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(I'd almost forgotten about these images from Alexandria of Egypt a few years back...Found them when I was going through some older files looking for more world birds.)
Not too many in Asia, but this species is not hard to see in Europe and/or Egypt....(Code 5 in North America)
The Short S.27 and its derivative, the Short Improved S.27 (sometimes called the Short-Sommer biplane), were a series of early British aircraft built by Short Brothers. They were used by the Admiralty and Naval Wing of the Royal Flying Corps for training the Royal Navy's first pilots as well as for early naval aviation experiments. An Improved S.27 was used by C.R. Samson to make the first successful take-off from a moving ship on 9 May 1912.
The original Short S.27 was equipped with a Gnome rotary engine. This replica aircraft displayed at the Fleet Air Arm Museum at Yeovilton is fitted with a similar Gnome Le Rhone engine and a representative propeller to illustrate the appearance of the aircraft in service.
Seneca Improved View 5x7, Osaka Wide Field 120mm f/6.3 + ND graduated filter, UVP-X collodion, Iron/Copper/Potassium developer, Tintype
f/16, 2 seconds
As the day got hotter and hotter I felt this was the last viable image I was going to get. Plus my 3D printed wet plate holder had already warped in the heat (and later melted beyond repair). The collodion on one side of the plate was drying out before the other had time to set and then it washed away in development.
Improved '89 Batmobile.
Gonna call this one finished for now. I've extended the wheel base forwards by 1 stud, lowered the roof and improved the shaping of the wings and side intakes.
Also, managed to take advantage of a sudden appearance by the sun to take some better photos.
I'm tending to post to Instagram first nowadays so if you want to see my latest stuff sooner then give me a follow on www.instagram.com/brickjockey/
Hope you like the photos!
Brewhouse Lane Wapping, East London. Built by the Improved Industrial Dwellings Company Ltd in 1864.
This is a Fuji "Fujinon-EFC 108 mm F 5.6" (enlarging) lens - it was apparently used in some kind of minilab, like many of my other favorite lenses (You can see some of them in my albums, like the Noritsu zoom lens or the Tomioka-Copal/Tominon MC lenses…). It‘s not a lens many tried to adapt because of its very unusual mounting thread! I tried finding a somewhat elegant and flexible solution a while ago and even sketched a simple technical drawing for a possible adapter, but I didn‘t have the time yet to get in contact with someone able to produce it!
When I recently rediscovered the aforementioned Noritsu zoom lens and realized I had probably used it in the wrong direction before, I had to get one of these Fujinon-EFC lenses out as well in order to test it with this new knowledge in mind! And it appears to be the same here… at least the first quick tests show visibly improved results when mounting the lens reversed!
Does that make it an appealing lens to many people? I highly doubt it, considering its limited aperture range and the remaining difficulties when it comes to adapting it. Does it make me a happy man? You betcha! 😄
Shot with a Schneider Kreuznach "Componon 35 mm F 4" (enlarging) lens on a Canon EOS R5.
I always loved this photo, but I never thought it lived up to its potential. I'm getting better at editing, step by step, and now I like this photo more than ever.
'Even Haley wanted in on the NEW and IMPROVED Feet Up Friday Group' On Black
So this shot is for one of my best girls, Insatiably Sassy.
She was banned from the OTHER Feet Up Friday group.
OMG TOO funny!
If you are confused see details here -
www.flickr.com/photos/10412644@N00/466224865/
Haley and I are honored to be in the NEW and IMPROVED Feet Up Friday group!
*grin*
And OMG babe, do you remember these black shoes of mine?!
My damn Tommy shoes.
I last wore them to the Nickelback concert.
OMG remember they were hurting my feet SO damn bad that I ended up just wearing my socks for the LONG walk back to our car?!
In blizzard like conditions, HA!
Good time, Good times.
Happy Weekend Everyone!
PS Check out the NEW and IMPROVED Feet Up Friday group here -
87 030 Black Douglas traverses the 49 arch section of the viaduct leading to the Ethefleda bridge and is about to cross a short embankment and onto a 19 arch section before crossing the Mersey and Manchester Ship Canal with a Liverpool Lime Street to Euston service.
A photo that has already been uploaded but now, hopefully, improved.
A lone GP7 was active at the yard in Worthington, MN pulling cars through the scale house track. Grain elevators and past-their-prime passenger and baggage cars were scattered about the yard. Meanwhile I'm wishing for improved skies.
In previous years I went from large breast forms to just wearing a bra filled with socks. Noticing that many GGs have virtually no breasts, this year at Keystone, I decided to try and go flat on the chest for a couple of times. I only wore a dress, panties and shoes! No hip padding or tummy constrains either. How liberating it was! I felt more naturally feminine than ever and totally comfortable!
It is interesting how, regardless of a lifetime of experience crossdressing, there is still time to improve and mature, at age 61! I really liked how this dress looked on my with no bra or padding and I did not feel any less feminine; on the contrary, I felt fantastic. the photo was taken just after last call at the Dog and Pony.
______________________________________________
En años anteriores, pasé de usar prótesis de senos grandes a simplemente el sostén con un par de medias de relleno. Sabiendo que muchas mujeres genéticas prácticamente no tienen senos, este año en Keystone, decidí intentar no usar sostén ni rellenos, en un par de ocasiones. ¡Solamente llevé puesto el vestido, los calzones y los zapatos! Nada de relleno para caderas o fajas. ¡Me sentí liberada y más femenina que nunca; con absoluta comodidad!
Es interesante cómo, a pesar de llevar toda una vida de experiencia vistiendo de mujer, siempre hay espacio para mejorar y madurar, a mis 61 años. Me fascinó cómo este vestido se sentía sin sostén ni rellenos y no me sentí menos femenina; por el contrarió, me sentí de maravilla! Esta foto fue tomada justo antes de que cerraran el bar en el Dog and Pony.
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar lens (1914), 5x7, Fomapan 400, D76
Wukoki ruins, part of Wupatki National Monument, Arizona.
Wikipedia:
The many settlement sites scattered throughout the monument were built by the Ancient Pueblo People, more specifically the Cohonina, Kayenta Anasazi, and Sinagua. Wupatki was first inhabited around 500 AD. Wupatki, which means "Tall House" in the Hopi language, is a multistory Sinagua pueblo dwelling comprising over 100 rooms and a community room and the northernmost ballcourt ever discovered in North America, creating the largest building site for nearly 50 miles. Nearby secondary structures have also been uncovered, including two kiva-like structures.[6] A major population influx began soon after the eruption of Sunset Crater in the 11th century (between 1040 and 1100), which blanketed the area with volcanic ash, improving agricultural productivity and the soil's ability to retain water. By 1182, approximately 85 to 100 people lived at Wupatki Pueblo, but by 1225, the site was permanently abandoned. Based on a careful survey of archaeological sites conducted in the 1980s, an estimated 2,000 people moved into the area during the century following the eruption. Agriculture was based mainly on maize and squash raised on the arid land without irrigation. In the Wupatki site, the residents harvested rainwater due to the rarity of springs
The Cathedral of Erice, Sicily. I used a texture to improve the white foggy sky.
Atmosfere fuori dal tempo in uno dei posti più incantevoli della Sicilia
On Explore. Highest position: 126 on Saturday, October 31, 2009
A few notes in English en.wikipedia.org/wiki/Erice
Qualche nota in italiano it.wikipedia.org/wiki/Erice
I suggest to view large on slideshow
© All rights reserved
A Secret Source to improve the Light Source.
The camera settings record a brighter scene than that which is seen by the human eye and I can be heard saying the above, “A Secret Source to improve the Light Source,” at the end of the film. Pixel power searches into the dark to treasure receive the waiting wonders so as to best record them for later and for further enjoyment. Almost nothing to see here and what is to be seen is scene generated by A Secret Source to improve the Light Source with a wider eye to take in what is flying by and an electronic ear saving the wings on air and on water with hidden honk and silhouetted cry and a more sensitive sensor for experiencing the loch the shore listening in without reply and everything and all together under the intense colours of the sky.
The whole experience is the whole experience, with wonky horizons and shaky movements. I am now an ambassador of the wonky as I am at the permanent potential to go to the wonk and to glory in the results as age and injury grip me tighter and longer than loved ones ever have. The bad filming here is intentional for this to be a true record of the experience that still stirs me as I look back on it like a slice of repeatable immersive Electro Shamanism.
The end of the day is a fabulous break down. Everything of light that has been completed and the gentle encroach of night offers some respite before the glorious wonders woken before dawn all start again into the more active hours of the day. Please be gentle on my classification of, “repeatable immersive Electro Shamanism,” that is what I am experiencing on looking back into the fantastic after glow and fabulous sound garden of twilight. This is after sunset at RSPB Scotland Loch Leven nature reserve.
© PHH Sykes 2024 and 2025
phhsykes@gmail.com
RSPB Scotland Loch Leven nature reserve
Today I made a childhood favorite. The school lunch ladies used to make these for us. Fifty years later people from my town still make and love these treats. Sorry lunch ladies I amped them up a bit by adding the coarse sea salt to enhance the flavor one more level.
ET2M, improved version of ET2 EMU commuter trains which in turn were based on the original project of the ER2 family of DC electric EMU trains developed and built in Soviet Latvia by the RVR (Rīgas Vagonbūves Rūpnīca, Riga, Latvia), were built by the Torzkovsky carriage plant at 1999-2010.
Much improved lighting recently, getting the angles right again at last so that everything is nicely lit. Now all I need is some time do do stuff!!
The line in the spout is a refracted image of the back of the splash.
Strobist Info : Canon Speedlite 580EX-II with light blue gel firing from about 40cm up down at 45 degrees. 430 EX-II below it firing directly into the back of the splash with a frosted perspex diffuser about 30cm in front of them. (All behind the splash).
Canon 550D with Sigma 105mm Macro Lens, F16, 0.6 sec exposure, ISO 100. Flashes and drops triggered with a 'Time Machine' www.bmumford.com/photo/waterdrops/index.html
Try it : Large On Black
Carousel Buses
Volvo B7TL / Wright Eclipse Gemini
WVL26 - LG02KJE
Seen at the Carousel depot this afternoon to which I have finally found a use for my old Carousel blind which I was given 4 years ago!
Tell you what though, I don't envy those engineers who have to continually fit blinds to fleets of vehicles day in, day out. Got about three different cuts on my hands and couldn't get the blind round the 'taught' rollers at the top and bottom so simply wound it round the main rollers. I imagine the former pop out somehow, but I couldn't work out how!
So although I set out with about 4 blinds to put in the vehicle to display things like A40 Heathrow, this was the only snap I got!
The blind is still with me and not left in the vehicle because I don't want to lose my blind should the vehicle suddenly be taken one day.
You can see behind WVL26 the Tridents which are soon to be sold as they are no longer DDA-complaint. There is also 'death row' of which you can see 415; 101 and 417 also form this line - these are all to be scrapped.
Seneca Improved View 5x7, Buhl Optical 9" (229mm) f/3.6, UVP-X Collodion, 5x7 Tintype
f/3.6, 2 seconds
The weather is improving and the night skies getting clearer, what more do I need to motivate me to get out with my camera.
Keeping an eye on the weather forecast and knowing the stars would be out I preplanned by charging my camera and torch batteries and had my rucksack ready to roll.
I grabbed my rucksack, grabbed my wife, grabbed my tripod, jumped in the car and headed somewhere with little light pollution to grab a much needed shot to help boost my photographic low of late.
This is a church in Friston which is between Eastbourne and Seaford and hidden away from the bright lights of the two towns.
I set up my Nikon D7100 with Sigma 10-20 onto my new Vanguard Carbon Fibre Tripod (just won it) attached my intervalometer, composed the shot, put in some settings and took a test shot.
After recomposing and fine tuning my settings, which where
30 seconds
ISO 800
10mm
f/4.0
white balance auto
focusing set to infinity
I then pressed the button on my intervalometer to start the picture taking process.
I took 148 x 30 second images which equates to around 1 hour and 20 minutes.
On the last couple of shots to light the church I got my Yongnuo 560 II flashgun and held a reg gel over it went into the pitch black doorway and popped it a few times to give an eerie red glow.
To light the exterior I painted the church using my 4D Maglite torch on wide beam.
I stood to the side for this bit instead of straight on to create shadows so the picture didn't look flat.
To stack the 148 shots I used startrails.de which does a great job
Whilst the camera was doing its thing me and my wife sat on a bench under a spooky tree saying to each other things like
what if you saw a priest staggering towards you moaning
and
what would you do if you saw a priest coming out of the church carrying a body
LMAO it was getting a bit eerie and tense int eh pitch black graveyard with these stories and the wind rustling the leaves and twigs snapping.
Night photography may be scary but soooooo much fun
My website
www.simonanderson-photography.com
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www.simonanderson-photography.blogspot.co.uk
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As my work improves (?), the number of faves and views I get decreases. Am I going in the wrong direction?
I'm not doing this to be loved on flickr, but a reduction in my success is getting me down a little. So I am going on a break and will not be publishing again for a month or two. It is to give me time to improve without the let down of being proud of something only to see if fizzle out on flickr. It's like watching a hyped up movie that you're really excited about: generally it can only be a let down. It's my fault, but I need to step away for a while.
I will still comment on friend's images when I can.
Nick
I’m interested in the silent shutter for lunar and planetary images because eliminating mechanical shutter wear could free me to improve the quality of my images by taking many more frames and getting better lucky images for stacking when atmospheric seeing isn't at it’s best. Because the extra noise introduced by the electronic rolling shutter used for silent shutter images is far below the eight bit resolution offered by compressed images, I decided to compare the quality of processed images taken with the two techniques as well as the original images.
These images are from my first night out with the a6300 which was at prime focus on a Questar f15 1400/89mm telescope. Images were take at ISO 200 for 1/50 sec. I took about 40 images each with the mechanical shutter (with the electronic first curtain shutter option to minimize vibration) and with the fully electronic silent shutter. The quality of the images was auto graded and the best 8 were selected from each batch. Because of the wide, half degree, field of view atmospheric seeing can cause mirage like distortions of the Moon’s surface. This isn’t a problem for small area shots of the Moon or planetary images because of the smaller field of view. For full disk Moon images, the results of stacking are improved if each image is geometrically normalized before stacking. I use Nebulosity’s 8 parameter affine transformation. The cost of this is that each frame takes about one hour to align. This translates to a practical limit of 8 images for an overnight alignment run. Processing consisted of deconvolution and wavelet processing in Lynkeos to recover resolution lost to the atmosphere and diffraction in the small, 89mm objective, telescope. The exposure curves are then adjusted to enhance contrast and slightly boost saturation in Photoshop.
One way to see the quality of the low intensity data near the noise floor is to examine the terminator region. You can see detail extend into the dark part of the moon in the processed images. The post processing of the two images was similar, but not identical. As you can see in the raw images there were slight differences in exposure although the camera settings were the same except for the silent shutter setting. These may be because of the silent shutter or differences in transparency of the sky between the two sets of exposures.
My current thoughts on astrophotography with the a6300 so far are as follows.
Measurements that I’ve seen of the images of the electronic silent rolling shutter on the Sony a7 series cameras show about a stop of increase in noise at low ISO speed compared to the mechanical shutter.
For dim targets like DSOs where noise must be minimized and relatively few, long exposure, images are stacked - the mechanical shutter is clearly a win.
For small bright targets like planets where resolution must be maximized and cropped video is frequently used, the extra noise in video capture (or wide FOV silent shutter shots) isn’t an issue. Stacking more images can reduce noise and the video codecs don’t capture the full raw dynamic range in any case. Video (or silent shutter for the widest FOV) works well to capture the thousands of frames that are preferred, without mechanical wear on the shutter mechanism.
Full disk images of the moon are an in between case. The images are bright and the number that I stack is limited by the long processing time for the affine geometric normalization. I’d like to have more full disk images to choose from, without wearing out my mechanical shutter. From my results so far it seems that to see a difference that silent shutter makes in quality of the final result takes pixel peeping and may be mostly due to seeing and transparency variation.
Is progress truly progress? How do you improve upon perfection? Not once have I ever worried about getting dust on the Sensor, when changing lenses.
Not just any camera. Why?
Back to real photography . . . No batteries required!
Manual everything.
Whether you realise it or not, regardless which brand camera you are loyal to, THIS CAMERA, that is the Nikon F, was the father to all Single Lens Reflex (SLR) cameras that followed.
I searched long and hard for this pristine example. Easily looked at 100 cameras. It is 99.9% perfect, though 54 years old.
I first saw war correspondents, during the Vietnam Conflict with the Nikon F strapped around their necks. This camera spawned my enduring interest in Nikon.
The Nikon F 35mm film camera was introduced, April 1959 and was Nikon's first SLR camera. My camera was manufactured by Nippon Kogaku K. K., Japan, between July and September 1967.
The March 1959 Philadelphia trade show (Master Photo Dealers and Finishers Association Convention) of the Photo Marketing Association saw the US introduction of three new top brand Japanese SLR lines: the Minolta SR-2 with 55/1.8 and a list price of $249.50, the Canon Canonflex with 50/2 and a list price of $299.95, and the Nikon F with a 50/2 had a list price of $359.50, which costs more, today, unless it is in poor condition.
The Nikon F was the first Japanese SLR to have a lens lineup from 21mm to 1000mm.
The Nikon F was the first 35mm SLR with 100% Viewfinder.
The Nikon F was the first 35mm SLR with Mirror lock up.
The Nikon F was the first 35mm SLR with interchangeable focusing screens.
There were many firsts, in the Nikon F.
The Nikon F was superseded in 1972, by the Nikon F2 series, after a production total of 862,600 to 1,051,051 bodies, less about 90,000 Serial Numbers reserved for the (Nikon S3M range finder camera bodies).
The Nikon F marketed and sold exclusively for the German market were branded Nikkor F.
Here are some very good articles about the birth of the Nikon F-
imaging.nikon.com/history/chronicle/history-f/
imaging.nikon.com/history/chronicle/history-f/index.htm
www.casualphotophile.com/2018/04/27/nikon-f-retrospective/
time.com/3667583/korean-war-photos-david-douglas-duncan/
www.mikeeckman.com/2017/08/nikon-f-1966/
www.nzgeo.com/photography/nikon-f/
Note: This camera and lens were pre-owned. When I decide to purchase pre-owned photographic equipment, it must look this well maintained and cared for, plus function perfectly, or I am not interested. Can you imagine this camera is 54 years old? I estimate that is was assembled on Tuesday, September 12, 1967, when approximately 158.7143 cameras were assembled every working day.
$306.27 AUD Nikon F camera body cost
$423.50 AUD Nikkor-SC Auto f=55mm 1:1.2 lens with HS-3 Lens Hood, Nikon L-1A Lens Filter cost
$22.00 AUD Nikon Nippon Kogaku 52mm J.U.M. 515,897 Lens Cap cost
$48.00 Nikon AR-1 cost
As I did not purchase everything all at once, I didn't notice the cost, so much. I examined many samples and asked a lot of questions, before I settled on these items. And, I just waited until what I wanted became available.
You may wonder why I did not go for a black edition. I could not be 100% assured it had not been like mine, but painted black. Many of the black Nikon F camera bodies are brassed all along the edges and very few examples are as nice as mine. Lastly, the black version commands a ridiculous price for exactly the same camera, except they are black. I just like the finish and contrasting black leatherette of mine. Refer to this weblink- www.destoutz.ch/typ_finish.html#black
So, you may wonder why I did not go for a later model "Nikon "Apollo" F. All slick advertizing by U.S. camera retailers, back in the day and plastic bits on the Rewind Lever and Self-Timer Lever. Also, it has a later Focusing Screen and an Eye Level View Finder that will accept diopter correction lenses, as well as Type 2 threaded flash sync terminal. The only difference that I can see between the two Nikon F and the "Apollo", is on the flash contact: the early 7303xxx has white insulating plastic on the flash connection and the late 7444xxx has black insulating plastic. Are the cosmetic changes worth more to me? No, quite the opposite. I wanted the bulletproof version, like what was used during the Vietnam war.
As a perfect counter balance to this gem, I use a Sekonic Studio Deluxe II L-389M Light Meter that does not require batteries.
I have found using this combination has made me much more careful and thoughtful as a photographer. Actually have to plan and think about camera settings and equivalent exposures before taking your shots.
A gentle reminder about copyright and intellectual property-
Ⓒ Cassidy Photography (All images in this Flickr portfolio)
The Mineral Range train swings past the old Lloyd Mine on its way east. Recent trackwork is evident with new ties and ballast, a breath of fresh air for this line that has suffered deferred maintenance for the last several decades. May 26, 2015.
When doing the jogging stroller, I came up with a better solution for the cargo bike I made three years ago:
Look at little apple hanging out with MPatrizio's pear in Chery's stream! Don't they look so happy together? :)
www.flickr.com/photos/cheri-berry/484384427/in/set-721575...
A new and improved version of my Sledger powersuit that I built a while ago. It now properly fits a minifig inside, but still has the excessive weight issues of the original, unfortunately.
Compared to my original attempt, this version of the Sledger is based off of the player variant, and is armed with a 30mm König gatling autocannon. The Sledger is arguably the most excessive powersuit in all of Brigador, and it remains one of my personal favorite mech designs of all time.
As always, reference images and other info for the Sledger can be found in the Brigador wiki.
Waves breaking on Roker Pier.
With the growth of Sunderland as a port in the 19th Century, it was decided to improve the approach to the river by creating an outer harbour, protected by a new pair of new breakwaters curving out into the North Sea from the shore on each side. The foundation stone for the New North Pier (Roker Pier) was laid on 14 September 1885. Applauded at the time as a triumph of engineering, the 2,000 ft (610 m) pier is built of granite-faced concrete blocks, which were manoeuvred into place by a gas-powered crane nicknamed 'Goliath'. The lighthouse at the pier head was completed in 1903. Its distinctive stripes are of naturally coloured red and white Aberdeen granite. When built it was said to be Britain's most powerful port lighthouse. It still functions today; indeed both lighthouse and pier have undergone significant refurbishment in recent years.
With it's new 'Improving Your Railway' lettering, Network Rail HST, 43014 'The Railway Observer' brings up the rear as 43062 leads the New Measurement Train passed Alderton forming 0555 Old Oak Common to Derby on 29th April 2016
Seneca Improved View 5x7, Osaka 120mm f/6.3, New Guy Collodion (3 months old), 5x7 glass negative
I think my problems are coming down to developer. I can seem to make clean plates just fine and get an image. I think I'm just not developing properly. I got a developer recipe from someone who recently did it successfully (on their first try!). Will try again eventually.
Now... to wipe these plates and try again.