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My entry for Light Painting Competitions and Themes- December 2011 - Household Objects
Quite a frustrating shoot, first the switch on my digital light wand falls to bits and then my el wire breaks. Grrrrr. It could also really do with a slight exposure, contrast and white balance tweak, but the competition has a SOOC rule (although not everyone seems to obey it!)
Title and idea inspired by a comment made by Sprogz
Rare, complete unit manufactured by Grumman for the Apollo LM, the thin shield at the top of the spacecraft. Detail photos below.
The 'dump valve' in the upper hatch was designed to depressurize the LM cabin once the astronauts have donned their Portable Life Support System (PLSS) backpacks and spacesuits prior to opening the lower egress hatch for a moonwalk. The valve could also be used to equalize pressure in the docking tunnel. The hatch would swing inwards into the LM crew quarters, allowing the astronauts to pass through the docking tunnel between the LM and CM.
Early unit, circa 1967-1968, measuring 31.5″ x 43.5″ x 8″, with numerous part numbers stenciled in red, beginning with the "LDW280" prefix denoting Lunar Module. The front is marked "LDW280M10515-1" and "LDW280M10515-3," with the hatch handle labeled "Unlock" and "Lock," and the valve handle labeled "Dump Valve Access." The reverse, which would face the interior of the spacecraft, has a black-and-yellow handle labeled, "Pull to Dump." A separate instruction label reads: "Latch Operation: 1. To Lock—Push on handle and rotate CW to stop, 2. To Unlock—Push on handle and rotate CCW to stop." At the top of the hatch is a folding handle marked, "Pull to Release."
An artifact in the Future Ventures 🚀 Space Collection.
A Model 2 coilgun, heavily customized by an unknown interplanetary gang. Has a cut-down stock, a different, much more compact barrel assembly made from an ''Ultracompact'' kit. Has a customized Mk.3 bayonet found on an M2c MIR, but it can come without it as well. The gun itself is fairly rare, as the gang didn't last long before disappearing.
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I got bored and did this. Hope you like it I guess.
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Credit goes to caiobrazil (a fella from dA), for the inspiration.
Had to equalize to check for some dust spots, but i found the rendering rather pleasant, so i kept it...
One image equalized, one exposure corrected and one color-balanced; mixed as layers in The Gimp. As you can see, I like grain...
New Haven Railroad Pullman heavyweight parlor car Noank, Pullman plan 3917, is seen in a yard, ca 1940's. This car is has an ice activated air conditioning system, with three ice storage bunkers mounted to the under-body. The trucks used on this car are of the more modern design six wheel straight equalized integral cast design with the pedestals included.
The name of the photographer that captured this image on film is unknown. This is a modified, enhanced and cropped photo scan that is from a B&W image that was on the Internet.
Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Bernardo Bellotto, llamado Canaletto
Palacio de Schönbrunn, Ehrenhofseite (lado del patio de honor), 1759-1761
Bellotto representa el castillo 1693-1694 de Fischer von Erlach por el emperador José I. planeado después de la reconstrucción por Pacassi 1744-1749. En ese momento se construyó la escalera sobre el paso y los edificios anexos del patio de honor fueron conectados al edificio principal. La imagen a la vez plasma un momento histórico: el 16 de Agosto 1759, durante la Guerra de Siete Años, María Teresa recibe la noticia de la victoria del ejército de Austria contra los prusianos en Kunersdorf.
Bernardo Bellotto, appelé Canaletto
Le château de Schönbrunn, Ehrenhofseite (côté sur la cour d'honneur), 1759-1761
Bellotto représente le château 1693-1694 par Fischer von Erlach pour l'empereur Joseph I. prévu après la reconstruction par Pacassi 1744-1749. A cette époque, l'escalier a été construit sur le passage et les annexes de la cour d'honneur reliée au bâtiment principal. L'image en même temps fixe un moment historique: le 16 Août 1759, pendant la guerre de Sept ans, Marie-Thérèse reçoit les nouvelles de la victoire de l'armée autrichienne contre les Prussiens à Kunersdorf.
Bernardo Bellotto, genannt Canaletto
Schloss Schönbrunn, Ehrenhofseite, 1759/61
Bellotto stellt das 1693/94 von Fischer von Erlach für Kaiser Josef I. geplante Schloss nach dem Umbau durch Pacassi 1744-49 dar. Damals wurden die Freitreppe über der Durchfahrt errichtet und die Nebengebäude des Ehrenhofs mit dem Hauptgebäude verbunden. Das Bild hält zugleich einen historischen Augenblick fest: Am 16. August 1759, während des Siebenjähriges Krieges, erhält Maria Theresia die Nachricht vom Sieg der österreichischen Armee gegen die Preußen bei Kunersdorf.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The Equalizer / El protector
--¿Qué ve cuando me mira?--¿Qué ve usted cuando me mira a mí?..
--"What do you see when you look at me?"-- "What do you see when you look at me?"...
Copyright ©
Todos los derechos reservados, prohibido la publicación o modificación sin la autorización del autor.
Luminance HDR 2.3.1 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.73
Saturation Factor: 1.08
Detail Factor: 12.7
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PreGamma: 0.24
CLAHE stands for Contrast Limited Adaptive Histogram Equalization, implemented as plugin module for ImageJ.
Suggested by Bushman.K it was found to be not quite compatible with the solar images, but works well on the Moon :)
The lunar image of 04.07.2015, around 23:30 MSK, taken with TIS DMK23 via 2x Barlow on Meade series 6000 80 mm f/6 triplet refractor.
Panoramic image of six panels, 20% of 1000 (ok, 200) frames stacked, stitched in MS ICE, deconvolved (AstraImage Richardson-Lucy, Cauchy, 0,3-9), wavelet-sharpened (1-10-15-5-1), CLAHEd in ImageJ (127-255-2), wavelet again (1-5-10-5-1) and some contrast added in PS.
Note: the white square is the histogram trap for deconvolution to correctly normalise the processed image. I was finally able to save Aristarchus from becoming saturated.
Yes My Dear Visitor .. You might wonder about my point … Well I will explain it for you, Sit somewhere in an open area I prefer the beach usually it makes me think a lot.
Then Start thinking about the universe we live in, think about every single creature in this world animals, birds, plants, humans .. Etc.
There is no one strong in it, yes NO ONE, the Lion can be hunt by human or by another lion, A big huge elephant you know how big they are but it can be killed if a small little mice goes in its ears, Human can be killed by animals or from their own kind.
NO one stays the hero Forever and no one stays the bravest or strongest in this world forever.
Countries they were leading the world one day and now its vice versa and they are controlled by the countries the were controlling earlier.
Read the news papers watch the news .. no one stays as they are.
God Made the universe in a very nice and perfect system that no one stays with their power so that they wont reach to the level of deception and destroy every and not to let people believe in their power.
Yes this is the amazing life we live one day you are the boss and control everything and one day you will be controlled by someone else.
But over all we are all controlled by only one person in this huge universe By GOD yes Some people under estimates the power of GOD and they don’t know what GOD can do in life, he can make you rich in a second or make you poor in another.
What made me write all of the above is when I was driving that day and the sun kept really bothering me with those sharp rays Since my sunglasses wasn’t with me and after a while the sun rays it was gone at that moment I saw the clouds covering the sun it even made me See the sun as its moon or a piece of candy.
Anyway myself I don’t have much time to write more so enjoy the shot.
You can tune a piano but you can't tuna fish!
I never got around to adjusting the equalizer after connecting my new speakers. I finally took the time to tune everything and it’s beautiful, a night and day difference :)
By their very nature, Raintings are already sort of artsy, but I added some auto enhance, equalize and sharp to it. This was a row of shrubs and their shadows after dark.
ABOUT RAINTINGS
Rainting is a word I coined describing a painterly effect, achieved by photographing the subject through glass that is being rained on, like a windshield or other. It achieves an oftentimes pretty or soft flowing effect, and sometimes other-worldly. It is usually creative, fun, and fluid, seldom harsh in my opinion. I have an album of them on Flickr. Rainting is already in "The Urban Dictionary" but I would like it to also be in a more sophisticated/educational type of dictionary. I started a public Flickr group of Raintings on New Year's Day 2020.
The more collegiate type of dictionaries say that the word has to actually be used by people before they're likely to publish it. So if you like the word and my idea, say it loud and say it clear and take a few Raintings and post them to my new group. Using my word and trying my new group are not inclusive of one another.
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This particular image has what I call a Faux Rainting effect. It wasn't actually raining; just a spray bottle of water on my truck window. I'll put it in my new Raintings group, but eventually I'll try to label the ones that didn't actually use *real* rain. The majority will be real rain, as that is what I used to take my beginning "Raintings" when hadn't yet thought of a name for what I described above. And that is why I rhymed my word of Rainting with Painting. My State of Oregon USA is known for lots of rain; so I shouldn't have to resort to Faux Rainting too often (grin).
Actually it was half faux rainting and half real as it started to rain while I was out.
For Dave C. and other Flickr friends, the *soul* of this one was taking some nighttime shadow pix and also enjoying the real rain, as we need it so badly with all of Oregon's fires lately. My daughter and granddaughter, as well as hundreds of others, lost their home, vehicles, everything completely.
A spokesman for the fire department said that some light/moderate rain would be extremely welcome, but that too much/or I surmise too hard of rain can pose bad problems. It seemed light to me tonight. I hope it was.
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"DSCN7971RaintingAAShrubs&ShadowsRESAMeqlshrpInitFlickr092520"
Luminance HDR 2.3.1 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.94
Saturation Factor: 1.16
Detail Factor: 3.9
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PreGamma: 1
A little girl splashing her mother with brightly colored powder celebrates the Indian Hindu festival of Holi in Foster City, California. The look of joy on her face is worth a million dollars. The ancient tradition "Holi", also known as the "Festival of Colors" dates back to as early as the fourth century and commemorates the beginning of spring, the harvest and the triumph of good versus evil. Rooted in Indian mythology, the festival also celebrates equality. The colors that people throw at each other during the festival serve as a symbolic equalizer in the contest of India's caste system (it means that the caste doesn't matter anymore).
Seven Steps: Equalization - 3 (of 7) - Canon EOS M & Canon 18-55mm IS STM (EF-M Mount) - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
the great equalizer.
Water is in short supply in the deserts of Namibia. All kinds of animals gather in these small collections of water called waterholes. They drink together peacefully till some of the big cats show up.
Student activists from CT Students for a Dream (C4D) and supporters rally to demand justice in higher education for undocumented students with legislation that equalizes access to student-generated funds: State Capitol, Hartford, Connecticut, Thursday, April 13, 2017.
"In Connecticut, public colleges and universities set aside a proportion of tuition revenue to be used as ‘institutional aid’ to assist students with a demonstrated financial need. However, immigrant students who have grown up in CT and have graduated high school here are not eligible for this student-generated aid. All Connecticut students, including undocumented students, pay tuition and therefore contribute towards this institutional aid pool of funds. Yet Connecticut does not allow immigrant students access to institutional aid themselves. This aid is student funded, we believe all students who pay tuition should be be eligible to receive it.”
"The charged regions within the atmosphere temporarily equalize themselves through a lightning flash, commonly referred to as a strike if it hits an object on the ground."
I guess these lightnings were approximately 5 to 20 kilometres away, giving me a superb view. I was very lucky being there at dusk, safe from the thundercloud, trying to catch the golden light along with this unique and outstanding phenomena. It's a panoramic photo of two images, taken with 30-second exposure time at f22, iso 400.
It's my first attempt to capture lightnings.
"Lightning occurs approximately 40–50 times a second worldwide, resulting in nearly 1.4 billion flashes per year."
Before moving into environmental politics (and the national parks), my research and teaching focused on the political economy of international trade. So, of course I thought of Paul Samuelson's 1948 Factor Price Equalization Theorem when I saw this scene at the Hot Springs Historic District in Big Bend National Park.
The scene also illustrates a common practice studied by economic anthropologists, the silent trade. (Marcel Mauss, "The Gift," is the locus classicus.) A community may leave out gifts for a neighboring community, who will take the gifts and leave gifts of their own. If both sides are happy with the rate of exchange, the gift-giving (or trade) continues.
Here, Mexican artists leave craft goods for American tourists, who pay for the goods by putting money in the can at left. The Department of Homeland Security defines this practice as "smuggling" and may confiscate the items if you purchase them.
And, yes, I'm a lot of fun at parties.
Jupiter has its "Great Red Spot"...our sky the other night had a yellow one.
Equalized clouds are pretty darn cool!
I lightened this, gave it an equalization technique, a maximum technique and light sharpening. These trees are where I live. My neighborhood is likely the second largest Christmas Tree Capital of the World, Monroe & Alpine area of Oregon.
The larger brothers and sisters of these trees have already been heading out to other parts of the nation by huge truckloads. Seems early to me, but some people buy their tree right after Thanksgiving.
If you are tempted to criticize the size, resolution or quality of this image ~ please don't ~ I used a Sony Mavica Digital (sub-megapixel) camera, which was State of the Art in 1999 ~ Digital Cameras have since come a long way
(810babychristmastrees&snoweqlmaxresamltshpadj)
(MVC-810 most likely file number)
The *soul* for this photo is it made my soul feel good to see all these adorable baby Christmas Trees, and rather than being harmed by the winter snow, they seemed to be thriving on it.
This is my first attempt at making a stereographic projection. I was amazed how long it took to process this image with Hugin. It took several hours and I am on a very fast computer. There still are a few flaws in it, but overall it turned out pretty nicely I think. I posted adrian3.com/3/15 if you are curious to learn a little more about the panoramic shots I have been posting recently.
A music score...
colorful and varied they way music should be.
Please do use the equalizer when you listen to your music you might find "hidden" notes on your favorite song.
"Cobra has come to deploy a number of air assets, and G.I.Joe ground forces need to be able to sweep the skies of airborne threats. Enter the Equalizer. Based on the venerable Mauler tank, the Equalizer is armed with a pair of 30 mm autocannons and six SAMs built around a search and tracking radar system. Optimized for short-to-medium range air defense, the Equalizer can track multiple targets, including helicopters, low flying planes, and even missiles, and attack them in order of threat level.
Its 30mm autocannons can also be directed in the direct fire role against ground targets. They are fearsome weapons against any light or medium armored opponent, and their high elevation makes them useful in urban combat and mountain operations. The Equalizer has a crew of three - a driver, commander, and weapons operator."
The G.I.Joe Equalizer www.yojoe.com/vehicles/89/equalizer/ was clearly inspired by Cold War era SPAAGs such as the German Flakpanzer Gepard. I loved the unusually realistic camouflage, and always thought this looked like an absolutely badass toy. The turret on the original seems a little outsize to me, so I redesigned it to be a little smaller, while still keeping the same weapons and radars. My version also has space for the weapons operator to take cover in a "hatches down" position. The hull is simply a recolored rebuild of my Mauler hull, which is a little fragile, but has a nice, low profile. Building new versions of existing vehicles saves a lot on design (R&D) time, and many Joe vehicles were recolored over the years, so I might be doing more of this, including some more personal takes on old designs.
there may be X.
X= please inseert your favorite word (^_-
i will go to bed now. good night, buona notte, おやすみなさい。
Heroic Fantasy.
Edited by Gerald W. Page and Hank Reinhardt.
DAW Books 1979.
Cover art by Jad (a.k.a. Jose Antonio Domingo).
Luminance HDR 2.3.0 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.78
Saturation Factor: 1.43
Detail Factor: 20.6
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PreGamma: 0.85
This is my latest machine, just finished yesterday.
I am calling it The Piano Player. It was made for my father's 75th birthday party which is tomorrow. He taught himself to play piano when I was a kid, and I remember him sitting with his earphones on playing away with no music to hear. I thought it would be fitting for me to make this for him since I am a self taught woodworker.
When the handle is turned, the keys that the fingers rest on move up and down and the corresponding equalizer bars in the back move with them. It is made from Cherry (frame), Maple (keys and mechanical parts), walnut (black keys and finishing dowels), Padauk (equalizer bars), and Yellowheart (hands). The final machine took close to 60 hours to finish, including having to make a custom box to transport it in. That does not include the concept and study models I started with. Dimensions are approx. 22"x16"x10"
I hope to have video edited and ready for upload sometime this coming week, along with a bunch more pictures
New Haven Railroad Parlor Plymouth, built in 1924 to Pullman Parlor plan 3917, is seen in the yard at South Boston, Massachusetts 10-12-1946. This car was air conditioned and rode on six wheel straight equalized trucks. The car had 32 parlor chairs and one drawing room. In 1945 the New Haven Railroad purchased this car and leased it back to Pullman, and eventually it received the newer two tone gray paint scheme. The New Haven utilized these heavyweight parlor cars long after the new lightweight parlor cars arrived on the property, but as parlor car usage demand was reduced, some parlor car were converted to coaches.
The name of the photographer that captured this image on film is Col. T.S. Martorano. This photo came from my personal collection.
Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Took a trip up to schiphol airport yesterday. Amsterdams airport, and this is what i found, There are still some flights and travellers and a part of the shops are also still operational. However there are vast swatches of airport that are totally deserted. Like here economy and buisnessclass, we´re all grounded now for the most part.