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Pink Foot vs Greylag. Thought there was a vagrant Pink Foot in with the Greylags at College Lake and eventually he came close enough to be sure. 1st time I've seen one this far inland.
WIP
(this is actually my 4th or 5th unposted mech over here... backlog as usual :P)
SCOUT Mk. II
won't really write much about it since it's not done. :P
Still Life
www.flickriver.com/photos/carlosporto/popular-interesting/
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A big difference...I was 'chorus' in school and never learned to play an instrument...something i regret to this day... I had both kids in band as soon as they could; one played the violin and the other played the flute.
My 365 shot for today was MUSIC, so i took out instruments and played in the light coming in my window. The one I posted was B & W but I was fascinated by the warm browns.
“Reason respects the differences, and imagination the similitudes of things”
- Percy Bysshe Shelley
“Differences were meant by God not to divide but to enrich.”
- J.H. Oldham
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Thanks a lot for visits and comments, everyone...!
Please don't use this image on websites, blogs or other media without
my explicit permission. © All rights reserved
Happy Valentines to all my flickr freinds & everybody else here in Flickrland.
Which one resembles you ? Add notes if you wish ......
en.wikipedia.org/wiki/Yellow-legged_Gull
The Yellow-legged Gull (Larus michahellis), sometimes referred to as Western Yellow-legged Gull (to distinguish it from eastern populations of yellow-legged large white-headed gulls), is a large gull of Europe, the Middle East and North Africa, which has only recently achieved wide recognition as a distinct species. It was formerly treated as a subspecies of either the Caspian Gull L. cachinnans, or more broadly as a subspecies of the Herring Gull L. argentatus. It is named after the German zoologist Karl Michahelles
Classification
It is now generally accepted that the Yellow-legged Gull is a full species, but until recently there was much disagreement. For example, British Birds magazine split Yellow-legged Gull from Herring Gull in 1993 but included the Caspian Gull in the former,[2] but the BOU in Great Britain retained the Yellow-legged Gull as a subspecies of the Herring Gull until 2007.[3] DNA research however suggests that Yellow-legged Gull is actually closest to Great Black-backed Gull L. marinus and Armenian Gull L. armenicus, while Caspian Gull is closer to Herring Gull and Lesser Black-backed Gull L. fuscus, rather than being each other's closest relatives.[4][5]
There are two subspecies of the Yellow-legged Gull:[5]
Larus michahellis michahellis Naumann, 1840. Mediterranean.
Larus michahellis atlantis (Dwight, 1922), syn. Larus fuscus atlantis Dwight, 1922. Macaronesia (Canary Islands, Madeira, Azores).
Birds breeding on the Atlantic coasts of Morocco, Portugal and Galicia (and spreading north from there) are usually also included here, but are sometimes considered to be a third subspecies L. m. lusitanius. Atlantic Ocean birds have darker wings and back by comparison with Mediterranean birds, creating a more pronounced contrast to the white parts.
Distribution
The breeding range is centred around the Mediterranean Sea. In North Africa it is common in Morocco, Algeria and Tunisia and increasing in places. Recent breeding has occurred in Libya and Egypt. In the Middle East a few breed in Israel and Syria with larger numbers in Cyprus and Turkey. In Europe there are colonies all along the Mediterranean coast, and also on the Atlantic islands and coasts north to Brittany and west to the Azores. It also breeds on the west side of the Black Sea; here it overlaps with the Caspian Gull but there is a difference in habitat, with the Yellow-legged Gull preferring sea cliffs and Caspian Gull on flatter shores. In recent decades birds have spread north into central and western Europe. One to four pairs have attempted to breed in southern England since 1995 (sometimes hybrid pairs with Lesser Black-backed Gulls), though colonisation has been very slow.[6]
Many birds remain in the same area all year round but others migrate to spend the winter in mild areas of western Europe or head south as far as Senegal, the Gambia and the Red Sea. There is also extensive northward post-breeding dispersal in the late summer, with numbers in southern England high from July to October.[7] It is reported as a vagrant to northeastern North America[8] and Nigeria.
Description
Adults are similar to Herring Gulls but have yellow legs. They have a grey back, slightly darker than Herring Gulls but lighter than Lesser Black-backed Gulls. They are much whiter-headed in autumn, and have more extensively black wing tips with few white spots, just as Lesser Black-backed. They have a red spot on the bill as adults, like the entire complex. There is a red ring around the eye like in the Lesser Black-backed Gull but unlike in the Herring Gull which has a dark yellow ring.
First-year birds have a paler head, rump and underparts than those of the Herring Gull, more closely resembling first-year Great Black-backed Gulls in plumage. They have a dark bill and eyes, pinkish grey legs, dark flight feathers and a well-defined black band on the tail. They become lighter in the underparts and lose the upperpart pattern subsequently. By their second winter, birds are essentially feathered like adults, save for the patterned feathers remaining on the wing coverts. However, their bill tips are black, their eyes still dark, and the legs are a light yellow flesh colour.
The call is a loud laugh which is deeper and more nasal than the call of the Herring Gull.
Diet
They are omnivores like most Larus gulls, and they will scavenge on rubbish tips and elsewhere, as well as seeking suitable prey in fields or on the coast, or robbing smaller gulls and other seabirds of their catches.
Reproduction
Yellow-legged Gulls usually breed in colonies. Eggs, usually three, are laid from mid March to early May and are defended vigorously by this large gull. The nest is a sometimes sparse mound of vegetation built on the ground or on cliff ledges. In some places such as Gibraltar they have started nesting on buildings. The eggs are incubated for 27–31 days and the young birds fledge after 35–40 days.
The bird in front is a Brown Pelican, the one I see most often, and until you see them together, only then do you realize how large the White Pelican is. That's a Cormorant behind the White. Sanibel Island, Florida, 2014.
Canon 50d; 400mm f5.6
Sometimes day and night just seem to run together, especially with a busy schedule.
I've used the wonderful stock from these talented stock providers: jlstock.deviantart.com/ (part of the sky), www.sxc.hu/photo/819677 (grass), sadly I don't remember where I got the tree brush from but thank you in advance.
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 ?
LE DIFFERENZE..................è buffo, due alberi uguali, nella stessa posizione, piantati nella stessa terra,........................uno ha quasi tutte le foglie gialle e l'altro........le ha quasi tutte verdi !!!
------------------------------- Un felice sabato a tutti voi, amici di flickr !!! ciao ciao :-D
:::::::::::::::::::::::::::::::A happy Saturday to you all, friends of flickr!!! hello hello :-D
The difference 7 days can make! Exactly one week ago, the perimeter fences, and mounds, lay-bys and just about everywhere were swarmed with people out to witness the fantastic Boeing 747 departing resplendent in period BOAC livery. Great excitement filled the air as the 747 departed for London Heathrow, the first of four aircraft to be repainted in "Retro" style liveries to celebrate the centenary of the mighty British Airways.
Fast forward one week, and Hainan Airlines inaugural service from Dublin to Shenzhen departs for its 11.5 hour flight to southern China. This new service by Hainan Airlines will operate direct in each direction twice weekly, and will be in direct competition with Cathay Pacific's already established four times weekly Dublin - Hong Kong service.
The mounds, and perimeter fences and lay-bys were all eerily silent today as this next phase in the gigantic expansion in air services eastbound from Ireland occurred, with very few out to record and witness it.
Hainan Airlines are continuing to operate with its Beijing - Dublin service which is shared with Edinburgh, and wil revert to four per week frequency for Summer 2019, today however, gave us the rare opportunity to frame two Hainan Airlines aircraft together on the ground at Dublin as yesterday's flight to Beijing via Edinburgh went unserviceable, requiring an overnight in Dublin to rectify the technical hitch.
"photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever . . . "
Aaron Siskind
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.
...or, the battle of the lenses.
The second shot taken with the 50mm 1.8 and +4 closeup lens.
Made Explore 17 March 2009. #7 for a while - my highest entry to date.
My one and only (so far) shot with 500 views
Summer in germany is back again! STRIKE!
Happy bokeh friday and a nice weekend!
*sooc inside!
Nikon D700 + Nikon 50mm 1.4
July 17, 2017 - Kearney Nebraska US
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It was approaching 12 hours chasing locally that day. Now over 800 captures from that afternoon. I have to admit I was tired...
It didn't make a difference... if it was photographic I was bound to stay out long enough to get a few good shots of the newly developing storms to our southwest. They were firing off a ton of cloud to cloud lighting.
I was only a few blocks from home, so I deiced to stick around to end this storm chasing day in a great way.
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Dale Kaminski @ NebraskaSC Photography
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#ForeverChasing
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Coyningham Road's Hybrid demonstrator VH2 is seen laying over at the 25A Merrion Square terminus, with Phibsbrough's SG303 seen behind. The two buses are identical in appearance, except that the VH is longer than the SG.
When it comes to weather I subscribe to the maxim "there is no such thing as bad weather, just bad clothing". It is totally true, at least in my experience. The difference a good jacket or pair of boots or even a second pair of socks can make can be night & day in its contrast. I think when we say, "the weather was awful" was really mean is that our choice of clothing was awful, or our preparation was awful. I was reminded of this today out in the Gorge in incredibly chilly weather. Some of the attire of my fellow Gorge-goers had me scratching my head a bit. Tennis shoes in knee-deep snowdrifts are not going to be comfortable for long. So here are some of my tips.
1) Most important rule: layers. Wear layers. You are going to be cold, then you will be hiking and you will be hot. Then you will stop and be cold again. Having layers does a couple of things. First, it allows you to adjust as your body temperature changes, or as the conditions change. Second, the air gap between layers is itself a form of insulation and will keep you warmer.
2) Focus on your torso and your head. You lose most of your heat from these parts of your body. A warm jacket will do you more good than warm pants. Of course, both are great, but your torso and head are your priority. Get good outdoor clothes for these parts of your body first. Next are your hands. Numb hands are really uncomfortable and good gloves are an excellent investment. Next is your feet. Then your legs. I often hike in cold weather with just a single layer on my legs. Yeah, they get cold but with all the other parts of my body taken care of, cold legs don't bother me much. One sorta exception are the feet. Cold feet also suck, almost as much as cold hands. Don't underestimate how quickly your feet will get cold either, even with good boots. The cold from the ground will leech right through them, numbing your feet even if they are nice and dry. A good pair of thick socks, or even just a second pair of socks makes a sneaky amazing difference.
3) Waterproof stuff is pure magic. Less applicable to freezing cold and more so with rainy days, but always useful. At the minimum have a waterproof shell for your torso and waterproof boots. Waterproof hiking pants are nice too, but not as necessary. Still, it is fun to be able to sit down on a wet log or wet ground without worrying about a wet butt.
4) Accessorize. There are some really handy extras to think about that can go a long way toward making the weather a moot point in regard to your comfort. A face wrap for example. The nose is very exposed so something that covers it helps a ton. A hat with a brim. Simple but highly effective. Keeps the sun and the rain out of your eyes. Boot traction! I love boot traction. Think YakTrax, but really there are a ton of options out there. I used mine today. Made walking on slippery snow so much less tedious and much more secure. Then there are gaiters. A surprising number of people I talk too have never heard of these. I got my first pair with my first pair of snowshoes, but I use my gaiters far more often than my snowshoes. Essentially they are a piece of fabric, generally waterproof, that wraps around the calf and the top of your boots. They keep snow from getting into your boots, which really really can suck and leads to wet feet in no time, no matter how waterproof your boots. Gaiters are ... well, maybe not life-savers but certainly day-savers. Anytime I am heading out in the snow I have my gaiters and my traction. A coat with two layers, including a waterproof outer shell. Waterproof boots. Wool hiking socks. A thick cap. A scarf just because I like to keep my neck wrapped up when I have my hood down so snow doesn't fall down the back of my collar. And fold-back mittens. I find my fingers stay warmer in mittens than gloves, and the fold-back action allows me to use my fingers for things like threading cable releases into cameras or loading film. And that is pretty much how I roll.
There are of course many other things to carry that relate more to safety. I kept this list mostly just on the comfort side of things. It was just on my mind as I watched folks slide up and down trails today in questionable attire. They were enjoying themselves, so to each their own, but they also weren't staying out terribly long either and a couple of changes to jacket or footwear choice may have helped with that.
Anyhoo, just cold day thoughts. I love the cold weather but I don't think there is anything superhuman about my ability to be out in it, I just prepare for it pretty well.
Hasselblad SWC
A very long exposure on a very cold night.
"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.