View allAll Photos Tagged differences,
Well its been commissioned so looks like 68 022 will enter service with its compass logo flying backwards on one side only. It has come to light 68 002 also runs about with the same mistake made by the contractor doing the vinyl markings at Kingmoor depot after delivery. Both locos here still have their delivery documents taped in the door windows.
Perhaps 68 022 is intended for propelling use only ?
Kyle 6843 works on putting its train together in Limon, CO. On the next track over the UP Limon local power rests after bringing in interchange traffic for the Kyle.
Farewell, North East Moonsoon.
See you again in November ;(
ISO100, f/16, 90seconds exposure.
Happy weekend my friends !
Elodie Wysocki (1985), diplômée de l’école Supérieure des Beaux Arts de Nîmes, explore la question de l’existence et de la différence. Sa recherche, d’abord centrée sur le genre humain, s’étend aujourd’hui à l’ensemble du vivant. L’humain et l’animal se mélangent, induisant des notions d’origine et de mutation. Les thèmes de la vanité, de la mémoire et des traces sont aussi récurrents dans sa recherche artistique.
Mon travail pose la question du corps, le nôtre, celui des autres et le corps comme matière. Ce qui m’intéresse c’est autant le “je” que le “nous”. On trouve d’ailleurs de nombreux allers-retours de l’un à l’autre, de l’un au tous, et son contraire. J’ai travaillé dans un premier temps sur le rapport œuvre-spectateur. J’ai mis en place des sculptures-objets qui mettent en scène le corps des ou d’un regardeur. J’ai ensuite centré ma recherche vers des sculptures dans lesquelles le corps était figuré mais tendait à la dissolution, parfois jusqu’à la disparition. Elodie Wysocki
La fatigue des autruches interroge par le biais d’une figure animale gorgée d’analogies et de références psychologiques, les notions de courage et de conscience.
Beaucoup d’idées sont liées à l’image de l’autruche: peur, refus de voir les réalités, féminité, agressivité, etc.
Pourtant l’autruche est un animal tout sauf peureux. Extrêmement habile, l’autruche est le plus grand et le plus rapide des oiseaux.
Elodie Wysocki (1985), graduate of the École Supérieure des Beaux Arts in Nîmes, explores the question of existence and difference. His research, initially focused on the human race, now extends to all living things. Human and animal intermingle, inducing notions of origin and mutation. The themes of vanity, memory and traces are also recurrent in his artistic research.
My work raises the question of the body, ours, that of others and the body as matter. What interests me is both the “I” and the “we”. There are also many back and forths from one to another, from one to all, and its opposite. I first worked on the work-spectator relationship. I have set up sculpture-objects that depict the body of or of a viewer. I then focused my research on sculptures in which the body was represented but tended to dissolve, sometimes to the point of disappearance. Elodie Wysocki
The fatigue of ostriches, through an animal figure bursting with analogies and psychological references, questions the notions of courage and conscience.
Many ideas are linked to the image of the ostrich: fear, refusal to see realities, femininity, aggressiveness, etc.
Yet the ostrich is anything but fearful. Extremely skilled, the ostrich is the largest and fastest of birds.
From Wikipedia, the free encyclopedia
(Redirected from Wet plate process)
This deteriorated dry plate portrait of Theodore Roosevelt is similar to a wet plate image but has substantial differences.
The collodion process is an early photographic process.
Contents
1 Description
2 History
2.1 21st century
3 Advantages
4 Disadvantages
5 Use
6 Search for a dry collodion process
7 Collodion emulsion
8 Collodion emulsion preparation example
9 See also
10 References
11 External links
Description
Collodion process, mostly synonymous with the "collodion wet plate process", requires the photographic material to be coated, sensitized, exposed and developed within the span of about fifteen minutes, necessitating a portable darkroom for use in the field. Collodion is normally used in its wet form, but can also be used in humid ("preserved") or dry form, at the cost of greatly increased exposure time. The latter made the dry form unsuitable for the usual portraiture work of most professional photographers of the 19th century. The use of the dry form was therefore mostly confined to landscape photography and other special applications where minutes-long exposure times were tolerable.[citation needed]
History
The collodion process is said to have been invented in 1851, almost simultaneously, by Frederick Scott Archer and Gustave Le Gray. During the subsequent decades, many photographers and experimenters refined or varied the process. By the end of the 1850s it had almost entirely replaced the first practical photographic process, the daguerreotype.
During the 1880s the collodion process, was largely replaced by gelatin dry plates—glass plates with a photographic emulsion of silver halides suspended in gelatin. The dry gelatin emulsion was not only more convenient, but it could also be made much more sensitive, greatly reducing exposure times.
One collodion process, the tintype, was in limited use for casual portraiture by some itinerant and amusement park photographers as late as the 1930s, and the wet plate collodion process was still in use in the printing industry in the 1960s for line and tone work (mostly printed material involving black type against a white background) since it was much cheaper than gelatin film in large volumes.[citation needed]
21st century
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The wet plate collodion process has undergone a revival as a historical technique over the past few decades. There are several practising ambrotypists and tintypists who regularly set up and make images at Civil War re-enactments. Fine art photographers use the process and its handcrafted individuality for gallery showings and personal work. There are several makers of reproduction equipment. The process is taught in workshops around the world and several workbooks and manuals are in print. Many artists work with collodion around the globe, including traveling photographer Craig Murphy, Kurt Grüng, Sally Mann, and Ben Cauchi. Other artists to note are Luther Gurlach, James Walker[disambiguation needed], Stephen Burkeman, Sam Davis, Quinn Jacobson and Ken Merfeld. There are many more as well that have contributed to bringing this process forward to a modern age.
Advantages
A portable photography studio in 19th century Ireland. The wet collodion process sometimes gave rise to portable darkrooms, as photographic images needed to be developed while the plate was still wet.
The collodion process produced a negative image on a transparent support (glass). This was an improvement over the calotype process, invented by William Henry Fox Talbot, which relied on paper negatives, and the daguerreotype, which produced a one-of-a-kind positive image and could not be replicated. The collodion process, thus combined desirable qualities of the calotype process (enabling the photographer to make a theoretically unlimited number of prints from a single negative) and the daguerreotype (creating a sharpness and clarity that could not be achieved with paper negatives). Collodion printing was typically done on albumen paper.
The collodion process had other advantages, especially in comparison with the daguerreotype. It was a relatively inexpensive process. The polishing equipment and fuming equipment needed for the daguerreotype could be dispensed with entirely. The support for the images was glass, which was far less expensive than silver-plated copper, and was more durable than paper negatives. It was also fast for the time, requiring only seconds for exposure.
Disadvantages
The wet collodion process had a major disadvantage. The entire process, from coating to developing, had to be done before the plate dried. This gave the photographer no more than 10 minutes to complete everything. This made it inconvenient for field use, as it required a portable darkroom. The plate dripped silver nitrate solution, causing stains and troublesome build-ups in the camera and plate holders.[citation needed]
The silver nitrate bath was also a source of problems. It gradually became saturated with alcohol, ether, iodide and bromide salts, dust, and various organic matter. It would lose effectiveness, causing plates to mysteriously fail to produce an image.[citation needed]
As with all preceding photographic processes, the wet-collodion process was sensitive only to blue light. Warm colours appear dark, cool colours uniformly light. A sky with clouds is impossible to render, as the spectrum of white clouds contains about as much blue as the sky. Lemons and tomatoes appear a shiny black, and a blue and white tablecloth appears plain white. Victorian sitters who in collodion photographs look as if they are in mourning might have been wearing bright yellow or pink.[1]
Use
"A Veteran with his Wife", taken by an anonymous photographer, shows a British veteran of the Napoleonic era Peninsular Wars. It is a hand-tinted ambrotype using the set collodion positive process, made circa 1860.
Despite its disadvantages, wet plate collodion became enormously popular. It was used for portraiture, landscape work, architectural photography and art photography.[citation needed] The world's largest wet process collodion glass plate negatives known to survive, measuring 53 inches (1.35 m) x 37 inches (0.94 m), are held at the State Library of New South Wales.[2][3][4]
The wet plate process is used by a number of artists and experimenters who prefer its aesthetic qualities to those of the more modern gelatin silver process.[citation needed] World Wet Plate Day is staged annually in May for contemporary practitioners.[5]
Search for a dry collodion process
The extreme inconvenience of exposing wet collodion in the field led to many attempts to develop a dry collodion process, which could be exposed and developed some time after coating. A large number of methods were tried, though none was ever found to be truly practical and consistent in operation. Well-known scientists such as Joseph Sidebotham, Richard Kennett, Major Russell and Frederick Charles Luther Wratten attempted, but never met with good results.[citation needed]
Typically, methods involved coating or mixing the collodion with a substance that prevented it from drying quickly. As long as the collodion remained at least partially wet, it retained some of its sensitivity. Common processes involved chemicals such as glycerin, magnesium nitrate, tannic acid and albumen. Others involved more unlikely substances, such as tea, coffee, honey, beer and seemingly unending combinations thereof.[citation needed]
Many methods worked to an extent; they allowed the plate to be exposed hours, or even days, after coating. They all possessed the chief disadvantage, that they rendered the plate extremely slow. An image could require anywhere from three to ten times more exposure on a dry plate than on a wet plate.[citation needed]
Collodion emulsion
In 1864 W. B. Bolton and B. J. Sayce published an idea for a process that would revolutionize photography. They suggested that sensitive silver salts be formed in a liquid collodion, rather than being precipitated, in-situ, on the surface of a plate. A light-sensitive plate could then be prepared by simply flowing this emulsion across the surface of a glass plate; no silver nitrate bath was required.
This idea was soon brought to fruition. First, a printing emulsion was developed using silver chloride. These emulsions were slow, and could not be developed, so they were mostly used for positive printing. Shortly later, silver iodide and silver bromide emulsions were produced. These proved to be significantly faster, and the image could be brought out by development.
The emulsions also had the advantage that they could be washed. In the wet collodion process, silver nitrate reacted with a halide salt; potassium iodide, for example. This resulted in a double replacement reaction. The silver and iodine ions in solution reacted, forming silver iodide on the collodion film. However, at the same time, potassium nitrate also formed, from the potassium ions in the iodide and the nitrate ions in the silver. This salt could not be removed in the wet process. However, with the emulsion process, it could be washed out after creation of the emulsion.
The speed of the emulsion process was unremarkable. It was not as fast as the ordinary wet process, but was not nearly as slow as the dry plate processes. Its chief advantage was that each plate behaved the same way. Inconsistencies in the ordinary process were rare.
Collodion emulsion preparation example
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Below is an example of the preparation of a collodion emulsion, from the late 19th century. The language has been adapted to be more modern, and the units of measure have been converted to metric.
4.9 grams of pyroxylin are dissolved in 81.3 ml of alcohol, 148 ml of ether.
13 grams of zinc bromide are dissolved in 29.6 ml of alcohol. Four or five drops of nitric acid are added. This is added to half the collodion made above.
21.4 grams of silver nitrate are dissolved in 7.4 ml of water. 29.6 ml of alcohol are added. This is then poured into the other half of the collodion; the brominized collodion dropped in, slowly, while stirring.
The result is an emulsion of silver bromide. It is left to ripen for 10 to 20 hours, until it attains a creamy consistency. It may then be used or washed, as outlined below.
To wash, the emulsion is poured into a dish and the solvents are evaporated until the collodion becomes gelatinous. It is then washed with water, followed by a washing in alcohol. After washing, it is redissolved in a mixture of ether and alcohol and is then ready for use.
Emulsions created in this manner could be used wet, but they were often coated on the plate and preserved in similar ways to the dry process.
Collodion emulsion plates were developed in an alkaline developer, not unlike those in common use today. An example formula follows.
Part A: Pyrogallic acid 96 g Alcohol 1 oz.
Part B: Potassium bromide 12 g Distilled Water 30 ml
Part C: Ammonium carbonate 80 g Water 30 ml
When needed for use, mix 0.37 ml of A, 2.72 ml of B and 10.9 ml of C. Flow this over the plate until developed. If a dry plate is used, first wash the preservative off in running water.[citation needed]
The city
Milan, the capital of Lombardy, has a population of 1.3 million people. It is the biggest industrial city of Italy with many different industrial sectors. It is a magnetic point for designers, artists, photographers and models. Milan has an ancient city centre with high and interesting buildings and palazzos, which is why so many people from all over the world want to see the city of glamour.
Summer in germany is back again! STRIKE!
Happy bokeh friday and a nice weekend!
*sooc inside!
Nikon D700 + Nikon 50mm 1.4
50+ Degrees Actual Temperature Difference Inside Vs Outside At Long Island Home - IMRAN™
This is the more than 51 DEGREES temperature difference between the bedroom and the upper deck — right outside the sliding doors. It will drop to 19F tonight - even colder with wind chill.
The humidity outside is 32% because we had snow on Monday. The air is dry inside with humidity of just 19% - and that is with two humidifiers running full-time.
I can’t sleep well if it’s too warm inside. So, as the outside drops to 19F my bedroom temperature will have automatically slid to about 69F. Even then the temperature gradient will be 50 degrees. And it’s not even the middle of winter yet!
What is your preferred temperature for sleeping in winter and in summer?
© 2025 IMRAN™
"It is better to have a meaningful life and make a difference than to merely have a long life."
Bryant H. McGill
It's true that you get what you pay for.
I came across this shot and wanted to post it as a comparison to the previous picture:
www.flickr.com/photos/nyalr/52836356057/in/dateposted-pub...
As I said before we did have a few minutes wait for the tender to the ship to arrive but we were provided with some nice cold face and neck towels and some very refreshing flavored waters (Orange and Lime) and I'm not talking some powdered drink mix!
When you take a cruise holiday your every need is catered to and you've got nothing to worry about.
Sometimes it's easy to forget that there are a LOT of people both in the front and back of the house that make things happen for your dream vacation. Folks that aren't on holiday, they're working at their jobs to provide for their families back home.
If you should ever go on a cruise I hope that you won't forget these folks and will let them know that you appreciate the hard work they put in to make things easy for you. They bust their butts so that you don't have to.
Genesis Transport Service 818334 & 818336
Model: KIA Granbird Greenfield (SD-I)
Chassis: KIA KN2GBJ721YK
Engine: Hyundai D6AC-Q
Dhaka, Bangladesh, 2011.
People has a lot of differences.
Some of them prefer to live on the ground.
Some of them grasp the ladder.
Kamlapur Railway station, Dhaka, Bangladesh.
“No one ever made a difference by being like everyone else”.
Some images just have an emotional impact… more than others?
This one, the moment I saw it in the perfect light, when I photographed it, when I first laid eyes on it, aaah the thrill!
I can’t begin to tell you how it feels.
I always keep these a little longer before I publish them, keep them close for awhile.
Now I am ready to share it.
Hope you like it, thank you and have a happy day, Magda, (*_*)
Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved
For more: www.indigo2photography.com
pink, flowers, Peony, bud, blooming, perfect, tender, two, pair, conceptual art, floral dance, design, studio, black-background, colour, NikonD7000, Magda-indigo
113 in 2013 - #16 Spot the difference
Happy Sliders Sunday - I have done so little sliding lately.
100 pictures -10. Humour (2013)
Left - Nikon D3 + Nikon AF-S 600mm F4 VR + 1.7 TC
Right - Nikon D2x + Nikon AF-S 70-200mm F2.8 VR
Nikon D3 + Nikon AF-S 600mm F4 VR + Nikon 1.7 TC weight is around 8-10kg.
Taken with an Apple iPhone 3G so excuse the quality
Explore #62 - 6th June 2009
The UP "Powered By Our People" special paint locomotive gets underway to proceed south from the crew change in Dupo as we get moving our way through the 3rd month of 2021. I can't help thinking back to days past, especially since I've been coming over to Dupo since as long as I can remember, and how things of changed.
What was once the largest flat classification yard in the US and a major hub for the Missouri Pacific is now mainly an intermodal transfer location, as evidenced by nothing by stack cars present in the scene, and a footnote in the sprawling UP system. The remaining evidence of the old school MoPac signals that used to be located here now serve as place to chuck cases of bottled water for the outgoing crews. The tower, which I recall was new just moments before the ink dried on the UP/MP/WP merger, and is just to the left of this image...I'm not even really sure why it's in operation.
Thanks to the info sharing of EA and others which allowed me to get out and catch this locomotive for the first time!
-UP SD70ACe #1111 (Powered By Our People), UP AC45CCTE #7727 leading power
-UP Train ZG4MQ
-UP (ex-MoPac) Chester Sub, MP D5.81
-Carondolet Ave Crossing, Dupo, IL
-March 6, 2021
TT2_8577_edited-1
written on the bag is "together we will make the difference"....sure we will! Guess he (she) also gave up biking.
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HIT THE 'L' KEY FOR A BETTER VIEW! Thanks for the favs and comments. Much Appreciated.
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
(60.00N, 30.00E)MCMLXXI
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What does not matter ?
1.What to photograph - Camera.
2.Where to photograph - Place.
3.When to photograph -Time.
.
What is important ?
1.Study and tune the camera.
2.Learn where you are going.
3.Study the lighting at different times.
.
What's the secret?♀️
1.Feel the instrument, hear what it says.
2.Feel the atmosphere of the place, catch the wave.
3.Switch on .Catch the moment!⚡️
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Make a choice!
✨Finding the observer, comes awareness!✨
Rekha Basu Seattle Times
When is an apology a heartfelt effort to make things right, and when is it motivated by self-interest, a formality necessary to complete a deal? And how much difference should that make to the wronged party?
These questions are being appropriately raised since Japanese Prime Minister Shinzo Abe on Monday apologized to the government of South Korea for the Japanese military’s use of South Korean “comfort women” during Japan’s occupation from 1932 to 1945. As further restitution, Japan will pay $8.3 million to a foundation to be established by South Korea for services to surviving victims. There are reported to be between 46 and 53 in that country.
“Comfort women” is a feel-good term used for the as many as 200,000 Asian and Dutch women and girls who befell various terrors during World War II. Some as young as 12 were captured or lured with false promises of factory work or other employment in their homelands of China, Indonesia (then a Dutch colony), the Philippines and North and South Korea. They were sent to brothels to provide sexual services to Japanese soldiers and held for months or even years.
The practice only became public in 1991, when a Korean survivor disclosed her experience. At first the Japanese government denied it. Then, in 1993, it apologized and paid some donated money to South Korea. It said an investigation had confirmed Japan’s military had recruited Asian and European women to work in army brothels during World War II and kept them captive. It said private recruiters had often been used, but in some cases “administrative personnel directly took part in the recruitment.”
But that apology didn’t satisfy survivors, who have staged weekly protests for 22 years in front of the Japanese embassy in South Korea’s capital, Seoul. Later, Abe was pressured by Japan’s conservatives, who suggested there was no forcible recruitment, to review the evidence and rescind the apology. During a visit to the United States in April, Abe disappointed survivors by not mentioning the topic in a speech to Congress. He was confronted by protesters. South Korean President Park Geun-hye urged Japan to address the matter and refused to meet with Abe on regional issues.
Some Japanese nationals continue to deny “comfort women” were forced or coerced, saying they were prostitutes. It took pressure from the United States to bring about this week’s announcement. President Obama urged Japan and South Korea — its closest allies in the region — to resolve the dispute so the countries can put up a united front against China and North Korea.
In Seoul on Monday, Japanese Foreign Minister Fumio Kishida said Abe “expresses anew sincere apologies and remorse from the bottom of his heart to all those who suffered immeasurable pain and incurable physical and psychological wounds as ‘comfort women.’” Abe later called Park to apologize, and she called for a new era of trust between the countries.
But some critics still don’t consider the apology enough. Mira Yusef, who founded and runs Monsoon: United Asian Women of Iowa, a sexual assault and domestic violence prevention organization, said, “The ones on top (government leaders) are making those decisions. Survivors didn’t even have a say in it.”
Yusef says it’s not even clear South Korea’s survivors will get the money. Most did not marry; they were too stigmatized, she says. Many suffered from post-traumatic stress disorder and many could never have sex or bear children because of physical abuses. Some committed suicide.
In a project called Comfort Women Wanted, Korean-born artist Chang-Jin Lee interviewed survivors and witnesses on camera.
In the interviews, a former Japanese soldier said women were required to have sex with 50 to 100 soldiers a day. A Korean woman spoke of being kidnapped at 15 and taken to a brothel. A Dutch woman in Indonesia recalled being lined up with other girls 18 and older, loaded onto trucks as their watching mothers screamed, and taken to a brothel. A Filipina woman said she was kidnapped by Japanese soldiers at a market with her grandmother at 14, and both were forced into sexual slavery. An 81-year-old Indonesian woman described how it went: “The soldiers came in one by one. This was not work, this was an assault. It hurt me inside. Some of the men beat me. It hurt my heart. I hated being treated like that.”
There are 70 former “comfort women” in the Philippines, but to date, they’ve received no compensation or apology, according to Yusef, who is from that country. Neither have survivors in other countries.
Monday’s agreement calls for South Korea and Japan to no longer criticize each other over the issue. It has South Korea agreeing to remove a statue in front of the Japanese embassy in tribute to the “comfort women.” Abe told reporters the agreement was made to stop future generations from having to keep apologizing.
Yusef believes in forgiveness, but not this way. She wants Japan’s treatment of “comfort women” to be remembered and taught as a stain on Japan’s history — not whitewashed or buried.
Nothing can make up for the women’s lost years, or the humiliation, brutality and fear they suffered. But since perpetrators will never be brought to justice, Japan could show its sincerity by erecting its own monuments to those wronged, by refuting the deniers, and by repeating George Santayana’s famous line: Those who cannot learn from the past are condemned to repeat it.
As I watch my owl couple at the water dish each night, I see one is quite larger than the other. What’s going on here? In most bird species the male is larger than the female, but when it comes to raptors (hawks, owls, eagles, etc.) the OPPOSITE is true. The female is the larger bird and the male the smaller. Of course, you could tell size difference only if the two birds are side by side. Turns out that there is, indeed, quite a distinctive difference between male and female. According to my birdy books:
WESTERN SCREECH OWL SIZE:
Height: Males 19-23cm (7.5-9.1 in),
Females 21-25cm (8.3-9.8 in)
Weight: Males 131g (4.6 oz),
Females 157g (5.5 oz)
Well, I was worried when I saw the first IRL pics of the new Adele 1.0 that she didn't look like her promo shots... But I needn't have worried! In fact I like the slight questioning, almost fierce look that my doll has 😍 She's AWESOME!!! 💗💗💗
Led Zeppelin notwithstanding, this stairway has quite a story to tell. The photo is taken at Fort Anne, Canada’s oldest national historic site. It is located in Annapolis Royal where I spend my summers.
This fort, built in 1629, was a typical star-shaped military fort but with one major difference. The ramparts were not made of wood or stone but instead are earthern berms. This design had been used in a few places in Europe, and it worked remarkably well at this site in Nova Scotia where attack generally came from the sea. The earthern ramparts were built up to enclose underground bunkers and were never breached during a series of wars among Scots, English, French, Spanish and Indian combatants. Soldiers scaled the ramparts using wooden ladders and stairways like this one.
The challenge today is mowing those sodded berms. It’s quite a sight to see the power lawn mowers being lowered and raised over the steep grassy slopes on ropes and pulleys. One assumes that in the early days, the inhabitants were quite happy with mud walls. I personally love the way the nasty business of war has been recycled into this lush green landscape where we walk our dogs, read books and contemplate the sun setting over the bay.