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Here's a "Difference of Decades" that's not. The previous shot in my photostream is from February 2006; this one's from Oct. 8, 2005. The location is nearly identical, though I shot this one with a big tele and the last one wide angle. Note the blue water of Lake Superior in the background. If it looks like a hill, it is: this bowling ball is rolling up a 2.2 percent. The big change, of course, is the removal of Main 2. This is yet another product of getting my "voluntary days" granted.
Other than Main 2, I'd imagine this shot would look pretty much the same today. Cept the locomotive consist might be slightly different.
You guys liking this stuff? Shall I continue? I know it's cheap substitute for Steve and his Fs, but you guys' pain is my pleasure.
"Kolumba" - the new archiepiscopal museum in Cologne
Das neue erzbischöfliche Museum (Architekt: Peter Zumthor)
Windows of the gothic church - distroyed in world war 2 - half-walled up against unwanted visitors - totally walled up now - overhead the small windows between the bricks in the new wall.
This picture shows the difference of coat colors for this breed. Spotting is ideal, but NAID's come in many colors, including rare black. NAID's also have two different coat lengths. The shorter coat is ideal for hot weather. Short coated dogs also do very well in cold weather as they will grow a thick undercoat in the colder climates. The longer coated dogs shed less than the shorter coated dogs, and keep their long coat through out the year which can cause problems in hotter climates.We offer both coat lengths. For more info about this breed see www.nighteyesfarms.net
Version 3 on the left, Version 2 on the right. In Ver 3, the paint most obviously is of a different quality. The aperture scale is white numbers on black anodise, as opposed to black numbers on shiny aluminum in Ver 2. The bearing plates look to be the same, but the one in Ver 3 is mangled, which was probably the source of the shutter speed selector binding I experienced when installing it on the camera.
One thing that can't be seen here, is that the depth of the bayonets differs, with Ver 2 being taller when stacked next to the Ver 3 ones. Also, the slot that the aperture control arm resides in is wider on Ver 2.
The Magnificient Frigate Bird (Fregata magnificens) and Great Frigate bird (Fregata minor) are similar.
Differences are described at:
eebweb.arizona.edu/courses/galapagos/expert%20topics%2020...(bonine)/Tollefson_Frigatebirds.pdf
Great frigatebirds are
difficult to distinguish from magnificent frigate birds. A table of differences follows:
Great frigatebird Males - Brown band across wings
Magnificent frigatebird Males -No brown bands
Great frigatebird Females - White feathers on chin, throat, and breast
Magnificent frigatebird Females
White on throat and breast only
Great frigatebird -Red eye ring
Magnificent frigatebird- Blue eye ring
Juveniles
(1 yr)
Great frigatebird -White head with some rusty color on it
Magnificent frigatebird -White head
video: www.youtube.com/watch?v=DHcdbIHAQZU
The Magnificent Frigatebird (Fregata magnificens) was sometimes previously known as Man O'War, reflecting its rakish lines, speed, and aerial piracy of other birds.
It is widespread in the tropical Atlantic, breeding colonially in trees in Florida, the Caribbean and Cape Verde Islands. It also breeds along the Pacific coast of the Americas from Mexico to Ecuador including the Galapagos Islands.
It has occurred as a vagrant as far from its normal range as the Isle of Man, Denmark, Spain, England, and British Columbia.
The Magnificent Frigatebird is 100 cm (39 inches) long with a 215 cm (85 inch) wingspan. Males are all black with a scarlet throat pouch which is inflated like a balloon in the breeding season. Although the feathers are black, the scapular feathers produce a purple iridescence when they reflect sunlight. Females are black, but have a white breast and lower neck sides, a brown band on the wings and a blue eye ring. Immature birds have a white head and underparts.
This species is very similar to the other frigatebirds and is similarly sized to all but the Lesser Frigatebird. However, it lacks a white axillary spur, and juveniles show a distinctive diamond-shaped belly patch.
The Magnificent Frigatebird is silent in flight, but makes various rattling sounds at its nest.
This species feeds mainly on fish, and also attacks other seabirds to force them to disgorge their meals. Frigatebirds never land on water, and always take their food items in flight.
It spends days and nights on the wing, with an average ground speed of 10 km/hour, covering 223±208 km before landing. They alternately climb in thermals, to altitudes occasionally as high as 2500 m, and descend to near the sea surface (Chastel et al. 2003). The only other bird known to spend days and nights on the wing is the Common Swift.
A scientific study that examined genetic and morphological variation in Magnificent Frigatebirds found both expected, and also highly unexpected results: firstly—as predicted by the flight capacity of the species—the authors found signatures of high gene flow across most of the distribution range. This included evidence of recent gene flow among Pacific and Atlantic localities, likely across the Isthmus of Panama. This geological formation is a strong barrier to movement in most tropical seabirds. However, the same study also found that the Magnificent Frigatebird on the Galapagos Islands is genetically and morphologically distinct. Based on this study, the Galapagos population has not been exchanging any genes with their mainland counterparts for several hundred thousand years.[1]
Given these findings, the Galapagos population of this tropical seabird may be its own genetically distinct species warranting a new conservation status. This small population of genetically unique Magnificent Frigatebirds is a vulnerable population. Any catastrophic event or threats by humans could wipe out the approximate 2,000 Magnificent Frigatebirds that nest on the Galapagos Islands. Magnificent Frigatebirds are currently classified as Least Concern (LC)' by the International Union for Conservation of Nature, but the Proceedings of the Royal Society paper recommends that, because of the genetic uniqueness of those on the Galápagos, this status be revisited.
I thought I’d wait for a returning D-Train after the passing of 6H10 Cemex. While there, an artic clattered and brought down a barrier on the north side. The approaching D-Train was held at the signal while Police and Network Rail quickly got traffic moving and set to work repairing the fallen barrier. No-one was injured.
Stewartby 26 Jan 2022.
Sun emerging.
Trying to see the difference between Fuji's jpeg and my processing of a raw file. This is the raw processed how I normally do. Linked below is the jpeg. The settings I used might be a bit heavy on the shadow in the jpeg. But overall, pretty close. Will have to try and dial it in a bit more.
View of plateau from below.
Prineville, population 10,370 (2011), is a city in and the county seat of Crook County, Oregon, United States. It was named for the first merchant located in the present location, Barney Prine.
Prineville was founded in 1877 when Monroe Hodges filed the original plat for the city. The post office for the community had been established with the name of Prine on April 13, 1871, but changed to Prineville on December 23, 1872. The city was incorporated by the Oregon Legislative Assembly on October 23, 1880, and obtained its first high school in 1902.
Long the major town in central Oregon, Prineville was snubbed in 1911 when the railroad tycoons James J. Hill and Edward H. Harriman bypassed the city as they laid track south from The Dalles. In a period when the presence of a railroad meant the difference between prosperity and the eventual fate as a ghost town, in a 1917 election, Prineville residents voted 355 to 1 to build their own railway, and raised the money to connect their town to the main line 19 miles (31 km) away.
Saw this one down a lane and had to pull up. Now its your turn to add Notes to spot the difference. I'll start...
Its only when you pull up to another Landy do you appreciate what good nick yours is in :)
Nuance. Holding this journal, the difference is tangible. Not a perfect book, but perfect for someone. The Zerkall Frankfurt paper is truly lovely.
9.75" x 7" 96 sheets (192 pages, both sides)
Materials
>About the leather: Kodiak Oil-Tanned Leather, dark brown.
Here is a leather as rugged as its name implies. This oil-tanned leather has pronounced grain that gives character to the soft hide that is durable and moisture resistant. 4 oz.
The leather detail on front cover flap is a bit of green nubuck cowhide (an old favorite).
>About the paper: Frankfurt, Ivory, by Zerkall
Characterized by irregular 'wavy' laid lines and the sexy Zerkall watermark, Frankfurt is a delight to handle. Writing on this artisan paper versus commercial paper is a world of difference. But don't take my word for it!
Zerkall Renker & Sohne paper mill, run by the Renker family in its fourth generation, dates from 16th century in the valley of the river Kall between Cologne and Aachen in Germany. Although the mill now only manufactures mouldmade papers, their sheets mirror papers of the past while incorporating modern technology to insure stability and permanence. Zerkall mixes exacting amounts of cotton rag and high alpha cellulose to obtain sheets that are strong, yet able to absorb ink without bleeding. All their papers are acid free, neutral sized, alkaline buffered with calcium carbonate and contain no optical brighteners.
>About the endpaper: Egyptian Papyrus
Papyrus was, and continues today to be handmade from the papyrus reed that grows in freshwater marshes along the river Nile, though today this growth is rare and controlled. Egyptians considered it the "everlasting" paper because it has been found in perfect condition in tombs dating back to 2700 B.C.
Nuance Journals are handbound with 4-ply waxed Irish linen thread in New Orleans by Emily Renee.
This is a subject that I am actually quite interested in because I often see women in various incarnations of the photo above. I wish I had the cojones to have friendly dialogue with someone who wears the full face mask (that is usually not very discreet), long sun visor (that some versions can look like a welding mask) and/or the long shirt and gloves (which I suspect is not just about avoiding skin cancer) to better understand the cultural differences.
I guess the fascinating thing to me that I try to understand is the "mindset". Honestly, if that were me, I would be uncomfortable going out in public. However, quite contrary, I have never sensed any uneasiness from people who look similar to this photo in the United States, where although it is becoming more common to see this, it is definitely not mainstream. Whereas in Asia, I presume this is accepted because of serious medical issues like SARS and other cultural differences.
I guess the rhetorical rebuttal to me would be "why don't you dress or look this way." I just really would like to understand better. Feel free to email. Any insight would be appreciated.
Edmonton, a city of the region of Alberta, Canada, it was invaded into streets of the center with a great festival. The Edmonton Pride 2014. Immense groups of people from far are came with the jeep wagons autobotte firefighters authorities, people of all ideas from different places. Clothes and facial painting of all kinds, colors, balloons, water guns, cowboys, all dancing in these streets.
It is a festival for all! There is no difference here!
Edmonton is a young city!
Edmonton, una città della regione di Alberta, in Canada, è stata invasa in vie del centro con una grande festa. Gli Edmonton Pride 2014. Enormi gruppi di persone provenienti da lontano sono venuti con autorità pompieri carri jeep autobotte, persone di tutte le idee da luoghi diversi. Vestiti e pitture facciali di tutti i tipi, colori, palloncini, pistole ad acqua, cowboy, tutti a ballare in queste strade.
E 'una festa per tutti! Non vi è alcuna differenza qui!
Edmonton è una città giovane!
The one in the right didn't allow FTPS members to get inside. nyahahah!
I hate this place 'coz there were a lot of super film cameras that a poor boy like me couldn't afford... SIGH.
The two dont seem to agree but they dont have anywhere to go than each other.
Caught them in a pensive mood on Sunday.
New Delhi
These are really amazing. I would love to see the machine that loads dirt into this baby. I would also love to hear this fired up!
just inherited a minolta srT202 from a sweetheart of a girl, look for lots of film photos to come from that guy as i save up gradually for the d300s.
andrew
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
I told Clarkson that the photo will look a bit weird if they are both standing shoulder to shoulder so I encouraged him to stand back a bit.
This shows the UV reflectance of the tip of the column in the orchid Phalaenopsis aphrodite (blue line) compared with that of the front face of one of the two white petals (orange line).
The difference of these spectra (red line), normalised at 450nm, represents the reflectance of the UV-reflective region covering the entrance to the pollinia. The sensitivity of the blue photoreceptor in the bee extends from about 300 – 400nm which encompasses the bulk of the reflectance curve. This means that the insect will see this marker as an almost pure UV signal.
A documentary film by Tod Lending
PBS Airdate: Season 29 of POV (September 12, 2016)
Caption: Robert Henderson’s grandmother Ona Caldwell and Robert Henderson at Lake Forest graduation
Credit: Tod Lending
Photos are for press and private use only. All rights reserved. All uses of the photos must be credited as indicated in the captions. For additional information on rights or for any clearance issues, please contact communications(at)pov.org.