View allAll Photos Tagged explainer
The sign tells all about the open pit mine. I remember when it was busy with vehicles all over inside it, but it was a long time ago.
Explainer lavet i forbindelse med studiet. Jeg har stået for redigeringen og manuskriptforfatningen.
In August 2008, I discovered for the first time the island of Corsica where I stayed near Porto-Vecchio for memorable SCUBA dives and snorkeling. I did 11 dives with my underwater photo equipment of that time based on 6MP Nikon Coolpix digicam. I came to SCUBA diving through my hobby for horology and, in particular, the dive watches, explaining why there are some close-up shots of my watches of the moments.
I embarked from the mainland in Marseille, France, on the evening of August 18, 2008 and arrived early in the morning in Porto-Vecchio and returned the week after by the ferry in Propriano on August 27, 2008. I incidentally found (seeking for a camping place) a nice lodging in my price range near San Ciprianu where the dive center was next to a paradisiac beach of the bay. I did also one extraordinary dive in Bonifacio, in the Lavezzi Islands, where I met the biggest tame groupers I have never seen before.
Departing from Corsica, August 28, 2008
Port de Propriano
21 Quai l'Herminier
20110 Propriano
France
My simple underwater housing was complemented by a Sea&Sea YS-27 DS submarine flashlight and a wide-angle Sea&Sea lens. The flash light was synchronized to the digicam build-in flash using an optical fiber cable. I still have the camera, the housing, and accessories in my collection in working condition, as well as an untouched exemplary of the Nikon Coolpix L11 that I bought as a backup in case of an accidental water leak of the housing.
All the views are the camera-rendered JPEG (the Nikon L11 could only provide JPEG). I re-edited them in the latest version of Adobe Lightroom Classic (version 14.1.1). As usual, all views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the Nikon Coolpix L11 (Wiki) :
The Nikon Coolpix L11 is a compact automatic digital camera made by Nikon. It has a 6.0 megapixel maximum resolution, which can be adjusted, and an ISO up to 800 (cannot be adjusted). It features a QuickTime movie mode, many beginner scene modes, and a sound recorder. The camera uses 2 AA batteries for power.
The Best Shot Selector feature on this camera allows users to hold down the shutter button, and the camera will take ten pictures. Then, the camera will decide which one is the clearest and will save that one only. This is designed for use when taking a picture without flash in a dark setting.
Other specifications
Zoom: 3x optical, 4x digital
Storage: 7 MB internal memory and SD memory cards
File formats: JPEG for photos, MOV for video, WAV for sound recording
Weight: 125g/4.4oz without battery and memory card
Image resolution: 6 MP 2816x2112 (default), 3 MP 2048x1536, 1024x768, 640x480
Dan "The Wolfman" Theodore seminar at the Kaminari Dojo in Grand Rapids, Michigan on 2012.04.05 © 2012 CharlesSmith.org
I'm trying to explain the idea to my buddy but she don't seem to listen. She doesn't really LISTEN arghhhhh.
- Christopher
Edited by Christophers best buddy Mark :-D
I've been asked a few time to explain why there is a vortex in many of the "blurry" photos I've taken from cars. The above diagram I hope helps explain this.
Assume I'm holding the blue camera in my car in the left most image (my wife is driving, not me). I see the interesting patch of stars on the side of the road and center my camera's viewfinder on the yellow star. With a the shutter speed set at 1/5s, I press the shutter release and rotate the camera so that it stays centered on the yellow star. At the end of the 1/5s, the camera is now pointed as in the middle diagram. You can now see that as the viewpoint has changed, the other stars around the yellow star appear to have moved in a counter clockwise direction around the yellow star. Since the shutter is open the whole time, you'll see a circular blur around the center star.
Using trigonometry, you can calculate just how many degrees you need to rotate the camera to keep a point at a given distance at a particular speed fixed in the center of the image. As should be obvious, the faster you go, the faster you need to rotate the camera, and the closer to the vehicle, the faster you need to rotate the camera.
Holding the camera steady pointed 90 degrees fromt the direction of travel while taking the photo is the equivalent of fixing the camera on a point at infinity, so you'll get straight lines of blur across the image. If you move the camera much faster than required to keep a point in the image in the center, you'll get lines of blur representing only the left half of the vortex. These lines can become a near vertical blur in the image. And, although I haven't tried this yet intentionally, if you rotate the camera in the direction of travel, you should get only the left side of the vortex.
If you are really good and fast (or can use longer shutter speeds), you should be able to get multiple vortexes by varying the panning speed and direction. I see hints of this in many of my photos, but I can't say I really tried to do this intentionally yet.
A few hints to make it easier for you to get good results. 1. Use manual focus, if you wait for the auto focus to focus you'll miss the shot. 2. Start panning before you hit the shutter release. With an SLR, you won't see anything in the view finder when the picture is being taken, so you'll need to just continue panning at the same speed. 3. Find someone else to drive.
Nicole explains the effectiveness of SanTasti at removing the dry, tightening, astringent sensation from your mouth after a lot of wine tasting.
At the summit of the Eiffel Tower
The Eiffel Tower (Tour Eiffel), designed by Gustave Eiffel for the 1889 World's Fair
330 metres (1,083 ft) tall, on a base 125 metres (410 ft) square
Design
18,038 metallic parts
5,300 workshop designs
50 engineers and designers
Construction
150 workers in the Levallois-Perret factory
Between 150 and 300 workers on the construction site
2,500,000 rivets
7,300 tonnes of iron
60 tonnes of paint
5 elevators
Duration
2 years, 2 months and 5 days of construction*
The construction schedule
Works kick-off - 26th January 1887
Start of the pillars' mounting - 1st July 1887
First floor achievement - 1st April 1888
Second floor achievement - 14th August 1888
Top and assembly achievement - 31st March 1889*
The plan to build a tower 300 metres high was conceived as part of preparations for the World's Fair of 1889.
The wager was to "study the possibility of erecting an iron tower on the Champ-de-Mars with a square base, 125 metres across and 300 metres tall". Selected from among 107 projects, it was that of Gustave Eiffel, an entrepreneur, Maurice Koechlin and Emile Nouguier, both engineers, and Stephen Sauvestre, an architect, that was accepted.
Emile Nouguier and Maurice Koechlin, the two chief engineers in Eiffel's company, had the idea for a very tall tower in June 1884. It was to be designed like a large pylon with four columns of lattice work girders, separated at the base and coming together at the top, and joined to each other by more metal girders at regular intervals.
The tower project was a bold extension of this principle up to a height of 300 metres - equivalent to the symbolic figure of 1000 feet. On September 18 1884 Eiffel registered a patent "for a new configuration allowing the construction of metal supports and pylons capable of exceeding a height of 300 metres".
In order to make the project more acceptable to public opinion, Nouguier and Koechlin commissioned the architect Stephen Sauvestre to work on the project's appearance.
Sauvestre proposed stonework pedestals to dress the legs, monumental arches to link the columns and the first level, large glass-walled halls on each level, a bulb-shaped design for the top and various other ornamental features to decorate the whole of the structure. In the end the project was simplified, but certain elements such as the large arches at the base were retained, which in part give it its very characteristic appearance.
The curvature of the uprights is mathematically determined to offer the most efficient wind resistance possible. As Eiffel himself explains: "All the cutting force of the wind passes into the interior of the leading edge uprights. Lines drawn tangential to each upright with the point of each tangent at the same height, will always intersect at a second point, which is exactly the point through which passes the flow resultant from the action of the wind on that part of the tower support situated above the two points in question. Before coming together at the high pinnacle, the uprights appear to burst out of the ground, and in a way to be shaped by the action of the wind".
The assembly of the supports began on July 1, 1887 and was completed twenty-two months later.
All the elements were prepared in Eiffel’s factory located at Levallois-Perret on the outskirts of Paris. Each of the 18,000 pieces used to construct the Tower were specifically designed and calculated, traced out to an accuracy of a tenth of a millimetre and then put together forming new pieces around five metres each. A team of constructors, who had worked on the great metal viaduct projects, were responsible for the 150 to 300 workers on site assembling this gigantic erector set.
All the metal pieces of the tower are held together by rivets, a well-refined method of construction at the time the Tower was constructed. First the pieces were assembled in the factory using bolts, later to be replaced one by one with thermally assembled rivets, which contracted during cooling thus ensuring a very tight fit. A team of four men was needed for each rivet assembled: one to heat it up, another to hold it in place, a third to shape the head and a fourth to beat it with a sledgehammer. Only a third of the 2,500,000 rivets used in the construction of the Tower were inserted directly on site.
The uprights rest on concrete foundations installed a few metres below ground-level on top of a layer of compacted gravel. Each corner edge rests on its own supporting block, applying to it a pressure of 3 to 4 kilograms per square centimetre, and each block is joined to the others by walls.
On the Seine side of the construction, the builders used watertight metal caissons and injected compressed air, so that they were able to work below the level of the water.
The tower was assembled using wooden scaffolding and small steam cranes mounted onto the tower itself.
The assembly of the first level was achieved by the use of twelve temporary wooden scaffolds, 30 metres high, and four larger scaffolds of 40 metres each.
"Sand boxes" and hydraulic jacks - replaced after use by permanent wedges - allowed the metal girders to be positioned to an accuracy of one millimetre.
On December 7, 1887, the joining of the major girders up to the first level was completed. The pieces were hauled up by steam cranes, which themselves climbed up the Tower as they went along using the runners to be used for the Tower's lifts.
It only took five months to build the foundations and twenty-one to finish assembling the metal pieces of the Tower.
Considering the rudimentary means available at that period, this could be considered record speed. The assembly of the Tower was a marvel of precision, as all chroniclers of the period agree. The construction work began in January 1887 and was finished on March 31, 1889. On the narrow platform at the top, Eiffel received his decoration from the Legion of Honour.
Even before the end of its construction, the Tower was already at the heart of much debate. Enveloped in criticism from the biggest names in the world of Art and Literature, the Tower managed to stand its ground and achieve the success it deserved.
Various pamphlets and articles were published throughout the year of 1886, le 14 février 1887, la protestation des Artistes.
The "Protest against the Tower of Monsieur Eiffel", published in the newspaper Le Temps, is addressed to the World's Fair's director of works, Monsieur Alphand. It is signed by several big names from the world of literature and the arts : Charles Gounod, Guy de Maupassant, Alexandre Dumas junior, François Coppée, Leconte de Lisle, Sully Prudhomme, William Bouguereau, Ernest Meissonier, Victorien Sardou, Charles Garnier and others to whom posterity has been less kind.
Other satirists pushed the violent diatribe even further, hurling insults like : "this truly tragic street lamp" (Léon Bloy), "this belfry skeleton" (Paul Verlaine), "this mast of iron gymnasium apparatus, incomplete, confused and deformed" (François Coppée), "this high and skinny pyramid of iron ladders, this giant ungainly skeleton upon a base that looks built to carry a colossal monument of Cyclops, but which just peters out into a ridiculous thin shape like a factory chimney" (Maupassant), "a half-built factory pipe, a carcass waiting to be fleshed out with freestone or brick, a funnel-shaped grill, a hole-riddled suppository" (Joris-Karl Huysmans).
Once the Tower was finished the criticism burnt itself out in the presence of the completed masterpiece, and in the light of the enormous popular success with which it was greeted. It received two million visitors during the World's Fair of 1889.
[*www.TourEiffel.Paris]
Actor Anthony Crivello portrayed Marquette legendary head coach Al McGuire in a reenactment at Hamilton High School in Milwaukee.
Honeybee demonstration from Montgomery County Beekeepers Association, Montgomery County Agricultural Fair, hosted by Montgomery County Agricultural Center at Montgomery County Fair Grounds, Gaithersburg, MD
Photo citation: Sarah Carballo, FracTracker Alliance, 2024.
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