View allAll Photos Tagged fields
As you can see here, the entire area near the Zion National Park (off out of view to the upper right) is etched with canyons. We were disappointed that the field in this scene was empty of buffalo. The herd was grazing in another area at this time.
Adding the stripes before the Bradenton Marauders vs Jupiter Hammerheads games at McKechnie Field in Bradenton, FL.
Having failed miserably for the last 2 years, I did manage tg get some poppy field shots this year. Struggled a little with the saturation devels on the reds but think this came out ok.
An the end, I desaturated the greens a little to make the poppies stand out and because it suited the sky more.
EOS 50D / Sigma 10-20me / Hitech 0.9 ND grad HE
This shows the Olympus OM Telescopic tube, 65-116mm and the Schneider Kreutznach Apo-Componon 45mm f1:4 which is used in reversed position via a reverse adapter. The telescopic tube is a great tool because it allows you to rotate the camera. These are the kind of tools that have prooved to deliver outstanding results in the hands of swedish master photographer John Hallmén, so any shortcomings in my pictures sadly are on me.
This combo gives a magnification range from 2,2:1 to 3,2:1.
The lens performs best at f1:4,7 and actually from 1:1 to 2:1, but if you want to use this magnification range you must use macro extension tubes. I use the old OM 7-14-25mm set from Olympus, and they fill the gap perfectly.
Photo taken by my son Victor with his Canon EOS 600D and a Tamron SP 35-80mm f2.8-3.8
Chicago Cubs vs. St. Louis Cardinals
Chicago, IL
May 3rd, 2014
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Caught this lucky shot in Seapalling, Norfolk. The wasp landed on the petals with its newly caught host !!
A Minneapolis Metro Blue Line Siemens S70 train sets off from the Target Field terminus on its 10-mile run to the Mall of America. As emphasised by the publicity at the left, the adjacent Target Field Stadium is the home of the Minnesota Twins baseball team. The Ford Center at the right dates from 1914, built originally to build Ford Model T’s on a vertically integrated site. Its style echoes that of the larger and much celebrated Highland Park facility in Detroit.
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
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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.
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.
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Wheat fields in winter. Late light. I cropped off some of the bottom, as there was a straggly line of dead sweet-clover along the lower margin that caught the light, and pulled the eye down toward a non-essential element. The composition is built on these long, clean lines, with that one variation at the upper left. And the light...
Near Val Marie, Saskatchewan.
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© James R. Page - all rights reserved.