at All Saints he respected the existing fabric and his work did not extend beyond accurately replacing the tracery in the aisle windows and also most roofs and the south porch. The main later alteration was a north vestry and organ chamber by A J Style in 1894 (CDG 4 p62). The organ was placed behind one of the retained windows of the chancel.

 

B C G Shore was responsible for repairs between 1954 and 1958 (ICBS).

 

Fittings and monuments

 

Brasses: (South aisle) Thomas Goodenough (c1520) and his wife. Small figures with the popping eyes common at the time.

Carving: Adoration of the Magi, undated in yewwood by J Reid (inscription).

Chancel fittings: (Pulpit and altar rails) Designed by Butterfield, 1888-89 (Thompson p447).

Font: C15 octagonal. On the bowl blank shields in quatrefoils and trefoiled arcading alternate. The stem is also arcaded.

Glass:

1. (East window) C A Gibbs, Crucifixion, 1865 (BN 12 p91). This is presumably the glass that Sir George G Scott had in mind when he criticised the east window in his Recollections vehemently, using such terms as ‘mawkish’. It is brightly coloured and pictorial in nature, and by 1865 must have seemed very old-fashioned.

2. (South aisle, east window) H Hughes, 1880 (signed).

3. (South aisle, first and second windows) Lavers and Barraud, 1883 (CDK 1882 Pt 2 p142) (Rev Webster Whistler).

4. (West window of tower) Heaton and Co (i e Heaton, Butler and Bayne), 1886 (Stubbs/saints) (CDK 1886 pt 2 p146).

5. (North aisle, first and second windows) J Powell and Sons, (G A Foyster/Christ in the Temple), 1897 (CDG 49 p11) and 1912, designed by E Penwarden (Hadley list).

6. (South aisle, west window) Centre light by J Powell and Sons, 1908 (Order book) and side lights by P W Cole, 1958 (www.stainedglassrecords.org retrieved on 4/3/2013). This is now largely concealed by a children’s room.

Monuments:

1. (North aisle) Black marble slab to John atte Clyve, one-time Member of Parliament (Bertram p389), and his wife. It is of Flemish workmanship and the figures are clear, though the inscription is mostly illegible, including the date of death, said to be 1458 (VCH 9 p22).

2. (North aisle) Eliza Beazeley (d1823) signed Winter and Co of Hastings.

3. (South aisle) James Alderson (d1823) signed Winter (clearly the same as the last).

4. (North aisle) Elizabeth Barnouin (d1826) tablet by M Vidler (Roscoe p1314).

5. (North aisle) Sarah Thompson (d1826) signed W Vennall of Hastings. The one nearby to Eliza Brown (d1823) is by the same hand, though unsigned.

6. John Edmonds (d1847) by W H Burke and Co (ibid p167).

7. (Churchyard) Lady Harriet Paget (d1855) by E Richardson (ibid p1035).

8. (Churchyard) Tombstone by J Harmer. The terra cotta plaque is unmistakable, but Hastings is unusually far east for Harmer which perhaps explains why it was not recorded by G L Remnant.

Painting and decoration:

1. (Over chancel arch) C15 Doom, found in 1870 (2 p292). Christ is seated on a double rainbow with the damned on the right (one is shown being hanged) and the redeemed on the left. The central part is well preserved.

2. (North aisle) Paintings dated to the C16 with rhyming inscriptions were found in 1870, but not preserved (ibid p194).

3. (Chancel east wall decoration) E R Frampton junior, 1907 (CDG 165 p142). This perhaps contradicts the hope expressed in The Architect (see above), but is more subdued than anything by Butterfield. Their setting looks oddly truncated and not all of this may survive. It may belong to a decorative scheme which W H Romayne-Walker is said to have designed at an unknown date (BAL Biog file).

Piscinae:

1. (South chancel) C15 trefoil-headed, much restored.

2. (Reset in south porch) C15 pillar-piscina.

Reredos: Butterfield, 1888-89 (Thompson ibid). It was painted by Frampton in 1907 as part of his scheme of decoration (BE(E) p425).

Royal arms: (North aisle) George II.

Sedilia: (South chancel) C15 triple with cusped heads and traceried spandrels.

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Clarence L. "Kelly" Johnson, vice president of engineering and research at Lockheed's Skunk Works, visited USAF air bases across South Korea in November 1951 to speak with fighter pilots about what they wanted and needed in a fighter aircraft. At the time, the American pilots were confronting the MiG-15 with North American F-86 Sabres, and many felt that the MiGs were superior to the larger and more complex American design. The pilots requested a small and simple aircraft with excellent performance, especially high speed and altitude capabilities. Armed with this information, Johnson immediately started the design of such an aircraft on his return to the United States.

 

Work started in March 1952. In order to achieve the desired performance, Lockheed chose a small and simple aircraft, weighing in at 12,000 lb (5,400 kg) with a single powerful engine. The engine chosen was the new General Electric J79 turbojet, an engine of dramatically improved performance in comparison with contemporary designs. The small L-246 design remained essentially identical to the Model 083 Starfighter as eventually delivered.

 

Johnson presented the design to the Air Force on 5 November 1952, and work progressed quickly, with a mock-up ready for inspection at the end of April, and work starting on two prototypes that summer. The first prototype was completed by early 1954 and first flew on 4 March at Edwards AFB. The total time from contract to first flight was less than one year.

 

The first YF-104A flew on 17 February 1956 and, with the other 16 trial aircraft, were soon carrying out equipment evaluation and flight tests. Lockheed made several improvements to the aircraft throughout the testing period, including strengthening the airframe, adding a ventral fin to improve directional stability at supersonic speed, and installing a boundary layer control system (BLCS) to reduce landing speed. Problems were encountered with the J79 afterburner; further delays were caused by the need to add AIM-9 Sidewinder air-to-air missiles. On 28 January 1958, the first production F-104A to enter service was delivered.

 

Even though the F-104 saw only limited use by the USAF, later versions, tailored to a fighter bomber role and intended for overseas sales, were more prolific. This was in particular the F-104G, which became the Starfighter's main version, a total of 1,127 F-104Gs were produced under license by Canadair and a consortium of European companies that included Messerschmitt/MBB, Fiat, Fokker, and SABCA.

 

The F-104G differed considerably from earlier versions. It featured strengthened fuselage, wing, and empennage structures; a larger vertical fin with fully powered rudder as used on the earlier two-seat versions; fully powered brakes, new anti-skid system, and larger tires; revised flaps for improved combat maneuvering; a larger braking chute. Upgraded avionics included an Autonetics NASARR F15A-41B multi-mode radar with air-to-air, ground-mapping, contour-mapping, and terrain-avoidance modes, as well as the Litton LN-3 Inertial Navigation System, the first on a production fighter.

 

Germany was among the first foreign operators of the F-104G variant. As a side note, a widespread misconception was and still is that the "G" explicitly stood for "Germany". But that was not the case and pure incidence, it was just the next free letter, even though Germany had a major influence on the aircraft's concept and equipment. The German Air Force and Navy used a large number of F-104G aircraft for interception, reconnaissance and fighter bomber roles. In total, Germany operated 916 Starfighters, becoming the type's biggest operator in the world. Beyond the single seat fighter bombers, Germany also bought and initially 30 F-104F two-seat aircraft and then 137 TF-104G trainers. Most went to the Luftwaffe and a total of 151 Starfighters was allocated to the Marineflieger units.

 

The introduction of this highly technical aircraft type to a newly reformed German air force was fraught with problems. Many were of technical nature, but there were other sources of problems, too. For instance, after WWII, many pilots and ground crews had settled into civilian jobs and had not kept pace with military and technological developments. Newly recruited/re-activated pilots were just being sent on short "refresher" courses in slow and benign-handling first-generation jet aircraft or trained on piston-driven types. Ground crews were similarly employed with minimal training and experience, which was one consequence of a conscripted military with high turnover of service personnel. Operating in poor northwest European weather conditions (vastly unlike the fair-weather training conditions at Luke AFB in Arizona) and flying low at high speed over hilly terrain, a great many Starfighter accidents were attributed to controlled flight into terrain (CFIT). German Air Force and Navy losses with the type totaled 110 pilots, around half of them naval officers.

 

One general contributing factor to the high attrition rate was the operational assignment of the F-104 in German service: it was mainly used as a (nuclear strike) fighter-bomber, flying at low altitude underneath enemy radar and using landscape clutter as passive radar defense, as opposed to the original design of a high-speed, high-altitude fighter/interceptor. In addition to the different and demanding mission profiles, the installation of additional avionic equipment in the F-104G version, such as the inertial navigation system, added distraction to the pilot and additional weight that further hampered the flying abilities of the plane. In contemporary German magazine articles highlighting the Starfighter safety problems, the aircraft was portrayed as "overburdened" with technology, which was considered a latent overstrain on the aircrews. Furthermore, many losses in naval service were attributed to the Starfighter’s lack of safety margin through a twin-engine design like the contemporary Blackburn Buccaneer, which had been the German navy air arm’s favored type. But due to political reasons (primarily the outlook to produce the Starfighter in Southern Germany in license), the Marine had to accept and make do with the Starfighter, even if it was totally unsuited for the air arm's mission profile.

 

Erich Hartmann, the world's top-scoring fighter ace from WWII, commanded one of Germany's first (post-war) jet fighter-equipped squadrons and deemed the F-104 to be an unsafe aircraft with poor handling characteristics for aerial combat. To the dismay of his superiors, Hartmann judged the fighter unfit for Luftwaffe use even before its introduction.

In 1966 Johannes Steinhoff took over command of the Luftwaffe and grounded the entire Luftwaffe and Bundesmarine F-104 fleet until he was satisfied that the persistent problems had been resolved or at least reduced to an acceptable level. One measure to improve the situation was that some Starfighters were modified to carry a flight data recorder or "black box" which could give an indication of the probable cause of an accident. In later years, the German Starfighters’ safety record improved, although a new problem of structural failure of the wings emerged: original fatigue calculations had not taken into account the high number of g-force loading cycles that the German F-104 fleet was experiencing through their mission profiles, and many airframes were returned to the depot for wing replacement or outright retirement.

 

The German F-104Gs served primarily in the strike role as part of the Western nuclear deterrent strategy, some of these dedicated nuclear strike Starfighters even had their M61 gun replaced by an additional fuel tank for deeper penetration missions. However, some units close to the German borders, e.g. Jagdgeschwader (JG) 71 in Wittmundhafen (East Frisia) as well as JG 74 in Neuburg (Bavaria), operated the Starfighter as a true interceptor on QRA duty. From 1980 onwards, these dedicated F-104Gs received a new air superiority camouflage, consisting of three shades of grey in an integral wraparound scheme, together with smaller, subdued national markings. This livery was officially called “Norm 82” and unofficially “Alberich”, after the secretive guardian of the Nibelung's treasure. A similar wraparound paint scheme, tailored to low-level operations and consisting of two greens and black (called Norm 83), was soon applied to the fighter bombers and the RF-104 fleet, too, as well as to the Luftwaffe’s young Tornado IDS fleet.

 

However, the Luftwaffe’s F-104Gs were at that time already about to be gradually replaced, esp. in the interceptor role, by the more capable and reliable F-4F Phantom II, a process that lasted well into the mid-Eighties due to a lagging modernization program for the Phantoms. The Luftwaffe’s fighter bombers and recce Starfighters were replaced by the MRCA Tornado and RF-4E Phantoms. In naval service the Starfighters soldiered on for a little longer until they were also replaced by the MRCA Tornado – eventually, the Marineflieger units received a two engine aircraft type that was suitable for their kind of missions.

 

In the course of the ongoing withdrawal, a lot of German aircraft with sufficiently enough flying hours left were transferred to other NATO partners like Norway, Greece, Turkey and Italy, and two were sold to the NASA. One specific Starfighter was furthermore modified into a CCV (Control-Configured Vehicle) experimental aircraft under control of the German Industry, paving the way to aerodynamically unstable aircraft like the Eurofighter/Typhoon. The last operational German F-104 made its farewell flight on 22. Mai 1991, and the type’s final flight worldwide was in Italy in October 2004.

  

General characteristics:

Crew: 1

Length: 54 ft 8 in (16.66 m)

Wingspan: 21 ft 9 in (6.63 m)

Height: 13 ft 6 in (4.11 m)

Wing area: 196.1 ft² (18.22 m²)

Airfoil: Biconvex 3.36 % root and tip

Empty weight: 14,000 lb (6,350 kg)

Max takeoff weight: 29,027 lb (13,166 kg)

 

Powerplant:

1× General Electric J79 afterburning turbojet,

10,000 lbf (44 kN) thrust dry, 15,600 lbf (69 kN) with afterburner

 

Performance:

Maximum speed: 1,528 mph (2,459 km/h, 1,328 kn)

Maximum speed: Mach 2

Combat range: 420 mi (680 km, 360 nmi)

Ferry range: 1,630 mi (2,620 km, 1,420 nmi)

Service ceiling: 50,000 ft (15,000 m)

Rate of climb: 48,000 ft/min (240 m/s) initially

Lift-to-drag: 9.2

Wing loading: 105 lb/ft² (510 kg/m²)

Thrust/weight: 0.54 with max. takeoff weight (0.76 loaded)

 

Armament:

1× 20 mm (0.787 in) M61A1 Vulcan six-barreled Gatling cannon, 725 rounds

7× hardpoints with a capacity of 4,000 lb (1,800 kg), including up to four AIM-9 Sidewinder, (nuclear)

bombs, guided and unguided missiles, or other stores like drop tanks or recce pods

  

The kit and its assembly:

A relatively simple what-if project – based on the question how a German F-104 interceptor might have looked like, had it been operated for a longer time to see the Luftwaffe’s low-viz era from 1981 onwards. In service, the Luftwaffe F-104Gs started in NMF and then carried the Norm 64 scheme, the well-known splinter scheme in grey and olive drab. Towards the end of their career the fighter bombers and recce planes received the Norm 83 wraparound scheme in green and black, but by that time no dedicated interceptors were operational anymore, so I stretched the background story a little.

 

The model is the very nice Italeri F-104G/S model, which is based on the ESCI molds from the Eighties, but it comes with recessed engravings and an extra sprue that contains additional drop tanks and an Orpheus camera pod. The kit also includes a pair of Sidewinders with launch rails for the wing tips as well as the ventral “catamaran” twin rail, which was frequently used by German Starfighters because the wing tips were almost constantly occupied with tanks.

Fit and detail is good – the kit is IMHO very good value for the money. There are just some light sinkholes on the fuselage behind the locator pins, the fit of the separate tail section is mediocre and calls for PSR, and the thin and very clear canopy is just a single piece – for open display, you have to cut it by yourself.

 

Since the model would become a standard Luftwaffe F-104G, just with a fictional livery, the kit was built OOB. The only change I made are drooped flaps, and the air brakes were mounted in open position.

The ordnance (wing tip tanks plus the ventral missiles) was taken from the kit, reflecting the typical German interceptor configuration: the wing tips were frequently occupied with tanks, sometimes even together with another pair of drop tanks under the wings, so that any missile had to go under the fuselage. The instructions for the ventral catamaran launch rails are BTW wrong – they tell the builder to mount the launch rails onto the twin carrier upside down! Correctly, the carrier’s curvature should lie flush on the fuselage, with no distance at all. When mounted as proposed, the Sidewinders come very close to the ground and the whole installation looks pretty goofy! I slightly modified the catamaran launch rail with some thin styrene profile strips as spacers, and the missiles themselves, AIM-9Bs, were replaced with more modern and delicate AIM-9Js from a Hasegawa air-to-air weapons set. Around the hull, some small blade antennae, a dorsal rotating warning light and an angle-of-attack sensor were added.

  

Painting and markings:

The exotic livery is what defined this what-if build, and the paint scheme was actually inspired by a real world benchmark: some Dornier Do-28D Skyservants of the German Marineflieger received, late in their career, a wraparound scheme in three shades of grey, namely RAL 7030 (Steingrau), 7000 (Fehgrau) and 7012 (Basaltgrau). I thought that this would work pretty well for an F-104G interceptor that operates at medium to high altitudes, certainly better than the relatively dark Norm 64 splinter scheme or the Norm 83 low-altitude pattern.

 

The camouflage pattern was simply adopted from the Starfighter’s Norm 83 scheme, just the colors were exchanged. The kit was painted with acrylic paints from Revell, since the authentic tones were readily available, namely 75, 57 and 77. As a disrupting detail I gave the wing tip tanks the old Norm 64 colors: uniform Gelboliv from above (RAL 6014, Revell 42), Silbergrau underneath (RAL 7001, Humbrol’s 127 comes pretty close), and bright RAL 2005 dayglo orange markings, the latter created with TL Modellbau decal sheet material for clean edges and an even finish.

The cockpit interior was painted in standard medium grey (Humbrol 140, Dark Gull Grey), the landing gear including the wells became aluminum (Humbrol 56), the interior of the air intakes was painted with bright matt aluminum metallizer (Humbrol 27001) with black anti-icing devices in the edges and the shock cones. The radome was painted with very light grey (Humbrol 196, RAL 7035), the dark green anti-glare panel is a decal from the OOB sheet.

 

The model received a standard black ink washing and some panel post-shading (with Testors 2133 Russian Fulcrum Grey, Humbrol 128 FS 36320 and Humbrol 156 FS 36173) in an attempt to even out the very different shades of grey. The result does not look bad, pretty worn and weathered (like many German Starfighters), even though the paint scheme reminds a lot of the Hellenic "Ghost" scheme from the late F-4Es and the current F-16s?

 

The decals for the subdued Luftwaffe markings were puzzled together from various sources. The stencils were mostly taken from the kit’s exhaustive and sharply printed sheet. Tactical codes (“26+40” is in the real Starfighter range, but this specific code was AFAIK never allocated), iron crosses and the small JG 71 emblems come from TL Modellbau aftermarket sheets. Finally, after some light soot stains around the gun port, the afterburner and some air outlets along the fuselage with graphite, the model was sealed with matt acrylic varnish.

  

A simple affair, since the (nice) kit was built OOB and the only really fictional aspect of this model is its livery. But the resulting aircraft looks good, the all-grey wraparound scheme suits the slender F-104 well and makes an interceptor role quite believable. Would probably also look good on a German Eurofighter? Certainly more interesting than the real world all-blue-grey scheme.

In the beauty pics the scheme also appears to be quite effective over open water, too, so that the application to the Marineflieger Do-28Ds made sense. However, for the real-world Starfighter, this idea came a couple of years too late.

This is a one in a billion nanoparticle. It did not resist the extreme temperature conditions it was submitted to during its formation, and literally burst from the inside, expelling water vapour from the pores, thus creating that intricate nanostructure that reminds me of a brain. Nano-brain would be more accurate, as its diameter is about 500 nm, that is roughly 200 times smaller than the diameter of a human hair.

The other nanoparticles that can be seen in the foreground and the background did not burst, and were able to act as a catalyst for carbon nanotube growth. Interestingly, noticing this one in a billion nanoparticle among all the others gave us the idea to change our synthesis method in order to selectively produce these “nano-brains” on purpose, as their porosity and high surface area is of interest to advanced energy storage devices.

The picture was taken using a scanning electron microscope allowing to capture details smaller than the wavelength of light. Artificial colours were added during post-processing to highlight the eeriness of the scene.

You can see the straps and cuffs holding my models legs are very secure. Once the straps have been pushed over the lock tabs and the locks are put in place she cannot get out of them. Her buckled and strapped shoes are locked on her feet with a rear chain that holds the high heels. Made to measure leg braces and custom made leather and metal bondage gear available as well as refurbished braces for any part of the body. Contact me at my1970junk@msn.com

"It's never initially about developing space," Skylar Tibbits says. "You're developing relationships or organizations or scientific rules, and out of that comes space."

#AlphaTrainingRecap 8/12: parlons sport. En impesanteur, les muscles et les os souffrent de ne plus travailler. Nous passons jusqu’à 2h30 chaque jour à faire de l'exercice. Voici ARED, un appareil d'exercice physique très complet. Il est un peu impressionnant mais ne vous inquiétez pas, je l'ai sous contrôle 😉 Je l’ai beaucoup utilisé durant Proxima et il n’a pas beaucoup changé. Comme on ne ressent pas les effets du poids, cette machine utilise des cylindres à vide pour créer une résistance. Grâce à elle, on peut entretenir sa masse musculaire dans l'espace et compenser tous ces mois à flotter. Course à pied, vélo ou autre, ça peut devenir un peu répétitif…

.

#AlphaTrainingRecap 8/12: We spend a lot of time in space working out to stay fit. Here's some scenes training on ARED, or the Advanced Resistance Exercise Device. We need to keep our muscles strong in space to counteract the months of just floating. This device is a bit of a beast and it looks like it is winning in some of these photos. Don't worry I have it under control ;) Not much has changed since mission Proxima, the device is so advanced that it requires a computer to use, but so reliable it just works. We don't have weights in space so it uses vacuum cylinders to resist the 💪. As we run, cycle or work out up to two and a half hours a day on the International Space Station it can get a bit repetitive sometimes.

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PHOTO DATE: 12-03-20

LOCATION: Bldg. 26, Room 104

SUBJECT: Photographic coverage of SpaceX Crew-2 ESA astronaut Thomas Pesquet during ARED PT 11 training.

PHOTOGRAPHER: BILL STAFFORD

 

jsc2020e053247

A device I had not seen before attached to on track plant. The device on the end of the arm was a diesel powered ballast vacuum, similar to a Railvac, but with considerably less retention volume. This was being used to extract ballast from a stretch of plain line which had suffered from track pumping, where water seeps under the sleepers, making the ballast layer unstable, resulting in rail movement and in extreme cases fatigue failure.

70817 was shut down and un-crewed. Pictured between Fratton and Portsmouth & Southsea on Sunday 7 September.

One guy working whilst 6 look on.......

2025

 

Posey straitjacket restraint device for psychiatric emergencies.

(Canon EOS 5D Mark II + FA31mmF1.8AL Limited w/mount adapter)

From the mean streets of New York, my friend Wendy brought me back a battery-operated bubble maker. I had no idea that bubble-making technology had advanced so far, and I had no idea that what my life, up til now, had been missing was one of these clever devices. You can keep your iPods and -Pads -- just give me my bubble maker.

 

In honor of the bubble maker, I am declaring this week Bubble Week. Prepare to be awash in a sea of bubbles (while I get this out of my system). Anyone care to join me? Let's all bubble!

 

The main environmental issues associated with the implementation of the 5G network come with the manufacturing of the many component parts of the 5G infrastructure. In addition, the proliferation of new devices that will use the 5G network that is tied to the acceleration of demand from consumers for new 5G-dependent devices will have serious environmental consequences. The 5G network will inevitably cause a large increase in energy usage among consumers, which is already one of the main contributors to climate change. Additionally, the manufacturing and maintenance of the new technologies associated with 5G creates waste and uses important resources that have detrimental consequences for the environment. 5G networks use technology that has harmful effects on birds, which in turn has cascading effects through entire ecosystems. And, while 5G developers are seeking to create a network that has fewer environmental impacts than past networks, there is still room for improvement and the consequences of 5G should be considered before it is widely rolled out. 5G stands for the fifth generation of wireless technology. It is the wave of wireless technology surpassing the 4G network that is used now. Previous generations brought the first cell phones (1G), text messaging (2G), online capabilities (3G), and faster speed (4G). The fifth generation aims to increase the speed of data movement, be more responsive, and allow for greater connectivity of devices simultaneously.[2] This means that 5G will allow for nearly instantaneous downloading of data that, with the current network, would take hours. For example, downloading a movie using 5G would take mere seconds. These new improvements will allow for self-driving cars, massive expansion of Internet of Things (IoT) device use, and acceleration of new technological advancements used in everyday activities by a much wider range of people. While 5G is not fully developed, it is expected to consist of at least five new technologies that allow it to perform much more complicated tasks at faster speeds. The new technologies 5G will use are hardware that works with much higher frequencies (millimeter wavelengths), small cells, massive MIMO (multiple input multiple output), beamforming, and full duplex.[3] Working together, these new technologies will expand the potential of many of the devices used today and devices being developed for the future. Millimeter waves are a higher frequency wavelength than the radio wavelength generally used in wireless transmission today.[4] The use of this portion of the spectrum corresponds to higher frequency and shorter wavelengths, in this case in the millimeter range (vs the lower radio frequencies where the wavelengths can be in the meters to hundreds of kilometers). Higher frequency waves allow for more devices to be connected to the same network at the same time, because there is more space available compared to the radio waves that are used today. The use of this portion of the spectrum has much longer wavelengths than of that anticipated for a portion of the 5G implementation. The waves in use now can measure up to tens of centimeters, while the new 5G waves would be no greater than ten millimeters.[5] The millimeter waves will create more transmission space for the ever-expanding number of people and devices crowding the current networks. The millimeter waves will create more space for devices to be used by consumers, which will increase energy usage, subsequently leading to increased global warming. Millimeter waves are very weak in their ability to connect two devices, which is why 5G needs something called “small cells” to give full, uninterrupted coverage. Small cells are essentially miniature cell towers that would be placed 250 meters apart throughout cities and other areas needing coverage.[6] The small cells are necessary as emissions [or signals] at this higher frequency/shorter wavelength have more difficulty passing through solid objects and are even easily intercepted by rain.[7] The small cells could be placed on anything from trees to street lights to the sides of businesses and homes to maximize connection and limit “dead zones” (areas where connections are lost). The next new piece of technology necessary for 5G is massive MIMO, which stands for multiple input multiple output. The MIMO describes the capacity of 5G’s base stations, because those base stations would be able to handle a much higher amount of data at any one moment of time. Currently, 4G base stations have around eight transmitters and four receivers which direct the flow of data between devices.[9] 5G will exceed this capacity with the use of massive MIMO that can handle 22 times more ports. Figure 1 shows how a massive MIMO tower would be able to direct a higher number of connections at once. However, massive MIMO causes signals to be crossed more easily. Crossed signals cause an interruption in the transmission of data from one device to the next due to a clashing of the wavelengths as they travel to their respective destinations. To overcome the cross signals problem, beamforming is needed. To maximize the efficiency of sending data another new technology called beamforming will be used in 5G. For data to be sent to the correct user, a way of directing the wavelengths without interference is necessary. This is done through a technique called beamforming. Beamforming directs where exactly data are being sent by using a variety of antennas to organize signals based on certain characteristics, such as the magnitude of the signal. By directly sending signals to where they need to go, beamforming decreases the chances that a signal is dropped due to the interference of a physical object.

One way that 5G will follow through on its promise of faster data transmission is through sending and receiving data simultaneously. The method that allows for simultaneous input and output of data is called full duplexing. While full duplex capabilities allow for faster transmission of data, there is an issue of signal interference, because of echoes. Full duplexing will cut transmission times in half, because it allows for a response to occur as soon as an input is delivered, eliminating the turnaround time that is seen in transmission today. Because these technologies are new and untested, it is hard to say how they will impact our environment. This raises another issue: there are impacts that can be anticipated and predicted, but there are also unanticipated impacts because much of the new technologies are untested. Nevertheless, it is possible to anticipate some of detrimental environmental consequences of the new technologies and the 5G network, because we know these technologies will increase exposure to harmful radiation, increase mining of rare minerals, increase waste, and increase energy usage. The main 5G environmental concerns have to do with two of the five new components: the millimeter waves and the small cells. The whole aim of the new 5G network is to allow for more devices to be used by the consumer at faster rates than ever before, because of this goal there will certainly be an increase in energy usage globally. Energy usage is one of the main contributors to climate change today and an increase in energy usage would cause climate change to increase drastically as well. 5G will operate on a higher frequency portion of the spectrum to open new space for more devices. The smaller size of the millimeter waves compared to radio frequency waves allows for more data to be shared more quickly and creates a wide bandwidth that can support much larger tasks.[15] While the idea of more space for devices to be used is great for consumers, this will lead to a spike in energy usage for two reasons – the technology itself is energy demanding and will increase demand for more electronic devices. The ability for more devices to be used on the same network creates more incentive for consumers to buy electronics and use them more often. This will have a harmful impact on the environment through increased energy use. Climate change has several underlying contributors; however, energy usage is gaining attention in its severity with regards to perpetuating climate change. Before 5G has even been released, about 2% of the world’s greenhouse gas emissions can be attributed to the ICT industry.[16] While 2% may not seem like a very large portion, it translates to around 860 million tons of greenhouse gas emissions.[17] Greenhouse gas emissions are the main contributors to natural disasters, such as flooding and drought, which are increasing severity and occurrence every year. Currently, roughly 85% of the energy used in the United States can be attributed to fossil fuel consumption.[18] The dwindling availability of fossil fuels and the environmental burden of releasing these fossil fuels into our atmosphere signal an immediate need to shift to other energy sources. Without a shift to other forms of energy production and the addition of technology allowed by the implementation of 5G, the strain on our environment will rise and the damage may never be repaired. With an increase in energy usage through technology and the implementation of 5G, it can be expected that the climate change issues faced today will only increase. The overall contribution of carbon dioxide emissions from the ICT industry has a huge impact on climate change and will continue to have even larger impacts without proper actions. In a European Union report, researchers estimated that in order to keep the increase in global temperature below 2° Celsius a decrease in carbon emissions of around 15-30% is necessary by 2020. Engineers claim that the small cells used to provide the 5G connection will be energy efficient and powered in a sustainable way; however the maintenance and production of these cells is more of an issue. Supporters of the 5G network advocate that the small cells will use solar or wind energy to stay sustainable and green.[20] These devices, labeled “fuel-cell energy servers” will work as clean energy-based generators for the small cells.[21] While implementing base stations that use sustainable energy to function would be a step in the right direction in environmental conservation, it is not the solution to the main issue caused by 5G, which is the impact that the massive amount of new devices in the hands of consumers will have on the amount of energy required to power these devices. The wasteful nature of manufacturing and maintenance of both individual devices and the devices used to deliver 5G connection could become a major contributor of climate change. The promise of 5G technology is to expand the number of devices functioning might be the most troubling aspect of the new technology. Cell phones, computers, and other everyday devices are manufactured in a way that puts stress on the environment. A report by the EPA estimated that in 2010, 25% of the world’s greenhouse gas emissions comes from electricity and heat production making it the largest single source of emissions.[22] The main gas emitted by this sector is carbon dioxide, due to the burning of natural gas, such as coal, to fuel electricity sources.[23] Carbon dioxide is one of the most common greenhouse gases seen in our atmosphere, it traps heat in earth’s atmosphere trying to escape into space, which causes the atmosphere to warm generating climate change. Increased consumption of devices is taking a toll on the environment. As consumers gain access to more technologies the cycle of consumption only expands. As new devices are developed, the older devices are thrown out even if they are still functional. Often, big companies will purposefully change their products in ways that make certain partner devices (such as chargers or earphones) unusable–creating demand for new products. Economic incentives mean that companies will continue these practices in spite of the environmental impacts. One of the main issues with the 5G network and the resulting increase in consumption of technological devices is that the production required for these devices is not sustainable. In the case of making new devices, whether they be new smart-phones or the small cells needed for 5G, the use of nonrenewable metals is required. It is extremely difficult to use metals for manufacturing sustainably, because metals are not a renewable resource. Metals used in the manufacturing of the smart devices frequently used today often cannot be recycled in the same way many household items can be recycled. Because these technologies cannot be recycled, they create tons of waste when they are created and tons of waste when they are thrown away. There are around six billion mobile devices in use today, with this number expected to increase drastically as the global population increases and new devices enter the market. One estimate of the life-time carbon emissions of a single device–not including related accessories and network connection–is that a device produces a total of 45kg of carbon dioxide at a medium level of usage over three years. This amount of emission is comparable to that of driving the average European car for 300km. But, the most environmentally taxing stage of a mobile device life cycle is during the production stage, where around 68% of total carbon emissions is produced, equating to 30kg of carbon dioxide. To put this into perspective, an iPhone X weighs approximately 0.174kg, so in order to produce the actual device, 172 iPhone X’s worth of carbon dioxide is also created. These emissions vary from person to person and between different devices, but it’s possible to estimate the impact one device has on the environment. 5G grants the capacity for more devices to be used, significantly increase the existing carbon footprint of smart devices today. Energy usage for the ever-growing number of devices on the market and in homes is another environmental threat that would be greatly increased by the new capabilities brought by the 5G network. Often, energy forecasts overlook the amount of energy that will be consumed by new technologies, which leads to a skewed understanding of the actual amount of energy expected to be used.[30] One example of this is with IoT devices.[31] IoT is one of the main aspects of 5G people in the technology field are most excited about. 5G will allow for a larger expansion of IoT into the everyday household.[32] While some IoT devices promise lower energy usage abilities, the 50 billion new IoT devices expected to be produced and used by consumers will surpass the energy used by today’s electronics.

The small cells required for the 5G network to properly function causes another issue of waste with the new network. Because of the weak nature of the millimeter waves used in the 5G technology, small cells will need to be placed around 250 meters apart to insure continuous connection. The main issue with these small cells is that the manufacturing and maintenance of these cells will create a lot of waste. The manufacturing of technology takes a large toll on the environment, due to the consumption of non-renewable resources to produce devices, and technology ending up in landfills. Implementing these small cells into large cities where they must be placed at such a high density will have a drastic impact on technology waste. Technology is constantly changing and improving, which is one of the huge reasons it has such high economic value. But, when a technological advancement in small cells happens, the current small cells would have to be replaced. The short lifespan of devices created today makes waste predictable and inevitable. In New York City, where there would have to be at least 3,135,200 small cells, the waste created in just one city when a new advancement in small cells is implemented would have overwhelming consequences on the environment. 5G is just one of many examples of how important it is to look at the consequences of new advancements before their implementation. While it is exciting to see new technology that promises to improve everyday life, the consequences of additional waste and energy usage must be considered to preserve a sustainable environment in the future. There is some evidence that the new devices and technologies associated with 5G will be harmful to delicate ecosystems. The main component of the 5G network that will affect the earth’s ecosystems is the millimeter waves. The millimeter waves that are being used in developing the 5G network have never been used at such scale before. This makes it especially difficult to know how they will impact the environment and certain ecosystems. However, studies have found that there are some harms caused by these new technologies. The millimeter waves, specifically, have been linked to many disturbances in the ecosystems of birds. In a study by the Centre for Environment and Vocational Studies of Punjab University, researchers observed that after exposure to radiation from a cell tower for just 5-30 minutes, the eggs of sparrows were disfigured.[34] The disfiguration of birds exposed for such a short amount of time to these frequencies is significant considering that the new 5G network will have a much higher density of base stations (small cells) throughout areas needing connection. The potential dangers of having so many small cells all over areas where birds live could cause whole populations of birds to have mutations that threaten their population’s survival. Additionally, a study done in Spain showed breeding, nesting, and roosting was negatively affected by microwave radiation emitted by a cell tower. Again, the issue of the increase in the amount of connection conductors in the form of small cells to provide connection with the 5G network is seen to be harmful to species that live around humans. Additionally, Warnke found that cellular devices had a detrimental impact on bees.[36] In this study, beehives exposed for just ten minutes to 900MHz waves fell victim to colony collapse disorder.Colony collapse disorder is when many of the bees living in the hive abandon the hive leaving the queen, the eggs, and a few worker bees. The worker bees exposed to this radiation also had worsened navigational skills, causing them to stop returning to their original hive after about ten days. Bees are an incredibly important part of the earth’s ecosystem. Around one-third of the food produced today is dependent on bees for pollination, making bees are a vital part of the agricultural system. Bees not only provide pollination for the plant-based food we eat, but they are also important to maintaining the food livestock eats. Without bees, a vast majority of the food eaten today would be lost or at the very least highly limited. Climate change has already caused a large decline in the world’s bee population. The impact that the cell towers have on birds and bees is important to understand, because all ecosystems of the earth are interconnected. If one component of an ecosystem is disrupted the whole system will be affected. The disturbances of birds with the cell towers of today would only increase, because with 5G a larger number of small cell radio-tower-like devices would be necessary to ensure high quality connection for users. Having a larger number of high concentrations of these millimeter waves in the form of small cells would cause a wider exposure to bees and birds, and possibly other species that are equally important to our environment.As innovation continues, it is important that big mobile companies around the world consider the impact 5G will have on the environment before pushing to have it widely implemented. The companies pushing for the expansion of 5G may stand to make short term economic gains. While the new network will undoubtedly benefit consumers greatly, looking at 5G’s long-term environmental impacts is also very important so that the risks are clearly understood and articulated. The technology needed to power the new 5G network will inevitably change how mobile devices are used as well as their capabilities. This technological advancement will also change the way technology and the environment interact. The change from using radio waves to using millimeter waves and the new use of small cells in 5G will allow more devices to be used and manufactured, more energy to be used, and have detrimental consequences for important ecosystems. While it is unrealistic to call for 5G to not become the new network norm, companies, governments, and consumers should be proactive and understand the impact that this new technology will have on the environment. 5G developers should carry out Environmental Impact Assessments that fully estimate the impact that the new technology will have on the environment before rushing to widely implement it. Environmental Impact Assessments are intended to assess the impact new technologies have on the environment, while also maximizing potential benefits to the environment. This process mitigates, prevents, and identifies environmental harm, which is imperative to ensuring that the environment is sustainable and sound in the future. Additionally, the method of Life Cycle Assessments (LCA) of devices would also be extremely beneficial for understanding the impact that 5G will inevitably have on the environment. An LCA can be used to assess the impact that devices have on carbon emissions throughout their life span, from the manufacturing of the device to the energy required to power the device and ultimately the waste created when the device is discarded into a landfill or other disposal system. By having full awareness of the impact new technology will have on the environment ways to combat the negative impacts can be developed and implemented effectively.

 

jsis.washington.edu/news/what-will-5g-mean-for-the-enviro...

  

Device: Walton Primo s3 mini

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Focal Length : 3.55mm

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ISO: Auto

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Exposure: Auto

 

IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

 

....as a child I would jump off a swing and pretend I was flying 😀

Title.

Stuck in traffic.

  

( LUMIX G3 shot )

 

Manhattan. New York. USA. 2017. … 2 / 7

 

(Today's photo. It's unpublished.)

  

Images.

Fridayy … Baddest In The Room

youtu.be/Ag3N0B16p3I?si=3BCbywau7vVNWJHP

  

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Title:

“A.I. - About Apple’s Identity”

www.flickr.com/photos/stealaway/54271473379/in/dateposted...

  

Will Apple listen to Mark Zuckerberg’s criticism?

I don’t think so—especially not for someone like me who was captivated by the dream of Apple Vision Pro.

 

Mark Zuckerberg of Meta appeared on a popular podcast and criticized Apple, claiming they haven’t released an innovative product since the iPhone and that their sales have been declining.

While criticizing Apple on a podcast originating from Apple itself may sound like a light joke, I think he was quite serious about it. After all, he now wields the weapon of AR glasses.

 

Supported by various institutions and a talented team, he may have achieved some notable goals. Yet, as an old Apple fan who’s been using products since the PowerBook 540c, I can’t feel any sense of craftsmanship identity from him.

 

This critique extends to other leading tech companies of our time as well: Meta, Amazon, Tesla, Microsoft, and Google.

Simply listing these company names likely brings their logos and the faces of their leaders to mind for those reading this.

 

I once wrote that Steve Jobs wasn’t an artist.

He was skilled at weaving together scattered images from our current world, expanding them, and linking them to the future. That was his specialty.

The one who actually created was Jonathan Ive. There are probably others like me who share this minority opinion.

 

However, seeing how the IT leaders mentioned earlier change their company policies at the mere prospect of Trump regaining power, I can’t help but voice my opinion:

 

The AR glasses, cars, and other products they create lack a crucial concept. Whether you call it a profound ideology or a lighter term like identity, it’s missing.

True, Tim Cook and the current Apple team have become more prone to letting slip details about unreleased products.

 

As I’ve often written, I love music.

When artists isolate themselves from the world, locking themselves in studios to pour their anger, hatred, joy, and sorrow wholeheartedly into a single note, they entrust something to their work.

Once they finish an album and release it, they share what they felt while creating it. (The artist I admire, Prince, rarely explained his works, so I had to interpret his completed pieces on my own.)

 

Until the album is complete and released, these artists say nothing.

The ones who move me most are those kinds of artists.

 

The faint light of Apple’s innovation within me hasn’t been extinguished.

Not even last year’s Apple Vision Pro, criticized as a major failure, could extinguish it. On the contrary, it radiates an even stronger light than the iPhone.

This isn’t just a novel electronic device—it conveys a sense of ideology or thought beyond its intricate electronic components.

 

Unfortunately, I doubt I’ll ever feel that same sense of ideology or thought from Meta’s AR glasses or Tesla’s cars.

 

I’ve written at length, but here’s my conclusion:

 

“Apple CEO Tim Cook Donates Over $1.5 Million to Trump’s Inauguration”

gigazine.net/news/20250104-apple-ceo-tim-cook-donates-1-m...

  

At first glance, it might seem like Tim Cook, like other IT companies, has sold his soul. But that’s not the case.

While Tim Cook personally donates to Trump, Apple as a company has refrained from doing the same as other companies.

Apple didn’t bow to Trump.

 

If someone were to ask me what Apple’s ideology or thought is, I would answer:

Apple is a group of people who believe in themselves.

 

Steve Jobs is probably laughing at this overly serious piece I’ve written from somewhere up in heaven.

A company that doesn’t kowtow to Trump—that’s Apple for you. :)

 

January 15th

After reading a heartwarming article.

 

Mitsushiro Nakagawa

 

Addendum:

I have corrected it.

Before the correction, it appeared on Apple Podcasts,

After the correction, it appeared on podcasts originating from Apple,

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Photo Music and iTunes Playlist Link::

music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz

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消えた境界線から生まれたもの　～ 去ってゆく川村記念美術館を振り返って ～

www.flickr.com/photos/stealaway/54020588671/in/dateposted...

 

What Emerged from the Vanishing Boundaries~ Reflecting on the Departing Kawamura Memorial Museum ~

www.flickr.com/photos/stealaway/54020588671/in/dateposted...

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Important Notices.

 

I have relaxed the following conditions.

I will distribute my T-shirt to the world for free.

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

 

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Exhibition in 2025

  

Theme

The Nightfly

  

Images

Donald Fagen … I.G.Y.

youtu.be/Ueivjr3f8xg?si=xmqGPQjyIKoTs4Q5

 

Live.

youtu.be/Di0_KYtmVKI?si=CLFpU2n0gXahqLPB

  

Mitsushiro - Nakagawa

  

Organizer

Design Festa

designfesta.com

  

Location

Tokyo Big Sight

www.bigsight.jp

  

Date

Autumn 2025.

  

exhibition.mitsushiro.nakagawa@gmail.com

  

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Notice regarding "Lot No.402_”.

  

From now on I will host "Lot No.402_".

 

The work of Leonardo da Vinci who was sleeping.

That is the number when it was put up for auction.

No sign was written on the work.

So this work couldn't conclude that it was his work.

However # as a result of various appraisals # it was exposed to the sun.

A work that no one notices. A work that speaks quietly without a title.

I will continue to strive to provide it to many people in various ways.

 

October 24 2020 by Mitsushiro - Nakagawa.

  

Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2025 Lot No.402_ All rights reserved.

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Profile.

In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

_________________________________

_________________________________

 

Interviews and novels.

About my book.

 

I published a book a long time ago.

At that time # I uploaded my interview as a PDF on the internet.

Its Japanese and English.

 

I will publish it for free.

For details # I explained to the Amazon site.

 

How to write a novel.

How to take a picture.

A sense of distance to the work.

 

All of these have something in common.

I wrote down what I felt and left it.

 

I hope my text will be read by many people.

Thank you.

 

Mitsushiro.

 

1 Interview in English

 

2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)

 

3 Interview Japanese version

 

4 novels. unforgettable ' JPN version.

 

5 A streamlined trajectory. only Japanese.

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

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iBooks. Electronic Publishing. It is free now.

 

0.about the iBooks.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

 

2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

 

3. Streamlined trajectory.(For Japanese only.)

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11

 

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My Novel : Unforgettable'

 

(This book is Dedicated to the future artist.)

  

Synopsis

Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.

Kaori's dream of coming to Tokyo is to become friends with a famous artist.

For that purpose, the radio station's producer, Ryo Osawa, was needed.

Osawa speaks to Kaori during a live radio broadcast.

"I have a wife and children. But I want to meet you."

Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .

   

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

  

Main story

 

There are two reasons why a person faces the sea.

One to enjoy a slice of shine in the sea like children bubbling over in the beach.

The other to brush the dust of memory like an old man who misses old days staring at the shine

quietly.

Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.

I face myself to change tomorrow a vague day into something certain.

That is the meaning of a rebirth.

I had a very sweet girlfriend when I was 18.

After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After

she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies

until I realized it is love?

I wonder whether a nobody like me could have given something to her who was struggling in the

daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.

I had been thinking about such a thing.

However I guess what she saw in me was because I had nothing. That‘s why she tried to see

something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable

tomorrow. But I wasted days depending too much on her gentleness.

Now I finally can convey how I felt in those days when we met.

  

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

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9/9

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Fin.

  

images.

U2 - No Line On The Horizon

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

 

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Title of my book : unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

ISBN978-4-86264-866-2

in Amazon.

Unforgettable’ amzn.asia/d/eG1wNc5

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The schedule of the next novel.

Still would stand all time. (Unforgettable '2)

(It will not go away forever)

Please give me some more time. That is Japanese.

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My Works.

 

1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...

2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...

3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...

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Do you want to hear my voice?

:)

 

youtu.be/b1o6Xf-Mjhw

 

1

About the composition of the picture posted to Flicker. First type.

youtu.be/b1o6Xf-Mjhw

 

2

About the composition of the picture posted to Flicker. Second type.

youtu.be/b1o6Xf-Mjhw?t=443

 

3

About when I started Fotolog. Architect 's point of view.

youtu.be/b1o6Xf-Mjhw?t=649

 

4

Why did not you have a camera so far?

youtu.be/b1o6Xf-Mjhw?t=708

 

5

What is the coolest thing? The photo is as it is.

youtu.be/b1o6Xf-Mjhw?t=776

 

6

About the current YouTube bar. I also want to tell # I want to leave.

youtu.be/b1o6Xf-Mjhw?t=964

 

7

About Japanese photographers. Japanese YouTube bar is Pistols.

youtu.be/b1o6Xf-Mjhw?t=1059

 

8

The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.

youtu.be/b1o6Xf-Mjhw?t=1242

 

9

What is a good composition? What is a bad composition?

youtu.be/b1o6Xf-Mjhw?t=1482

 

10

What is the time to point the camera? It is slow if you are looking into the viewfinder or display.

youtu.be/b1o6Xf-Mjhw?t=1662

 

11

Family photos. I can not take pictures with others. The inside of the subject.

youtu.be/b1o6Xf-Mjhw?t=1745

 

12

About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.

youtu.be/b1o6Xf-Mjhw?t=2144

 

13

About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.

youtu.be/b1o6Xf-Mjhw?t=2305

 

14

About Japanese photographers. About the exhibition.

Summary. I wrote a novel etc. What I want to tell the most.

youtu.be/b1o6Xf-Mjhw?t=2579

 

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I talked about how to make a work.

 

About work production 1/2

youtu.be/ZFjqUJn74kM

  

About work production 2/2

youtu.be/pZIbXmnXuCw

 

1 Photo exhibition up to that point. Did you want to go?

 

2 Well # what is an exhibition that you want to visit even if you go there?

 

3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.

 

4 works are materials and silhouettes. Similar to fashion.

 

5 Who is your favorite artist? What is it? Make it clear.

 

6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.

 

7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.

 

8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?

 

ja.wikipedia.org/wiki/Mimesis

kotobank.jp/word/Mimesis-139464

 

9 What is Individuality? What is originality?

 

www.youtube.com/user/mitsushiro/

 

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Explanation of composition. 2

 

1.Composition explanation 2 ... 1/4

youtu.be/yVbvneBIMs8

 

2.Composition explanation 2 ... 2/4

youtu.be/LToFez9vOAw

 

3.Composition Explanation 2 ... 3/4

youtu.be/uTR0wVi9Z7M

 

4.Composition Explanation 2 ... 4/4

youtu.be/h2LjfU6Vvno

 

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My shutter feeling.

 

youtu.be/3JkbGiFLjAM

 

Today's photo.

It is a photo taken from Eurostar.

 

This video is an explanation.

 

I went to Milan in 2005.

At that time # I went from Milan to Venice.

We took Eurostar into the transportation.

 

This photo was not taken from a very fast Eurostar.

When I changed the track # I took a picture at the moment I slowed down.

  

Is there a Japanese beside you?

Please have my video translated.

:)

 

In the Eurostar to Venice . 2005. shot ... 1 / 2

www.flickr.com/photos/stealaway/49127115021/in/dateposted...

 

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Miles Davis sheet 1955-1976.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

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flickr.

www.flickr.com/photos/stealaway/

_________________________________

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instagram.

www.instagram.com/mitsushiro_nakagawa/

_________________________________

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Pinterest.

www.pinterest.jp/MitsushiroNakagawa/

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YouPic

youpic.com/photographer/mitsushironakagawa/

_________________________________

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twitter.

twitter.com/mitsushiro

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facebook.

www.facebook.com/mitsushiro.nakagawa

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threads.

www.threads.net/@mitsushiro_nakagawa

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Blue sky.

bsky.app/profile/mitsushironakagawa.bsky.social

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Amazon.

www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...

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My statistics (as of December 15, 2024)

How many views have you had on Flickr and Youpic

Flickr 24,260,172 Views

Youpic 7,957,826 Views

x.com/mitsushiro/status/1868185157909582014

 

My statistics (as of August 1, 2024)

How many views have I had on Flickr and Youpic

Flickr 23,192,383 Views

Youpic 7,574,603 Views

 

My statistics. (As of February 7, 2024)

What is the number of accesses to Flickr and YouPic

Flickr 21,694,434 Views

Youpic 7,003,230 Views

 

What is the number of accesses to Flickr and YouPic?

(As of November 13, 2023)

Flickr 20,852,872 View

Youpic 6,671,486 View

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Japanese is the following.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2

 

Mitsushiro Nakagawa belong to Lot No. 204 _ . Copyright©︎2024 Lot No.402_ All rights reserved.

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Title.

渋滞中。

  

( LUMIX G3 shot )

  

マンハッタン。ニューヨーク。アメリカ。2017. … 2 / 7

(今日の写真。それは未発表です。）

  

Images.

Fridayy … Baddest In The Room

youtu.be/Ag3N0B16p3I?si=3BCbywau7vVNWJHP

  

::写真の音楽とiTunesプレイリストをリンク::

music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz

  

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重要なお知らせ。

 

僕は以下の条件を緩和します。

僕はTシャツを無料で世界中へ配布します。

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

 

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２０２5年の展示

  

テーマ

The Nightfly

 

Images

Donald Fagen … I.G.Y.

youtu.be/Ueivjr3f8xg?si=xmqGPQjyIKoTs4Q5

 

Live.

youtu.be/Di0_KYtmVKI?si=CLFpU2n0gXahqLPB

  

Mitsushiro - Nakagawa

 

主催

デザインフェスタ

designfesta.com

 

場所

東京ビッグサイト

www.bigsight.jp

  

日程

2025年 秋。

 

exhibition.mitsushiro.nakagawa@gmail.com

 

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タイトル

“” A.I. 　アップルのアイデンティティについて””

www.flickr.com/photos/stealaway/54271473379/in/dateposted...

  

マークザッカーバーグ氏の批判に、アップルは耳を傾けるだろうか。

僕にはそう思えない。アップルヴィジョンプロに夢を見せられた僕には。

 

メタのマークザッカーバーグ氏は、有名なポッドキャストに出演し、アップルはアイフォン以来革新的な製品を発売せず、売り上げも落ちていると批判したようだ。

アップル発祥のポッドキャストに現れ、アップルを批判すると言うのは軽いジョークに思えるが、真剣に訴えたんだろうと僕は思う。

なぜなら、今の彼はARグラスという武器を手にしているからだ。

おそらく、さまざまな関係機関や優秀なスタッフが彼を支え、それなりの目標を達成したんだろうが、パワーブック５４０cから使い続けてきた僕のような古いアップルファンからしてみれば、まだ物作りのアイデンティを彼からはまったく感じない。

 

これは他の、現在世界を制覇しているIT企業らも含む。

メタ、アマゾン、テスラ。マイクロソフト。グーグル。

社名が並ぶだけで、このテキストを読まれている方は名前と顔をすでに浮かべているはずだ。

 

僕は以前、スティーブ・ジョブズはアーティストではないと書いた。

彼は、現世界に散らばったイメージを紡ぎ合わせ、それを膨らます。そして未来へリンクさせる。それが得意だっただけだ。

実際に創作していたのはジョナサンアイブだ。少数ながらも僕のような意見を持っている方もいるだろう。

 

しかし、先述したIT関連の面々が、トランプ氏に再び権力が戻るとなった途端に会社の方針を覆す様子を見ていると、僕は一言、どうしても意見したいのだ。

 

彼らが作ったARグラスや車などには、肝心な観念が欠けている。思想という重い言葉や、軽めのアイデンティティと言い換えてもいい。

確かに、ティムクック氏やアップルの現在のスタッフらは、発売前の商品に関して口を滑らせることが多くなった。

 

僕は、以前から書いているように音楽が大好きだ。

外界を断ち、アーティストらがスタジオにこもって、怒りや憎しみ、喜びや悲しみを一心不乱になって一音に吹き込む。何かを託すと言ってもいい。

そして、完成したアルバムを発表し、どんな思いを込めて制作したのかを語る。（僕が好きなプリンスはほとんど語らなかったので、完成された作品を理解する必要があった）

 

アルバムが完成し、発表するまで、彼らはひとことも語らない。

僕の胸を震わせたのは、そんなアーティストらだった。

 

僕の中に淡く灯っているアップルの革新性は、いまでも消えていない。

それは昨年、大失敗だと批判されたアップルヴィジョンプロでさえも消すことはできない。むしろ、アイフォン以上の強烈な光を放っている。

ただの斬新な電化製品ではなく、細かな電気部品の向こうに観念や思想を感じるからだ。

 

残念ながら、メタのARグラスやテスラの車に、僕がその観念や思想を感じることは今後もないだろう。

 

長々と書いてきたが、結論は以下の記事だ。

 

1.5億円超をAppleのティム・クックCEOがトランプの大統領就任式に寄付

gigazine.net/news/20250104-apple-ceo-tim-cook-donates-1-m...

 

一読すると、ティムクック氏も他のIT会社同様、魂を売ったのかと思われるがそうではない。

ティムクック氏は個人的にトランプ氏へ献金をするが、アップル社だけは他社と同じようには献金していない。

アップルは、トランプ氏になびかなかったのだ。

 

アップル社の観念や思想とは、具体的に何かと訊かれたら、僕はこう答える。

アップルとは、自分自身を信じる人間が集まっているグループだ。

 

たぶん、天国のスティーブ・ジョブズは、僕がクソ真面目に書いたテキストを、鼻で笑っていることだろう。

トランプ氏に媚びない会社。

それがAppleさ。:)

  

１月１５日

嬉しい記事を読んだ後で。

 

Mitsushiro Nakagawa.

  

追記。

修正しました。

修正前　アップルのポッドキャストに現れ、

修正後　アップル発祥のポッドキャストに現れ、

  

_________________________________

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” Lot No.402_ ” に関するお知らせ。

  

今後、僕は、” Lot No.402_ ”を主催します。

 

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

 

2020年10月24日 by Mitsushiro - Nakagawa.

 

Copyright©︎2021 Lot No.402_ All rights reserved.

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プロフィール

2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

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インタビューと小説。

僕の本について。

 

僕は、昔に本を出版しました。

その際に、僕のインタビューをPDFでネット上へアップロードしていました。

その日本語と英語。

 

僕は、無料でを公開します。

詳細は、アマゾンのサイトへ解説しました。

 

小説の書き方。

写真の撮影方法。

作品への距離感。

 

これらはすべて共通項があります。

僕は、僕が感じたことを文章にして、残しました。

 

僕のテキストが多くの人に読んでもらえることを望みます。

ありがとう。

 

Mitsushiro.

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

  

１　インタビュー　英語版

 

２　小説。unforgettable’ 英語版。

 

３　インタビュー　日本語版

 

４　小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)

(四百字詰め原稿用紙４５６枚)

 

　あらすじ

　大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。

　上京してきた香織の夢は、有名なアーティストの友達になるためだ。

　そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。

　大沢は、ラジオの生放送中、香織へ語りかける。

　「僕には妻子がある。しかし、僕は君に会いたいと思っている」

　ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。

  

本編

 

人が海へ向かう理由には、二つある。

　ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。

　もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。

　二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。

　再生だ。

　明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。

　それが再生の意味だ。

 

　十八歳だった僕には大切な人がいた。

 

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

  

５　流線形の軌跡。　日本語のみ。

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

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iBooks.電子出版。（現在は無料）

 

0.about the iBooks.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)

itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...

For Japanese only.

 

2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)

itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...

 

3.流線形の軌跡。

itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...

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僕の小説。英語版　

My Novel Unforgettable' (This book is Dedicated to the future artist.)

 

Mitsushiro Nakagawa

All Translated by Yumi Ikeda .

www.fotolog.net/yuming/

   

1/9

www.flickr.com/photos/stealaway/24577016535/in/dateposted...

2/9

www.flickr.com/photos/stealaway/24209330259/in/dateposted...

3/9

www.flickr.com/photos/stealaway/23975215274/in/dateposted...

4/9

www.flickr.com/photos/stealaway/24515964952/in/dateposted...

5/9

www.flickr.com/photos/stealaway/24276473749/in/dateposted...

6/9

www.flickr.com/photos/stealaway/24548895082/in/dateposted...

7/9

www.flickr.com/photos/stealaway/24594603711/in/dateposted...

8/9

www.flickr.com/photos/stealaway/24588215562/in/dateposted...

9/9

www.flickr.com/photos/stealaway/24100804163/in/dateposted...

Fin.

  

images.

U2 - No Line On The Horizon Live in Dublin

www.youtube.com/watch?v=_oKwnkYFsiE&feature=related

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Title of my book : unforgettable'

Author : Mitsushiro Nakagawa

Out Now.

 

ISBN978-4-86264-866-2

in Amazon.

Unforgettable’ amzn.asia/d/eG1wNc5

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僕の作品。

 

1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...

2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...

3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...

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あなたは僕の声を聞きたいですか？

:)

 

youtu.be/b1o6Xf-Mjhw

  

1

フリッカーへ投稿した写真の構図について。１種類目。

youtu.be/b1o6Xf-Mjhw

 

2

フリッカーへ投稿した写真の構図について。２種類目。

youtu.be/b1o6Xf-Mjhw?t=443

 

3

Fotologを始めた時について。 建築家の視点。

youtu.be/b1o6Xf-Mjhw?t=649

 

4

なぜ、今までカメラを手にしなかったのか？

youtu.be/b1o6Xf-Mjhw?t=708

 

5

何が一番かっこいいのか？　写真はありのままに。

youtu.be/b1o6Xf-Mjhw?t=776

 

6

現在のユーチューバーについて。僕も伝え、残したい。

youtu.be/b1o6Xf-Mjhw?t=964

 

7

日本人の写真家について。日本のユーチューバーはピストルズ。

youtu.be/b1o6Xf-Mjhw?t=1059

 

8

写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。

youtu.be/b1o6Xf-Mjhw?t=1242

 

9

良い構図とは？　悪い構図とは？

youtu.be/b1o6Xf-Mjhw?t=1482

 

10

カメラを向ける時とは？　ファインダーやディスプレイを覗いていては遅い。

youtu.be/b1o6Xf-Mjhw?t=1662

 

11

家族写真。他人では撮れない。被写体の内面。

youtu.be/b1o6Xf-Mjhw?t=1745

 

12

ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。

youtu.be/b1o6Xf-Mjhw?t=2144

 

13

日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。

youtu.be/b1o6Xf-Mjhw?t=2305

 

14

日本の写真家について。その展示について。

まとめ。僕が書いた小説など。僕が最も伝えたいこと。

youtu.be/b1o6Xf-Mjhw?t=2579

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作品制作について 1/2

youtu.be/ZFjqUJn74kM

 

作品制作について 2/2

youtu.be/pZIbXmnXuCw

  

１　それまでの写真展。自分は行きたいと思ったか？

 

２　じゃ、自分が足を運んででも行きたい展示とは何か？

 

３　原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。

 

４　作品とは、素材とシルエット。ファッションと似ている。

 

５　自分が好きなアーティストは誰か？　どんなものなのか？　そこをはっきりさせる。

 

６　コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。

 

７　誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。

 

８　パクリとは何か？　昨今、叩かれるパクリ疑惑。ミメーシスとは？

 

　　https://ja.wikipedia.org/wiki/ミメーシス

　　https://kotobank.jp/word/ミメーシス-139464

  

９　個性とはなにか？　オリジナリティってなに？

 

おまけ　眞子さまについて

 

という流れです。

お時間がある方は是非聴いてください。

:)

 

www.youtube.com/user/mitsushiro/

 

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構図の解説２

 

1.構図の解説２ ... 1/4

youtu.be/yVbvneBIMs8

 

2.構図の解説２ ... 2/4

youtu.be/LToFez9vOAw

 

3.構図の解説２ ... 3/4

youtu.be/uTR0wVi9Z7M

 

4.構図の解説２ ... 4/4

youtu.be/h2LjfU6Vvno

 

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僕のシャッター感覚

 

youtu.be/3JkbGiFLjAM

 

In the Eurostar to Venice . 2005. shot ... 1 / 2

www.flickr.com/photos/stealaway/49127115021/in/dateposted...

 

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Miles Davis sheet 1955-1976.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

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flickr.

www.flickr.com/photos/stealaway/

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YouTube.

www.youtube.com/user/mitsushiro/

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instagram.

www.instagram.com/mitsushiro_nakagawa/

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Pinterest.

www.pinterest.jp/MitsushiroNakagawa/

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YouPic

youpic.com/photographer/mitsushironakagawa/

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fotolog

www.fotolog.com/stealaway/

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twitter.

twitter.com/mitsushiro

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facebook.

www.facebook.com/mitsushiro.nakagawa

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threads.

www.threads.net/@mitsushiro_nakagawa

_________________________________

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Blue sky.

bsky.app/profile/mitsushironakagawa.bsky.social

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Amazon.

www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...

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僕の統計。（2024年12月15日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 24,260,172 View

Youpic 7,957,826 View

x.com/mitsushiro/status/1868185157909582014

 

僕の統計。（2024年8月1日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 23,192,383 View

Youpic 7,574,603 View

 

僕の統計。（2024年2月7日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 21,694,434 View

Youpic 7,003,230 View

 

僕の統計。（2023年11月13日現在）

フリッカー、ユーピクのアクセス数は？

Flickr 20,852,872 View

Youpic 6,671,486 View

_________________________________

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Japanese is the following.

drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...

 

Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2

 

Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.

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” Lot No.402_ ” に関するお知らせ。

  

今後、僕は、” Lot No.402_ ”を主催します。

 

このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。

作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。

しかし、様々な鑑定の結果、陽の光を浴びました。

誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。

僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。

 

2020年10月24日 by Mitsushiro - Nakagawa.

 

Copyright©︎2024 Lot No.402_ All rights reserved.

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mixed device

ipad mini 2 tayasui sketches pro

ipadpro11 procreate glaze icolorama

GROUPS AWARDS IN COMMENTS WILL BE DELETED

"A Buoy" a floating device that can have many purposes

TUESDAY, SEPTEMBER 29, 2015

Fortune Brainstorm E - Austin, TX, USA

 

3:55 PM

HOW THE INTERNET OF THINGS WILL REVOLUTIONIZE CITIES

The mash-up of sensors, Big Data and the Internet promises to bring radical new efficiency to cities. The new trend: Tens of billions of devices and systems are connecting online, allowing revolutionary changes to how things are done from improving traffic flows, boosting building efficiency, and maximizing water use, to mention just a few. Some say this is a trillion-dollar opportunity. Who will the players be, and which applications show the most promise?

 

Smart Cities Track Hosted by Hitachi

Fahd Al-Rasheed, Group CEO/Managing Director, King Abdullah Economic City

Doug Baker, Chairman and CEO, Ecolab

Mahesh Ramanujam, Chief Operating Officer, U.S. Green Building Council

Moderator: Brian O’Keefe, Fortune

 

Photograph by Stuart Isett/Fortune Brainstorm E

Here is the Magpul Battery Assist Device (AKA BAD) Lever shown on my duty lower. Note the Geiselle SSA trigger, its the only 2 stage I would consider or recommend for duty use. I use a heavier disconnector spring in mine than usual for a bit stiffer trigger pull.

  

The lower is mounted to an upper with has a LMT M203 attached along with an Eotech 553.

(intentional misspelling)

Venice, CA

Device model: Hasselblad X1D

Lens: Leica APO-Telyt-R 180mm/F3.4

F number: f/8

Exposure time: 3.2s

The yacht club in Edmonds let’s people borrow PFDs (personal floatation device or life vest) from this kiosk.

—

Leica Elmarit M 28mm f/2.8 ASPH + Fujifilm X-E3.

Yangon - MYANMAR

So a few of you know that in addition to being a full-time dad, I've written a space opera novel. I've been trying, without success, to have it published for a couple of years now, to no avail. So I've decided to sell it on Amazon.com for the Kindle e-Reader.

 

If you've ever wondered what kinds of stories lie behind the starfighters and other spaceships I build, then you should check it out. Amazon allows you to download the first 5% for free. If you're not hooked on the story by then, you won't be, trust me.

 

Don't have a Kindle? That's not a problem, either. Amazon has free Kindle software for just about every device out there, including your fat desktop PC.

 

Eagle-eyed listeners will note that the ship on the cover is none other than the Lilliander. This was done for me by Chris S., aka Colourbrand. If you haven't seen his amazing space works, you're missing out!

 

You can find Children of Azra here. It's only $5.99, so if you like the sample, please buy it. And if you read it, let me know what you think, good or bad.

Photoshoot of the toys and the blacklight CD holder.

 

glowing in the blacklight.

CD holder, Joker action figure, Pinkie Pie My Little Pony, Trixie My Little Pony.

cartoon: Batman. cartoon: My Little Pony: Friendship Is Magic.

 

upstairs, Clint and Carolyn's house, Alexandria, Virginia.

 

April 30, 2016.

  

... Read my blog at ClintJCL at wordpress.com

... Read Carolyn's blog at CarolynCASL at wordpress.com

 

... Read my yard sale-related blogposts at clintjcl dot wordpress dot com/category/yard-sales/

  

BACKSTORY: We forgot to take any of the stats for this yardsale expedition, including the time we got up and the mileage we drove. There were 9 addresses in our preplanned route.

  

THE TAKE:

 

* $50.00: guitar, electric, gray, Greg Bennett Design, Cobra, CA2, 22 frets (EV:$249.00)http://gregbennettguitars.com/guitars/electric/cobra-series/

 

* $20.00: pool, kids, inflatable, 8'x30", Little Tikes, 602071 including air pump, Intex #68612T, double quick, barcode 078257304448 (EV:$41.99)

 

* $15.00: "Halloween costume" consisting of some leather clothes, leg warmers, chains, nipple clamps, cock ring, collars, spreader bar, restraints, etc. Halloween costume, indeed. We're onto you.

 

* $15.00: camping chairs (3), 2 green & 1 blue, 1 drink holder (EV:$20.64 ($6.88 each))

 

* $10.00: crockpot, 12x9" red, big, Rival, model SCV702 (EV:$23.99)

 

* $10.00: stand, drum, snare, Ross, 26" high, but is adjustable to higher (EV:$37.99)

 

* $10.00: lamp, floor, green, regular lightbulb, very generic

 

* $10.00: lamp, floor, black, double lamp head, wobbly, Intertek 4005791, model 18215-008, etl model f00228 ETL # 4005791

 

* $10.00: scooter (2), metal, 2 wheels, Razor, one with orange handlebars and the name Gabriel Ramiscal written on it, one with red handlebars (EV:$22.99)

 

* $8.00: lamp, floor, halogen, thick, black, little bit of glass trim, probably 6'2" height, untested

 

* $7.00: fan, box, 20-inch, Lasko, 5-blades, model 3733, barcode 046013311900 (EV:$16.99)

 

* $6.00: snow shovel, electric, Power Shovel Plus, Toro, Model # 38360, serial # 230039372 1234 (EV:$99.00)

 

* $5.00: scooter, 4 wheels, yellow, Fuzion Board (EV:$72.67)

 

* $5.00: shelf, 4 shelves, wood, stained, including brackets, 31x23.75x4.5"

 

* $5.00: Blacklight CD holder, Kohl's (EV:$29.99 price tag)

 

* $4.00: blacklight fixture, including bulb, manual switch. 18". Labeled as "fish tank equipment".

 

* $3.00: packing tape (3 huge doublewide rolls), 1 is 3M Scotch brand, other 2 generic

 

* $2.00: soaps (36), various hotel soaps

 

* $2.00: scooter, 4 wheels, wood, TCH Board, with colorful mural on bottom, 77207 @2001 I.D. 77207-0320, max 100lbs

 

* $2.00: timer, indoor-outdoor, Righttech 75202, barcode 053922752021 (EV:$4.40 price tag)

 

* $2.00: compass, digital, Eddie Bauer, barcode 015286598806, 97043-27

 

* $2.00: handle, Bag Grabbit, Item# BG50, barcode 699935000171, CBC Products,

 

* $2.00: mirror, wood frame, 21x39"

 

* $2.00: Auto Cool solar-powered ventilation system, including cup holder organizer, As Seen On TV, Allstar Products Group, AC011106, barcode 740275000427

 

* $1.50: dishes, plate, bowl, hard plastic, G.I. Joe Rise Of The Cobra movie, Zak! Designs, bowl 5.5" diameter, plate 8" diameter

 

* $1.50: toy, My Little Pony: Friendship Is Magic, Rarity, plastic, hair, moving head, 2013, 8.5x5", C-029A

 

* $1.00: shovel, dirt, Sears D718772, 9.5x11

 

* $1.00: snow shovel, plastic, blue 17x13

 

* $1.00: toy, My Little Pony: Friendship Is Magic, Trixie, hard plastic, hat, 2014, ~7x6.5", A222

 

* $1.00: Pinkie Pie, plastic, hair, moving head, 2010, 6x4", C-029A

 

* $1.00: light, worklight, hanging, orange extension cord and outlet, on/off switch, for attic

 

* $0.75: 6-outlet surge protector, with cord, Ruby, Curtis Manufacturing Co., serial # R035746

 

* $0.50: Pinkie Pie, plastic, hair with tinsel, moving head, 2012, 4.5x3", mi-065v1

 

* $0.50: Fluttershy, moving head, 3.25x2.25", 2010

 

* $0.50: Applejack, hair, with hat, moving head, 3.5x2.25", 2010

 

* $0.50: Rainbow Dash, hair, moving head, 3.5x2.25", 5/1/20162010

 

* $0.50: Lyra, hair, moving head,3.5x2.5", 2010

 

* $0.50: action figure, Joker, on motorcycle, ejectable, 3.5x2.5"

 

* $0.50: action figure, Adventure Time, Finn, with moving arm holding sword, McDonalds, 3.5x3, s14

 

* $0.25: 3-piece clamp, yellow, Pittsburgh, small 1/8" to 5/16", medium 1/2" to 3/4", large 3/4" to 2.5", item 97578, barcode 792363975780, limited lifetime warranty (EV:$9.88 price tag)

 

* $0.25: hanging bracket, 9" straight plant bracket, Country Blacksmith, HoldAll (EV:$3.96 price tag)

 

* $0.25: light bulb, stained glass

 

* $0.25: surge protector, 1 outlet, GE SurgePro, E102453 VSP101NS

 

* $0.25: extension cord, gray, including a 2-prong-to-3-prong converter

 

* $0.10: clamps (4), mini, green, 2" total size

 

* $0.10: glue, gun glue, Uncle Mike's Gun-Tite, loctite, Atlantic Guns price tag (EV:$4.35 price tag) Gift for Matthew or Paul.

 

* $0.10: jar, green, locking lid, 5.5x4"

 

* $FREE: lanyard, white, Insopad (EV:$0.05)

 

* $FREE: kite string, Premier

 

* $FREE: thermometer, color changing, Cooked Per-fect, Burton, 15091, barcode 085628150917

 

* $FREE: comforter bag.

This is the M5 Booby Trap Device with live fuse attached to an inert Mk II Hand Grenade.

 

This is the pressure release type device. The hinged plate seen on top is locked down by the pin. It pushes against the "hammer" or firing device under spring tension. A weight of about 5 pounds (2.25 kilos by spec.) would hold the plate down. Once pressure was applied, the safety pin could be removed. When the 5 pounds of weight was removed, the pressure plate is no longer held down, and the hammer slaps forward on the fuse.