View allAll Photos Tagged fields
I was getting back home yesterday evening and I saw this field on my left along the road. The shoot has been made from the inside of my car almost without doing anything more than just framing
Wild Flower Summer Nature July - Wildblume Blume Juli Sommer - (C) Fully copyrighted.Image only available with written royalty agreement. Not available without written royalty agreement. No answer = no permission at all. - (C) Bild nur verfügbar mit schriftl. Honorarvereinbg. Nicht ohne schriftl. Honorarvereinbg. verfügbar. Keine Antwort = keine Freigabe.
I really like this song for some reason www.youtube.com/watch?v=YgFyi74DVjc&feature=channel_v...
The music I listen to is all over the place its quite weird...I can listen to rap then to opera to hardcore then to some rock.....and then 80s music yeah I am soo random and I listen to everything except country music BLEH I don't like that type what so ever!! And I'm not a huge fan of some other artists but I wont name them haha.
Whats your favorite type of music?? And what song have you been listening to over and over and over??
Oooh and this song www.youtube.com/watch?v=Y-6EwdDiopQ
Japanese Field Camera
Special Thin Portable Camera (特別製薄形携帯用暗函)
Cherry wood and brass, about 1910 (1894-1919)
The camera bears the ivory (or bone) name plate "Manufactory | R. Konishi | Tokyo, & Osaka, Japan"
Format: kabine (カビネ) (12 x 16.5 cm)
Double extension. Reversible dry-plate holders.
Lens: Wollensak Versar Portrait & View 5 x 7 f6
Shutter: Thornton - Pickard rouleau shutter (in front of the lens)
© Dirk HR Spennemann 2010, All Rights Reserved
.
The following quote is from the Camerapedia page for Rokuoh-Sha :
"Early cameras were produced by artisan subcontractors, such as Hasegawa Toshinosuke (長谷川利之助) and Tōjō Kamejirō (東条亀次郎). The company (Honten Konishi Rokuemon, 本店小西六右衞門) founded a manufacturing branch called Rokuoh-sha (六桜社) in 1902, and released the Cherry in 1903, the first Japanese camera to have a brand name. The factory of Hasegawa Toshinosuke became the wood workshop of Rokuoh-sha in 1906. Most of the camera production was still assumed by other subcontractors, many of which were merged into Rokuoh-sha in 1919."
Given the maker's plate R.Konishi, it is certain that the camera dates to pre 1919. While the camera has some similarity with the field cameras produced by Rokuoh-sha for the Japanese Navy in the late 1920s and 1930s, all of these Navy cameras use Hexar Series I lenses, and the design of the front standard is very different. The camera shown above has clear design similarities with an Asanuma King. This is not surprising, however, if we consider that the artisan Tōjō Kamejirō (東条亀次郎), who had made cameras for Asanuma, from 1890 (also?) worked for Konishi Honten.
The Rokuoh-sha History Website shows this camera as the Special Thin Portable Camera (特別製薄形携帯用暗函) introduced in Meiji 27 (1894). Reading the chronology at the site (with translation via honyaku.yahoo.co.jp), it seems the camera was made artisan subcontractors, most likely by Tōjō Kamejirō (東条亀次郎) for the woodwork and by Takashi Korudairō (黒田宗次郎) for the metal parts.
Further below are two images of the Special Thin Portable Camera linked in from the Rokuoh-sha History Website.
It is at present unclear how long the camera model was in production.
If the lens is the original lens that was bought with the camera, and there is at present no reason to assume that it was not (as the wood of the lensboard seems the same), then we can surmise that the camera was produced between 1908 and 1919. The Wollensak Versar Portrait & View 5 x 7 f6 , an 'Extra Rapid Rectilinear'-type lens, is listed in the Catalogue and Price List of Wollensak Photographic Shutters and Lenses (Wollensak Optical Company, Rochester, N.Y. USA) for 1912-13, p. 10; for 1916-17, p. 12, as well as for 1919, p. 26, but not yet in 1906-07 and no longer in 1922.
All Rights Reserved
© Ioan C. Bacivarov
That means you MAY NOT REPRODUCE or POST this photo elsewhere without my permission.
Thank you in advance
French postcard by A.N., Paris, no. 827. Photo: Jacques Haïk.
French actress Alice Field (1903-1969) started out in the silent film era. Her career got on steam in the 1930s when she starred in several French-language versions of German film classics.
Alice Field was born Alice Fille in Alger, Algeria in 1903. She made her film debut opposite Saint-Granier in the silent production Villa Destin (Marcel L’Herbier, 1921), based on a play by Oscar Wilde. That same year she played the second wife of a well-to-do Algerian (Marcel Vibert) in Visages voilés... âmes closes/The Sheik's Wife (Henry Roussel, 1921). She then focused on stage work but returned to the cinema when sound film was introduced. She played the wife of Constant Rémy in Atlantis (Ewald André Dupont, Jean Kemm, 1930), a heavily fictionalized version of the RMS Titanic story. It was filmed simultaneously with the English-language version Atlantic (1929), the-German language version Atlantik (1929) and the silent version Atlantic (1929). Her film career got on steam. In the following years, Field appeared in several films including La maison de La Flèche/The house of La Flèche (Henri Fescourt, 1930) with Annabella, Le refuge/The Refuge (Léon Mathot, 1931) and Vous serez ma femme/You Will Be My Wife (Carl Boese, Serge de Poligny, 1932) with Roger Tréville. The latter was the alternative language version of the Ufa comedy Der Frechdachs/The Cheeky Devil (Carl Boese, Heinz Hille, 1932) with Willy Fritsch and Camilla Horn. Throughout the 1930s, Field played leading and supporting roles in a dozen French films. Most of them were run–of–the–mill, but quite watchable are Cette vieille canaille/The Old Rogue (Anatole Litvak, 1933) featuring Harry Baur, and the crime drama Police mondaine/Worldly Police (1937), in which she starred opposite Charles Vanel and Pierre Larquey.
Alice Field starred in the spectacle Le tigre du Bengale/The Tiger of Eschnapur (Richard Eichberg, 1938) and the sequel Le tombeau hindou/The Indian Tomb (Richard Eichberg, 1938). These were the French versions of the German two-parter Das Indische Grabmal (Richard Eichberg, 1938) and Der Tiger von Eschnapur (Richard Eichberg, 1938). These films were remakes of Joe May's 1919 silent films of the same name. Both versions were based on a novel by Thea Von Harbou, at one time the wife of director Fritz Lang. In turn, both Tiger von Eschnapur and Das Indische Grabmal were remade in 1959 by Fritz Lang. During the 1940s, Field continued to star in French films. Among her films were Campement 13/Camp 13 (Jacques Constant, 1940), and the comedy La loi du printemps/The law of spring (Jacques Daniel-Norman, 1942) with Pierre Renoir. After the war, she kept busy although her parts became smaller. Among her films of the 1950s and 1960s are the comedy drama Au p'tit zouave/The little Zouave (Gilles Grangier, 1950) starring François Périer, the Euro-spy film Pleins feux sur Stanislas/Killer Spy (Jean-Charles Dudrumet, 1965) starring Jean Marais, and the romance Un garçon, une fille. Le dix-septième ciel/A boy, a girl. The seventeenth sky (Serge Korber, 1966) with Jean Louis Trintignant and Marie Dubois. She continued to play roles on stage and television, like in the series Au théâtre ce soir/On stage tonight (1966-1970). Her final film appearance was a small part in the classic comedy Playtime (Jacques Tati, 1967) with Jacques Tati as Monsieur Hulot. Alice Field died in 1969 in Paris. She was 66.
Sources: AllMovie, Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
Comments, Constructive Criticism, Favs, and Notes are all greatly appreciated!
All rights reserved - Copyright © Shaker Khaleque
Went for a walk in Silverdale to see my new neighbours... moo!
-----------------------------------------------------------------
PUBLIC DOMAIN: Use as you will, but no rights implied. Click here
45712 'Victory' storms away from Derby,past Stenson Fields with 1V38 10:28 Sheffield-Bristol on 10th August 1963. 45712 was allocated to Derby at the time and would only last another 3 months as it was withdrawn in November 1963.
Copyright Mark Walker
I actually took this picture. It seems like I just got it off a wallpaper from Emachines, but I actually took it!
This time of year always has the landscape photographer heading to rural areas in search of treasured poppy fields and a few friends found a corker recently!
Claire & I found out the location and headed off in search yesterday to check it out armed with both my normal camera and Infra Red converted camera.
As we scouted the perimeter of the field I took shots with my IR camera then headed into the poppies to get a bit closer when we got down to a beautiful tree alone amongst the poppies.
The worst thing about shooting poppies for me is I suffer from hay fever and knew exactly what was coming after last years outing. Didnt stop sneezing for hours after!
Tech Info...
Panasonic G5 (converted to Full Spectrum)
7 Shot Panorama
1/800s - 1/1000s
f7.1
ISO 160
Filters...
Heliopan RG665 External Filter
Processing Info...
I opened the 7 RAW files in Adobe Camera Raw and used a DNG Profile to correct the custom White Balance I had set in camera as Adobe has real problems with the Kelvin reading with IR shots and makes them pink/red.
After making a few basic adjustments I opened the files in Photoshop CS6 and using Photomerge created the panorama. Due to the nature of stitched shots which look a bit like a pair of goggles when joined I had to then merge the layers and use the Transform Warp tool to pull the corners out otherwise it means cropping the shot a lot and losing some of the interesting elements.
Really to avoid this you should always shoot more of the scene than you need so the empty corners don't effect the final scene.
Once I had got a composition I was happy with I opened the shot in Silver Efex Pro 2 to create a mono version. I used one of the presets then messed with the sliders and opted for an orange filter which boosted the clouds and tree foliage.
The shot looked really cool but I felt I could accentuate them more so decided the way to go would be to use Luminosity Masks to target the specific areas.
I used a curves layer on the 'bright lights' mask and then I used the same technique on the sky to darken it with a 'super darks' mask.
Using Topaz Denoise I removed the noise in the sky then lastly after saving a Tiff and jpeg of the 300dpi file I used Tony Kuyper's resize and sharpen action for the shot to be uploaded to the web. I opted for 900px.
If youre on Facebook be sure to check out my page at Photography by Phil Whittaker
Lt Col John McCrae
Canadian Army Medical Corps
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place: and in the sky
The larks still bravely singing fly
Scarce heard amid the guns below.
We are the dead: Short days ago,
We lived, felt dawn, saw sunset glow,
Loved and were loved: and now we lie
In Flanders fields!
Take up our quarrel with the foe
To you, from failing hands, we throw
The torch: be yours to hold it high
If ye break faith with us who die,
We shall not sleep, though poppies grow
In Flanders fields
Composed at the battlefront on May 3, 1915 during the second battle of Ypres, Belgium.