Must Apply Plenty Of E45 Cream In Future

The Nikon FA is the most sophisticated member of the FM/FE series of medium compact Nikon semi-pro 35mm cameras. It was released slightly after the FE2 came to the market. It is similar to the FE/FM series in that it is built on the same chassis and is of approximately the same size and weight. However, while the FE2 was an incremental improvement over the FE with a traditional Nikon design, the FA was a test bed for two major new technologies: (1) multi-segment exposure metering (called Automatic Multi-Pattern ("AMP") in the FA, but Matrix Metering on later bodies); and (2) multiple exposure modes including Manual, Aperture Priority, Shutter Speed Priority, and Program (High and Low), known as "PASM"). The FA was developed to take advantage of the new AiS series of manual focus Nikkor lenses that supported linear aperture control and more communication with the camera body. The FA is the only Nikon camera body ever made that can support both multi-segment exposure metering and all four PASM exposure modes with manual focus Ai or better Nikkor lenses. While the Nikon F4 and F6, as well as some Nikon digital SLRs, can support multi-pattern metering with Ai or better lenses, they don't support full PASM but only Manual and Aperture Priority modes. As such, the FA offers more functionality with Ai or better lenses than any camera ever made by Nikon. The FA was in production from 1983 to 1987, after which Nikon replaced both the FE2 and FA with the N8008 (F801) and the advent of auto focus and built-in automatic film winders. Thus, the FA is important even today as both a historical landmark for Nikon, and also as an excellent choice for users of manual focus lenses when shooting film.

 

The FA was available in silver chrome and black. Although the chassis of the FA is metal like the rest of the FM/FE series, the top and bottom covers are made out of composite material. I have the silver version. On superficial inspection, the top and bottom covers almost appear to be metal and look very nice. However, if you look very closely and tap the covers, you can tell that they are not metal. Although it is somewhat disconcerting to hold a non-metallic body for the first time after having used all-metal bodies for so long in prior generations, as a practical matter, you can hardly tell the difference. Anyway, today virtually all cameras are covered in some type of composite material, so from a modern standpoint, the FA's cover material seems completely normal. My FA has been to the shop a few times for regular maintenance, but it has thankfully never experienced any breakdowns. I have heard that early samples of the FA had problems with electrical interference affecting exposure accuracy. However, Nikon quickly fixed this problem on subsequent production and also repaired defective early models under warranty. Naturally, the sophisticated functionality of the FA requires more electronic circuitry than its predecessors in the FM/FE series. Since new replacement electronic components are no longer available, should a critical part break down, your repair tech may need to cannibalize another FA sample, or else the FA might become a paperweight.

 

Just like the cameras of the related FE/FM series, the FA uses either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. Quite standard for Nikon bodies of the that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. On the FA, like the FE2, the only way to check the batteries is to pull out the wind lever to turn on the camera and look through the viewfinder to see if the LCD display is activated.

 

The FA is built with a copper-aluminum-silicon (copper-silumin) alloy body, the same as the the other members of the FM/FA series, even though the top and bottom covers are composite material. I find the size and weight of the FA to be excellent, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FA is available with a small removable grip that screws onto the front right of the body. The grip is just the right size to catch your third and fourth fingers and makes it easy to grab the camera securely. The FA weighs in at only 625g, without lens, slightly more than the FE2's 550g, but still less than the F3HP's 715g and certainly less than later all-automatic film and digital SLRs. When holding the camera, it is easy to imagine that Nikon chose to use composite material for the top and bottom covers to keep the weight down to as close to the FE2 as possible. Of course the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can still hang the FA with a small lens around your neck or shoulder for extended periods, but the increase in weight over the FE2 is noticeable. The FA fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses. Like the other members of the related FM/FE series, the FA is an excellent size for travel use.

 

The FA, with its slightly increased heft, does not feel as insubstantial as the FM/FE when held without a lens attached. However, even when a lens is attached in the wide-angle to medium telephoto size range, especially those AiS Nikkor manual focus primes, the lens/camera combination still has excellent balance, with a very reasonable size and weight. Even with the composite top and bottom covers, the FA has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is definitely not as pleasing as that of the FM2n or even the FE/FE2. In addition to the sound of the electronic shutter and mirror movement, there is also a mechanical sound that I guess may be attributable to the mechanism required to communicate between the camera and lenses for the PASM exposure modes. I most often use AiS primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a bit too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod filler ring to keep the lens rings from touching the tripod head.

 

Operation of the FA is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2n. However, the shutter speed dial, shutter release button and exposure mode switch sit on top of a slightly raised platform that makes it a bit easier to reach those controls. The shutter speed dial on the FA, like the FE2, offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FA. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. There is no "Auto" position on the FA's shutter speed dial. Since the FA supports all four PASM exposure modes, there is a separate switch attached to the spindle of the shutter speed dial to pick your mode. For safety purposes, a release button is still needed to turn the shutter speed dial onto M250 and B. However, on the FA, the release button is on the back of the camera just below the dial instead of in the middle of the dial itself like the FE/FE2. Actually, this position is not as convenient as the release button on the FE/FE2 because you need to use two hands to adjust the FA, whereas you can use the release button with only one hand on the FE/FE2. Like all Nikons, the film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. You lift and turn the ring to set the ISO. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, just like the FE2. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FA (and also the FE/FE2) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2n, which reaches up to 6400. The small multiple-exposure lever is still located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FA (and FE2/FM2n) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2n, and therefore feels slightly more instantaneous. The shutter release on the FA is kind of the opposite, and you need to push it part way down to activate the exposure meter, then further down to release the shutter. (The throw of the shutter release is even further when using the mechanical shutter speed M250). I ultimately purchased a soft shutter release button to screw into the cable release socket on the shutter release button and improve the perceived responsiveness of the shutter release action. The film counter is just in front of release crank and is easy to read.

 

One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FA together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies (except for the newest G-type lenses). By the way, you can find lots of used manual focus Nikkor lenses. But if you want to buy your manual focus lenses new, Nikon still manufactures some of their most popular Ai-S manual focus lenses, or you can select the new Carl Zeiss manual focus prime lenses in Nikon F mount.

 

The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses on the market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FA, FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.

 

Loading Nikkor lenses onto the FA, or any FM/FE series body, is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, their is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

 

Of course the most unique benefit of the Nikon FA lens mount is the camera's ability to do multi-segment metering (and center-weighted metering) as well as all four PASM exposure modes with manual focus Ai lenses and better. The FA performs even better with AiS and better lenses. AiS lenses, which were released in 1981, have even better performance with the FA. According to the FA user manual, AiS lenses, when used in Program mode, provide either normal or high-speed program depending on the focal length of the lens in use. Furthermore, in Program and Shutter Priority mode, AiS lenses give uniform exposure control in any lighting situation due to their linear aperture control. One very important step to remember is that you must set the aperture on your lens to the smallest available aperture when you are in Shutter Speed Priority or Program exposure mode. If you don't do this, the camera won't have access to the full aperture range of the lens. However, even if you forget to stop down the lens, the exposure meter will attempt to compensate by adjusting the shutter speed if a proper exposure can be achieved within the available range of apertures and shutter speeds.

 

To load or unload film, twist the back opening lever counter-clockwise and put the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Similar to the FE2, the FA prevents you from accidentally loading the film with the exposure mode set to one of the automatic modes and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FA defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).

 

The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2/FA. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FA's frame coverage is only 93%. This is not unusual in a prosumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. In fact, the FA was only the second Nikon after the F3 to use an LCD readout in the viewfinder. Thus, the FA has a completely different viewfinder display compared with earlier Nikons (except the F3). The display configuration changes slightly depending on what exposure mode you are using. In Manual mode, you see the aperture setting in the ADR window, just like on other cameras in the FM/FE series. However, the selected shutter speed appears in the LCD. Also appearing in the LCD are the selected shutter speed and various combinations of the - and + symbols depending on the exposure setting. The exposure is set properly when both -+ are visible at the same time, just like on the F3. Also in Manual mode, an "M" appears just below the -+ indicators. In aperture priority mode, you see the aperture setting in the same ADR, and the automatically selected shutter speed in the LCD. The LCD displays HI or LO if the light conditions are outside the available range. In Shutter priority mode, the ADR is covered up and you see the selected shutter speed as a mechanical numerical display in the top right of the viewfinder. The LCD indicates "F" followed by the selected aperture in whole stop increments (even though the exact aperture is selected steplessly). Finally, in Program mode, the LCD displays the automatically selected shutter speed; there is no indication of the selected aperture. Note that the FA has lost the red LED that used to light up on the right side of the FE2's viewfinder when exposure compensation is set to other than "0". You will need to remind yourself to turn off exposure compensation when it is no longer needed.

 

The FA, like the FE, FE2, FM2 and FM2n exposure meters, uses a pair of silicon photodiodes (SPDs) for exposure measurement. This is the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FA is different from the other FM/FE series cameras. In AMP metering, the EV range is 1-16, while in center-weighted metering, the EV range is a wider 1-20 at ASA/ISO 100 and with a 50mm f/1.4 lens (compared to EV 1-18 on other FM/FE series cameras). The FA is still not not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4. By the way, unlike the FE and FE2, the FA incorporates an eyepiece shutter, which can be used to keep extraneous light from affecting the SPDs when remotely using the FA in the automatic exposure modes.

 

The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as AiS lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the AiS lenses, focusing is quick and accurate. The FA provides three different interchangeable focusing screen types for various applications. There screens are the same ones that are designed for the FE2. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2/FA generation.

 

As mentioned already, the FA is the first SLR in the world to offer a multi-segment exposure metering system. The pattern includes a segment in each of the four quadrants, as well as a central segment, for a total of five segments. The FA uses specially developed software to analyze the scene and pick the best exposure setting for the situation. The AMP system works better than mindless use of the traditional center-weighted exposure system, but is still not perfect. After all, the FA incorporated the very first version of multi-segment exposure metering software. In addition, the FA does not incorporate a mercury switch to determine whether the camera is held horizontally or vertically. Thus, for example, the FA could fail to compensate properly for a bright sky in a vertically framed photograph. An additional shortcoming of the FA's design is that it does not include an exposure lock lever. Nikon would argue that exposure lock is not needed since the newly developed AMP system is so accurate. One must be impressed with Nikon's faith in their new multi-pattern system, but it was certainly premature to remove exposure compensation in this early version of a multi-pattern system. Still, we should not be so hard on Nikon as we look back on the deficiencies of their very first "Matrix" exposure system in 1983. Although Nikon's multi-segment exposure meters and their software have steadily improved with successive generations of film and digital SLRs, the system did not reach its pinnacle until the introduction of the F5, F6 and later digital SLRs with their color matrix meters.

 

The FA can be switched from AMP exposure metering to traditional center-weighted metering by operating the Metering Control Button on the bottom right of the lens mount. Push the button in and turn clockwise to set center-weighted metering. Turn the button counterclockwise and allow it to pop out to select AMP metering. The Metering Control Button is not as convenient to operate as modern exposure metering selector switches, especially if you have wide fingers. But it works fine. As with center-weighted metering in other FM/FE series cameras, the outer circle in the viewfinder encloses the central area which carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about a center-weighted exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode. Note again that multi-segment metering was conceived to automatically adjust for these difficult exposure situations, although you can not rely on it 100% in this first generation AMP system.

 

Note that the contemporaneous Nikon F3HP had a different exposure metering pattern. The F3HP, with its 80/20 heavy center-weight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The F3HP's strong center-weight was probably the better way to go to obtain accurate exposures in the days before multi-segment metering became sufficiently advanced. However, the F3HP's 80/20 weight could be difficult for amateurs to use properly if they just point and shoot. Modern Nikon bodies generally use a default 75/25 weight in their center-weight metering modes.

 

Note, by the way, that the FA did not offer spot exposure metering, but only AMP and center-weighted. The successor body to the FA, the N8008 (F801), which came out in 1988, had essentially the same exposure metering system as the FA. Finally, in 1991, the N8008s (F801s), which was an update to the N8008, added a spot metering mode, in addition to multi-segment and center-weighted metering.

 

The FA incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or, later, aluminum curtains. Shutter speed range on the FA is not as wide as that of the FE2. The FA can only operate from 1 sec. to 1/4000 sec., while the FE2 operates over an expanded 8 sec. through 1/4000 sec. Of course, like the FE and FE2, the FA's electronic shutter can select any intermediate shutter speed in Aperture Priority or Program exposure mode. In Manual and Shutter Priority mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FA has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. Given the FA's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.

 

There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FA bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

 

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. The FA supports automatic TTL flash control with a four-contact hot shoe and has the same flash capabilities as the FE2. The FA's maximum flash synch speed is 1/250 sec. This maximum synch speed is still current today. On the FA, like the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FA works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great.

 

In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FA also accepts various other useful Nikon accessories. One of the most useful is the MD-15 motor drive (and also the MD-12 and earlier MD-11). The MD-15 has the advantage that its battery can also power the camera itself, while the MD-12 and MD-11 cannot. These motor drive units allow rapid fire or remote shooting up to 3.2 frames per second. In my youth, I used to keep the MD-12 attached to my FE and carried it around much of the time. However, the MD-12 (like the MD-15) is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM, FE and FA bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

  

Copyright © 2016 Timothy A. Rogers. All rights reserved.

 

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Whilst the rest of the country basked in glorious sunshine parts of the Yorkshire coast was under a sea fog or locally known as sea fret. Sadly, it did not lift. It was a bit disappointing as it was my first visit here in 5 years!!!

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/index.aspx

  

Top things to do in Summer

 

1.Experience the sights, sounds and smells of the miraculous seabird spectacle at the peak of the breeding season

2.The surrounding fields are bejewelled by glorious red campion flowers

3.Enjoy a bite to eat in the family-friendly picnic area

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/about.aspx

  

A family favourite, and easily the best place in England to see, hear and smell seabirds! More than 200,000 birds (from April to August) make the cliffs seem alive – with adults bringing food to their nests, or young chicks making their first faltering flights.

 

With huge numbers to watch, beginners can easily learn the difference between gannets, guillemots, razorbills, kittiwakes and fulmars. The easily recognisable puffins (here between April and July) are always a delight. Specially-created cliff top viewpoints are wheelchair accessible with care.

 

You can watch our 200,000 seabirds LIVE on CCTV through the breeding season from March to October. Meet our information assistants and hear about the live action, watch it for yourself on our two TV screens and enjoy the close-up images of our nesting gannets.

  

Opening times

  

The reserve is open at all times. From March to October, the visitor centre is open daily from 9.30 am to 5 pm, and from November to February, 9.30 am to 4 pm.

  

Entrance charges

  

Entry is free of charge to members all year. There's a charge for non-members of £5 per car, minibus £8 and coach £10.

  

If you are new to birdwatching...

  

The birds are easy to see during breeding season - creating a fantastic seascape and bird spectacle. Only eight target seabird species breed here, so learning to identify birds is simple. In winter, common passerines (buntings, sparrows and finches) and short-eared owls (vary in numbers from one year to next) can be seen and identified.

  

Information for families

  

Reserve already popular with families. Various family events included in our programme throughout the year. Backpack Activity days very popular.

  

Information for dog owners

  

Dogs are welcome on the reserve, however they must be kept on leads at all times. This is to ensure that ground nesting birds are not disturbed, and also to ensure the safety of dogs on the cliff top.

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/star_speci...

  

Star species

  

Our star species are some of the most interesting birds you may see on your visit to the reserve.

  

Gannet

  

Look for stunning gannets cruising around at the base of the cliffs and fishing out to sea by rising up into the air before plunging in headfirst with their wings close.

  

Kittiwake

  

Visit Bempton in spring and early summer and your ears will be filled with the unmistakable 'kitti-wake' calls of this dainty gull. Look along the cliffs to see them packed onto their tiny nesting ledges.

  

Puffin

  

Enjoy the comical antics of puffins in spring and early summer from the viewing points on the cliffs. Watch the adults returning from fishing forays at sea with sandeels hanging from their colourful beaks.

  

Short-eared owl

  

Short-eared owls can be seen hunting over the clifftop grassland here in winter. The afternoons are a good time to spot them banking and gliding just above the ground; their piercing yellow eyes scanning for voles moving in the grass below.

  

Tree sparrow

  

Flocks of tree sparrows can be seen in the cliff top fields and are regular visitors to the feeding stations. Listen out for their conversational calls - a hard and piercing 'tek'.

   

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/seasonal_h...

  

Seasonal highlights

  

Each season brings a different experience at our nature reserves. In spring, the air is filled with birdsong as they compete to establish territories and attract a mate. In summer, look out for young birds making their first venture into the outside world. Autumn brings large movements of migrating birds - some heading south to a warmer climate, others seeking refuge in the UK from the cold Arctic winter. In winter, look out for large flocks of birds gathering to feed, or flying at dusk to form large roosts to keep warm.

  

Spring

  

Breeding seabirds start to return, including gannets, puffins, guillemots, razorbills, fulmars, kittiwakes, herring gulls and shags. Farmland birds such as skylarks, tree sparrows, linnets, meadow pipits, reed and corn buntings can be seen. There are normally short-eared owls and peregrines to be seen too. Migratory birds include arriving wheatears and various warblers, while over-wintering thrushes can be seen on the reserve before moving back into mainland Europe. Porpoises can often be seen on calm days while early morning visits may provide sightings of roe deer.

  

Summer

  

Breeding season is in full swing with all 200,000 seabirds with eggs or chicks. Breeding tree sparrows, whitethroats, grasshopper warblers, sedge warblers, skylarks, linnets, reed buntings, rock and meadow pipits can be seen within 200 m of the visitor centre and car park. A moderate range of the commoner butterflies may be seen on sunny days, along with day-flying moths such as cinnabars, burnet moths and occasionally hummingbird hawk-moths. Trailside flora is dominated by red campion, black knapweed, various thistles and orchids including common spotted, northern marsh and pyramidal.

  

Autumn

  

All seabirds departed and breeding finished except for gannets. The autumnal migration can be exciting at Bempton owing to its coastal location and being on a headland. Short-eared owls begin to arrive to stay for the winter (depending on food availability) but the main interest is in the arrival of migrants such as willow warblers, chiffchaffs, whitethroats, lesser whitethroats, reed warblers, sedge warblers, goldcrests, stonechats, whinchats, wheatears and redstarts. Scarce species occur annually such as red-backed shrikes, and barred and icterine warblers. October is peak time to witness the winter thrush arrival, often hundreds of redwings, blackbirds, song thrushes and fieldfares occur along with occasional ring ouzels. Offshore, movements of seabirds may be seen in ideal weather conditions (strong NW winds). These include Manx and sooty shearwaters, Arctic and great skuas. Around the car park area migrant hawker and common darter dragonflies can be seen. There is little botanical interest at this time of year.

  

Winter

  

This is normally a quiet time of year. Bracing clifftop walks and fantastic seascapes are probably the best in Yorkshire. Up to 12 short-eared owls winter here, though in poor 'vole' years there may only be a few. The bird feeding station offers food and shelter to a range of commoner species such as tree sparrows (110 have been counted), greenfinch (60), and smaller numbers of blackbirds, robins, dunnocks, wrens, chaffinches, bramblings and various tit species. The cliff face attracts very few birds except for occasional herring gulls and fulmars, but by January gannets will return in good numbers with occasional days of guillemots in good numbers too.

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/facilities...

  

Facilities

 

Facilities

 

•Visitor centre

•Information centre

•Car park : Car park has no height restrictions. Cycle rack available close to visitor centre.

•Toilets

•Disabled toilets

•Picnic area

•Binocular hire

•Live camera

•Group bookings accepted

•Guided walks available

•Remote location

•Good for walking

•Pushchair friendly

  

Viewing points

 

Five cliff-top viewpoints and a bird feeding station. The five viewpoints are:

Grandstand: 200 m from visitor centre/car park, accessible by wheelchairs/pushchairs with care

Bartlett Nab: 400 m from visitor centre/car park and not easily accessible by wheelchairs/pushchairs

Jubilee Corner: 900 m from visitor centre/car park, not easily accessible by wheelchairs/pushchairs

New Roll-up: 500 m from visitor centre/car park, not easily accessible by wheelchairs/pushchairs

Staple Newk: 900m from visitor centre/car park, not easily accessible by wheelchairs/pushchairs.

 

The bird feeding station is easily accessed, 50 m from visitor centre/car park.

  

Nature trails

  

There are two nature trails. The first nature trail leading to five cliff-top viewpoints. The most distant viewpoints are 900 m from the visitor centre. Part of the trail is crushed chalk, with the remainder over worn grass. There is easy wheelchair and pushchair access to one viewpoint only. Paths can be wet and slippery following wet weather conditions, therefore care should be taken. The discovery trail is a shorter farmland walk.

  

Refreshments available

 

•Hot drinks

•Cold drinks

•Snacks

•Confectionery

  

Shop

 

The shop stocks:

 

•Binoculars and telescopes

•Books

•Bird food

•Gifts

  

Educational facilities

  

The Bempton Field Teaching Scheme operates throughout the year and offers exciting educational opportunities linked with the National Curriculum. The busiest time is from May to July, when breeding seabirds are at their peak. The scheme provides a unique opportunity to discover breeding seabirds, such as gannets and puffins, as well as investigating the challenging habitats in this fantastic coastal location. A truly memorable experience!

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/accessibil...

  

Accessibility

  

26 October 2012

  

This is a Summary Access Statement. A full access statement is available to download from this page

  

Before you visit

 

•Clear print leaflet available on request

•Free parking for members. Parking charge for non members. Free parking for carer or essential companion

•Registered Assistance Dogs welcome

•Check accessibility for events and activities

•Wheelchair free of charge to hire. Pre-booking advised

•Live footage on TV in Visitor Centre

  

How to get here

 

•Bempton railway station is 1.25 miles away

•The nearest bus stops are on the main B1229 through the village, around 1 mile from the reserve

•No pavement on road to reserve

  

Car parking

 

•Four blue badge parking spaces 10 m (13 yards) from the visitor centre on bound gravel and paved path

•60 spaces in main car park, is a short walk to the main entrance of the visitor centre

•Overflow with 60 spaces on grass

•The path surface from the overflow car park is crushed limestone on exiting the field and after 20 m (26 yards) joins the path from the coach drop-off point (see below)

•Drop-off point 50 m (60 yards) from the visitor centre with a crushed limestone surface with a 1:10 sloped descent

•No lighting or height restrictions.

  

Visitor centre

  

Situated on ground floor level with step free access. Live footage on TV from the colony. Four circular tables with seating. Outside when weather is fine. Tiled floor surface. Artificial and natural lighting. Access ramp leads to reserve.

  

Nature trails

  

The reserve offers visitors a mixture of trails. A mix of bonded tar-spray chip, crushed limestone or mown grass. Most trails are a minimum of 1200mm/47ins wide and the majority lead to the cliff top viewing points (see Viewing Facilities below).

  

Viewing facilities

  

Five built viewpoints along the cliff top path, most have seats. In the Visitor Centre there is live footage on TV of the colony. From car park to exit is The Dell - good for small migrant birds - with a narrow grass path with inclines to and from two seats. A bird feeding station is off the path between the coach park and visitor centre.

  

Toilets

  

There are toilets and an accessible toilets outside the visitor centre, with level access to all. Note there are no toilet facilities beyond the visitor centre.

  

Catering

  

A servery with a hatch facing outside the visitor centre offering hot and cold beverages, snacks and ice creams. Hatch is 900 mm (36 inches) from the ground.

  

Shop

  

The shop is within the visitor centre. Staff and volunteers can assist. There is level entry and no doors to enter apart from those at the main entrance. The shop is lit with spot lamps.

  

Education area

  

There is currently a short mown grass square to the rear of the visitor centre which serves as an outdoor classroom reached via the access ramp.

  

Picnic area

  

Seven picnic tables - four on grass and three with spaces for wheelchairs on crushed limestone surface - situated 25 m/30 yards from the visitor centre.

  

For more information

  

Bempton Cliffs

  

E-mail: bempton.cliffs@rspb.org.uk

  

Telephone:01262 851179

  

YO15 1JF

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/directions...

  

How to get here

  

By train

 

Nearest railway station 200 m south of Bempton village. Exit station and turn left, follow road down to church, walk up lane adjacent to church to staggered cross-road junction. Walk across road and take the road adjacent to the White Horse public house, northwards to the reserve. Total walking distance 1.5 miles (2.4 km). Walking time 40 minutes.

  

By bus

 

Nearest bus stop in Bempton village, 1 mile (1.5 km) from the reserve. Buses will drop off at any point on request. Disembark at White Horse public house and follow road northwards up the lane to the reserve. Walking time 30 minutes.

  

By road

 

The reserve is on the cliff road from the village of Bempton, which is on the B1229 road from Flamborough to Filey. In Bempton village, turn northwards at the White Horse public house and the reserve is at the end of the road after 1 mile (follow the brown tourist signs).

  

Other ways to get to the reserve

  

Trains and buses stop at Bempton, 1.5 miles (2.4 km) from the reserve. The timetables are seasonal so we advise you call the Visitor Centre for further details. Nearest ferry port in Hull and Humberside Airport in north Lincolnshire.

  

www.rspb.org.uk/reserves/guide/b/bemptoncliffs/ourwork/in...

  

Management

  

Our Bempton Cliffs reserve, on the Yorkshire coast, protects over five kilometres of sea cliffs. From April to mid-August, these support England's largest population of seabirds. Grassland and scrub along the cliff tops are also home to breeding and wintering farmland birds.

 

The RSPB is managing the reserve for the benefit of its wildlife, which also includes seals and porpoises, and with a long-term view to upgrading its protection status.

  

Cliff-face communities

  

Bempton's breeding seabirds are internationally important, making the cliffs both a Site of Special Scientific Interest and a Special Protection Area.

 

Species include kittiwakes, gannets, guillemot, razorbills and puffins. We have specific targets for every one: for instance, we would like to maintain a yearly kittiwake population of 43,000 nesting pairs, producing at least one young each.

 

During the breeding season, our cliff-top patrols help prevent disturbance by visitors and fishermen.

  

Leading by example

  

Unfortunately seabird colonies are vulnerable to environmental threats that lie beyond our control. These include climate change and industrial fishing, which affect the birds' food supplies. We aim to use Bempton to highlight these issues, so that key decision makers will take action to safeguard the long-term future of seabirds. We hope this will lead to Bempton being designated a marine Special Conservation Area.

  

Room at the top

  

The grassland and scrub at the top of the cliffs are home to farmland birds such as tree sparrows, skylarks and linnets. Short-eared owls also spend winter here.

 

We are cutting back scrub and harrowing grassland in order to increase the population of insects and small mammals on which all these birds feed. We also put out extra food when necessary.

  

Vision for visitors

  

The seabird spectacle at Bempton makes the reserve very popular during summer, while the farmland birds help generate interest all-year-round. We aim to continue attracting and educating people, and inspiring them to support the marine environment.

 

Our facilities currently include a shop, picnic area and cliff top walks. We aim to develop these, with a view to increasing numbers to 60,000 visitors per annum over the next five years.

  

Tracking gannets

  

For the first time, we're finding out where Bempton's gannets go when they're away from the colony.

 

RSPB scientists have fitted satellite tags to a number of adult gannets so that we can monitor where they go to catch fish. The tags are designed so that they don't hurt or hinder the birds, and they will eventually fall off when the gannets grow new tail feathers, if not sooner.

 

We need to find out whether the birds are using areas which the government has earmarked as potential wind farms, and how that might affect them. This information will be used to help plan where to put wind turbines at sea.

 

What we're doing

 

•Fourteen adult gannets were fitted with satellite tags in July 2010 (and another 13 in July 2011)

•In 2010 we got data from all 14 tags during the time when the gannets were rearing their chicks, and several kept transmitting data late into the breeding season

•The highest density of recorded locations at sea was within 31-62 miles (50-100 km) of Bempton Cliffs

•The greatest overlap with any of the proposed wind farm areas was with the Hornsea zone, which is nearest to Bempton

•These results are from just one breeding season, so it's unclear just how representative they are of what Bempton's gannets do. We'll monitor them again in future breeding seasons to learn more.

 

You can find out more about this work on the gannet tracking project page.

 

ICM shot I've been playing with for a while. I'm really quite pleased with this one and something ill be doing a lot more of in future.

Did some experimentation with micro scale cottages for possible use in future builds. Wanted to make something without gap between the wall and the roof and also try out different roof angles.

 

Ended up with a few designs using the 1x4 slope which gives a very high roof and a bit of a fantasy feel to it. Tried with different roof sizes and with or without the roof protruding on the sides.

 

Also made one simpler version with 45 degree roofs. It has a different feel to it, but the upside is that you can add texture or windows to the bottom part of the house ends, which can't really be done for the other houses.

 

When it comes to stability, the 7 stud roof (black one) is quite unstable while the rest are stable enough. Of course, the bars on the top are loose on all of them :)

 

I'm kind of leaning towards the white house with brown roof as my favourite, but in a build with many houses I would probably mix and match. What do you guys think?

 

You can read more at Full Plate Builds :)

After I went home last night. I decided to change the buttons to real buttons and holes. When I start to sew real holes, I really want all of my works in future in real hole.😁

 

#jiajiadoll #dollclothes #blythe #momokodoll

Celebrating my Birthday today. I'm hoping for better health this year and some other things that I will go into in future posts.

  

Thank you for your support.

www.buymeacoffee.com/jamesinoregon

  

There seem to have been an abnormal number of spiders around this season. I spotted the mantis caught in a web when I went outside with my torch to scare off possums coming to eat my persimmons. I thought it would be an interesting photo so went back inside to get my camera and flash. I was using my macro lens and saw there was a spider still at work with the praying mantis. I took several photos hoping for a good shot and to practice my flash techniques. Then it turned around and I was really shocked as it was a red-back!! A nasty very poisonous spider, closely related to the black widow found elsewhere. So I backed off a bit and took a few more photos.

 

I will be a lot more careful about wearing my gardening gloves in future!!

 

Explore: Apr 3, 2010 #455

Explore Frontpage | 08.09.2008 (Thank you! Thank you! :D)

Highest Position - Explore #4

Explore Calendar

 

Each week I seem to have different fetishes for certain subjects haha! Last week for some reason I was really into heavy machineries or anything to do with industrial equipments… gosh! Do I sound kinky already? :P if not, i'll throw in some leather gears as well to spice it up LOL! Anyway I spotted this towing truck while on a search for a meal at some pub over the weekend. Man! I got really excited as if a sexual rush got into me & of coz at that time, my thought was to screw the food! Camera first!! ;) Fortunately for everyone’s sake, I didn’t do anything naughty in front of this truck :P The driver was busy trying to pull a broke-down car onto the back but he was very kind to let me take photos of it :D

 

Therefore this message esp to the driver or anyone from city towing - if you happen to find this image via search engine & wish to use it for any commercial use, please feel free to contact me.. its yours for free!! :P perhaps a few free tows of my car if it ever breaks down in future hehe!

 

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About

 

City Towing Truck sighted at Port Adelaide

 

The Shot

 

Standard 3 exposure shot (+2..0..-2 EV) taken handheld using Sigma DC HSM 10-20mm lens

 

Photomatix

 

- Tonemapped generated HDR using detail enhancer option

 

Photoshop

 

- Added 1 layer mask effect of 'curves' to increase the contrast

- Added 1 layer mask effect of 'saturation' (yellows) to slightly increase the tone of the sun reflection

- Added 1 layer mask effect of 'saturation' (blues & cyans) to slightly tone down the sky

- Added 1 layer mask effect of 'level' to brighten up the image a bit more

- Applied dodging on the bullbar & part of the body to give it a slightly more shine

- Stamp cloned away the number plate just for privacy purpose

- Used 'unsharp mask' (as always) on the background layer

 

You

 

All comments, criticism and tips for improvements are (as always) welcome.

 

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My first entry into Slight.of.brick's contest.

L to R:

Zelaji, Bringer of Ashes

Cedric "The Bull" Farrier

Zelea, Priestess of the Isles

Grundir, The Faceless One

 

Zelaji & Zelea: The twins of the Magic Isles, Zelaji and Zelea ere both trained to use magic at a very young age. Zelea, however, didn't appreciate the wanton, destructive teachings of her parents. She left shortly after reaching Om'riggor and taught herself the art of healing. She has since proved herself as a powerful healer, even rumored to have brought Grundir back from death. When she left, Zelaji was the sole pupil of his parents, and therefore became one of the most powerful wizards of the Magic Isles. His personal favorite- Incinerate enemies faster than dragonfire, giving him his title, "Bringer of Ashes."

Cedric "The Bull" Farrier: the name Cedric "The Bull" has been passed down from generation to generation, ever since Cedric the 1st fought king Leo and his knights. The current Cedric is the 10 generation of the line. Born an Outlaw, he has fought as one all his life, becoming infamous enough and rising in his clans to become a Hordechief. He currently travels with the twins Zelaji and Zelea as well as Grundir on a quest to finish what his ancestor started.

Grundir, The Faceless One: Named this because of his armor, Grundir, The Faceless One says no words nor has any facial expression. He is rumored to be a zombie after Zelea resurrected him. He is the grunt of the group, known for charging bravely yet carefully into battle.

 

Sorry for the TL;DR folks, but I really wanted to get their backstories down as i hope to use them in future LoR builds. I may improve their backstories in the future.

C&C appreciated! Enjoy!

 

P.S. Yes i went a little overboard on editing, as part of Zelea's staff was cut off. I only noticed after I finished the pic. :P

Three women were sitting together drinking coffee on a lovely peaceful afternoon.

They talked about their husbands, lovers, sons and men in general.

 

They soon became bitter somehow.

They remembered the role of men in history.

 

The women remembered the thin, almost transparent layer of cultural civilization. Alcohol and group gathering and a bogeyman too often showed the ugly face of the forgotten malignancy of that angry chimpanzee underneath that layer.

As hooligans they hardly recognized their sons and men again.

 

The sons, who were second-born (the third and fourth sons aso.), had to leave the farm and home to seek their fortune and fame and a (new) empire in the world.

The woman remembered the vulnerability of their sons to ideologies and religions, their black and white thinking, their simple solutions and their intolerant and bloody "us and them", to achieve their merciless goals.

How easily they could be seduced by cynical old men, who always let the young suicide bombers go first into that promised land in the afterlife, which had not ever been seen by nobody, ever and never. ;-)

 

The desperate women thought about the wars and the rapes, mass killings, and the crusades, the Holocaust, the genocides, the general racism in this world.

They thought of the crime statistics, the severity of the crimes that have been committed by men and will be in future.

The prisoners, guards, judges and lawyers, the police and politicians, investment bankers and the tax dodgers.

They had to think about the men of religions and their misogyny.

 

They thought of the testosterone in general.

 

Or was it just a problem of the youth bulges and not religions, tribal feuds and poverty as main reasons responsible for the escalation of terrorism?

Is the oversized proportion of the male youth in the total population to blame for the deadly fights?

Do religions and ideologies only provide the necessary disinhibition to kill for the future world warrior?

Even terrorists need a justification, so that they can sleep better.

They want to kill for a "better" peaceful world, how perverse is that???

 

The list and the questions seemed endless.

 

The three women were moaning deeply, a moan so deep and old as mankind itself.

So much pain in the world!

 

The women did not have the arrogance to believe that they had considered everything, but what had occurred to them was bad enough, wasn`t it?

 

Then suddenly they had an idea, a brilliant idea they thought:

 

Fast, repeated cuts, in order to reduce the "Imaginary Heroes" to their right measurement.

 

The only infirmity of this argument was, that every son has got a mother ;-)

 

Even if it was just a daydream, men do not fall asleep too tight tonight and the nights after, the woman of the world could wake up very soon before you do ;-).

8" x 10"

Ink on Card Stock

Digital Retouch

 

Revisiting pen drawings I recently came up with this creation. It is very similar to those ink drawings that I did in the series "Brain Wave Playground."

www.flickr.com/photos/ddenzine/sets/72157603832347235/

 

I wanted to tackle this sort of image again since it is such an involved proccess that can take a week or more to nail down the tangled yet delicate lines. It is also good practice for me when I do drawings such as this, they prime me to do something with more realistic themes or subject matter in future peices. Sort of a way for me to get my anxiety out by just letting my hands dig into the page.

I've built these tiny, miniature castles that may be used in future photographs.

  

Textures from google.

  

Uploaded July 25th, at 5:50 PM EST.

Earlier last week, I took delivery of a new pair of Glasses. Nothing unusual about that; I can now see the world around me much more clearly - except when I'm peering through the view-finder of the SX60 and that's when things become somewhat blurred.

 

Anyway, here I was standing beneath the big Kowhai Tree waiting for one of five or six Tui that were high up in the branches and squabbling over who was going to drink what Nectar from which blossom when a dark-shaped bird zoomed at considerable speed onto a low branch... and stopped.

 

This was just what I wanted and I fired off three rapid shot - hoping that the way, way out of focus view-finder was the only thing that was out of focus - and then the Bird zoomed off...!

 

So imagine my surprise when I checked the monitor screen moments later, and found that I hadn't 'caught' a Tui at all, but rather a nicely focused Starling...!!!

 

Was I disappointed? No way! I've been trying for three years to capture a Starling, and although I've seen some beautiful Starling photos that were taken by Trevor in England and other off-shore photographers, this was the first time I'd managed to capture a New Zealand bird...! And although Starlings are "two a penny" (i.e. very common) in New Zealand, there is nothing common about the beautiful colour scheme this bird is wears...!

 

In future, I will look at Starlings with new respect...!

 

If you're interested in finding out more about New Zealand's Starling population, have a look at:

nzbirdsonline.org.nz/species/common-starling

  

(Left click the Mouse to view Large; click again to return to normal).

The Nikon FM2n is the best medium-compact mechanical shutter SLR camera ever made. There are other bodies from other manufacturers that have been favorably compared, such as the Olympus OM-3 and the Leica R6.2. These other cameras indeed have certain features, e.g., spot metering capability, that are not found on the FM2n. However, they have disadvantages, too. The Olympus system is smaller than Nikon, and lenses and accessories are presumably less abundant on the used market. The Leica system is substantially more expensive used, especially the lenses, and the Leica R series never became that popular (as opposed to Leica's M-Series). The design of the FM2n has been highly refined over several generations of the FM product line. It is part of the enormous Nikon system of manual focus and auto focus cameras. Many Nikon bodies are available on the used market. And the FM2n is just an absolutely great camera.

 

The FM2n is the final all-mechanical version of the FM Series that began with the FM in 1977 as an upgrade to the classic Nikkormat FT3 (early 1977). The FM was subsequently updated and modernized with various versions of the FM, FM2 (1982) and FM2n which were developed over the years, with the FM2n finally introduced in 1984. The FM2n remained in production until 2001. There was actually one additional major upgrade after the FM2n, which was the FM3A (2001-2006; 1991). The FM3A is the most advanced of the FM Series, with a hybrid mechanical/electronic shutter, an FE2 style readout, and all of the other features of the FE2. From a technological point of view, the FM3A is really cool and unique. However, due to some of the feature advantages that I will discuss below, the FM2n is still a very attractive option for all manual film shooting . The FM3A is relatively more expensive on the used market, with relatively high prices for the occasional NIB sample, or even very clean used camera.

 

Check out the FM3A here:

 

www.flickr.com/photos/trphotoguy/23145338649/in/album-721...

 

The standard FM2n was available in silver chrome and black paint. Both look great.

 

There were a few special versions of the FM2n that were introduced. The most interesting one is the FM2/T (1993-1997). The FM2/T is exactly the same mechanically as the latest FM2n, except that the top and bottom covers are made out of titanium. Please refer to my separate page on the FM2/T, which is one of the most beautiful SLR cameras ever made:

 

www.flickr.com/photos/trphotoguy/16514084188/in/album-721...

 

My own experience with the FM line actually started with the FM2n. Previously, I had been using the Nikon F2 Photomic AS and Nikon FE combination; my F2 was the reliable all-mechanical body, and I used the FE as an electronic backup when needing something smaller than the F2, or when wanting to shoot quicker with the FE in aperture priority mode, or just for a different kind of film. (Back then, photographers still looked askance at electronic cameras compared with tried and true mechanical ones.) However, when I finally upgraded from the F2 to the new F3HP, it was time to switch around and get the FM2n as a mechanical backup to the electronic F3HP.

 

Since my experience with the FM Series started with the FM2n, and given that the FM2n would be the best body of the series to go with on the used market today, I will focus my comments on the FM2n.

 

As with the prior models of the FM Series, the FM2n takes either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. Quite standard for Nikon bodies of the that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too, as needed. Since the small batteries are used only for the light meter, they seem to last forever and are not necessary for camera operation at all shutter speeds.

 

The FM series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FM2n to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the concurrent F3HP. It is not as small as the Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FM2n weighs in at only 540g without lens, and of course the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. The FM2n fits great in a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses. It is an excellent size for travel use.

 

The FM2n body by itself, like all those in the FM Series, feels a bit light and even insubstantial when held without a lens attached. However, once a lens is attached, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod filler ring to keep the lens rings from touching the tripod head.

 

Operation of the FM2n is really smooth. All of the top controls are on the right side of the camera. The shutter speed ring is tall, large and has an easy-to-turn knurled grip. It is easy to grab with thumb and forefinger when the film advance lever is pulled out to turn on the camera. The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stoke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is embedded into the top of the shutter speed dial. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FM2n is 12 - 6400, wide enough to handle virtually all situations. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The mechanical shutter release button is large and located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button has a fairly long travel, but it works well with just the right amount of resistance to allow you to half press for an exposure reading, and then make a short continued push to achieve an immediate shutter release. The shutter has a relatively quiet, pleasing and precision-like sound. The film counter is just in front of release crank and is easy to read.

 

One of the biggest advantage of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses (pre-G type) can be used on all old manual focus bodies. I don't know of any other SLR manufacturer that can make such a claim. Thus, it is convenient to use the FM2N together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.

 

Loading Nikkor lenses onto any FM Series is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meet pin on the body; this old system became obsolete after the Nikkormat FT2/EL generation. Unfortunately, the FM Series lens mount lost the retractable meter coupling lever after the original FM body; thus the FM2n won't accept (in stop down mode) any pre-Ai or non-Ai's lenses that you might own. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

 

The only control on the top left of the camera is the film rewind/back opening mechanism. Twist the back opening lever counter-clockwise and put the rewind crank upwards to open the camera back. Since the camera only has a manual exposure meter mode, unlike the FE/FE2, the rewind crank mechanism includes no exposure compensation dial. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the latch in the spool engages a film perforation. This system is more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. With the FM2n, if you are careful when you load the film, you can get an extra exposure on frame 0.

 

The viewfinder of the FM Series has been gradually improved over the life of the series, but remains essentially the same in the FM2n version. A slight disadvantage of the FM series viewfinder is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FM's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in will be captured on your film. (Maybe it wasn't a problem with mounted slides?) The viewfinder contains all of the information that you need for convenient camera setting. There is a mechanical readout for the selected shutter speed on the left side of the viewfinder. There is also a aperture direct readout (ADR) at the center top of the viewfinder. The exposure meter indicator on the right of the viewfinder utilizes three red light emitting diodes. This is my favorite type of exposure meter readout design, which I learned to like on the earlier Nikon F2 Photomic AS. It is also the same system as that on cameras such as the Leica M6TTL or current MP. First of all and most importantly, the diodes are easy to see in all lighting conditions, light and dark. The LEDs are bright enough to be clearly visible on a sunny day, but also not so bright that they blind you in a dark location. Also, exposure adjustment is extremely rapid and precise.

 

I normally set the shutter speed first, depending on what I am trying to do. Then push the shutter release button down half way and twist the lens aperture ring on the lens until only the center LED circle lights up. As you move away from correct exposure, the LED display changes to a combined +o or o- (when you are over or underexposed by between 1/5 and one stop-), and finally to a single + or - (when you are over or underexposed by more than one stop).The three-diode system of the FM Series is superior to the match needle system of the aperture priority capable FE Series and the hybrid FM3A. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments - although the meter itself is very sensitive. On the other hand, an advantage of the match needle system is that you receive direct visual indication of a wider range of exposure divergence, compared with the LED system. Also, you can directly see intermediate shutter speeds in Aperture Priority mode.

 

The FM2 and FM2n exposure meter uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the original FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FM2n is EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports a aperture/shutter speed range of 1 sec. at f/1.4 through 1/4000 sec. at f/8. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FM2n is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the Nikon F4.

 

Since the FM Series cameras have manual exposure mode only, there is obviously no exposure lock button. Exposure lock is one thing that can be frustrating on cameras like the F3HP and FE/FE2. It is often easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. It is quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button down will recomposing a shooting. Anyway, you don't need to worry about any of that on the manual mode only FM2n.

 

The center of the viewfinder display, with the standard K2-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings, focusing is quick and accurate. The FM2n system provides three different interchangeable focusing screen types for various applications.Mostly, the standard K2-Type screen is sufficient. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens were further improved on the final FM3A to avoid split-image blackout with lenses with maximum aperture of f/5.6 or less.

 

The outer circle encloses the central area which carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to manually compensate the exposure by appropriately changing the aperture or shutter speed.

 

Two contemporaneous Nikon bodies with the FM2n, the F3HP and the FA had different exposure metering patterns. The F3HP applies a heavier weight of 80% to the viewfinder's 12mm circle, making it easier to isolate an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include a multi-segment metering pattern, in addition to 60/40 centerweight. The 5-segment pattern on the FA and first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most low contrast situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, which was found on the FM2n. Of course, you have to know what you are doing in such situations! On later-generation cameras, the more highly refined high-tech multi-pattern (matrix) systems, such as on the F5, F6 and the newest digital SLRs, finally do a good job even with difficult lighting. Modern Nikon bodies generally use a 75/25 weight in their default center-weight metering modes.

 

The latest FM2n incorporates a vertical-travel, metal focal plane shutter with aluminum curtains. Older versions of the FM2N have shutters with titanium curtains. Shutter speed range on the FM2N is 1 sec. through 1/4000 sec. For those of us who started back when the fastest shutter speed as 1/1000 sec. or even slower, 1/4000 sec. sounds amazingly fast. In fact, 1/4000 sec. is plenty fast enough for most situations with film. On the slow end, the camera itself can only operate up to 1 sec., but it is an easy matter to calculate and shoot exposures of any length at the Bulb setting, using a tripod, a standard shutter release cable, and a hand-held light meter. Of course, since the camera has a mechanical shutter, you can shoot exposures of any length and never worry about draining your battery. One slight disadvantage of the FM2n's mechanical shutter is that it cannot be set for intermediate shutter speeds. On an electronic body such as the FE2 or FM3A, you can utilize any intermediate shutter speed in aperture priority mode. (Of course, unlike the FE/FA series, the FM-series meters can't measure Bulb setting shutter speeds.)

 

There are just a few more features that should be mentioned. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set to maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FM Series bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

 

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. The FM2n does not support automatic TTL flash control. You need to use an FE2 or FM3A if you want that feature. (If you know how to use guide numbers and manual flash, you can still do full-flash or fill-flash photography without any problem, of course). However, the FM2n, like the FE2, has a very fast maximum flash synch speed of 1/250 sec. There is an extra contact on the hot shoe that communicates the flash charging status to the camera a lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FM2n works with any Nikon flash unit. The contemporaneous SB-24 and SB-26 work great. However, if you will be doing a lot of flash photography in the FM line, the FE2 and FM3A are more useful as they both offer automatic TTL flash control.

 

In addition to the vast selection of Nikkor (and third-party) lenses that are available for the Nikon F mount, the FM2n also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive. This motor drive unit works on all FM Series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. Years ago, I used to keep it attached to the camera and carried it around much of the time. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack (particularly useful for the FM2n, which would be the perfect camera to take on a dog sled expedition to the North Pole!), the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

  

Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.

 

(DSC_1616fin1)

 

Church of St Peter's Bell Tower

Marienplatz, Munich

Bavaria, Germany

 

Merry Christmas to all! I thought this image would be more fitting if I posted it closer to Christmas.

 

As the year 2016 slowly draws to a close, I am left in a rather reflective mood. 2016 has been full of surprises, both in my personal life and world that we live in. Brexit and the results of the US election has left the world with much uncertainty. The conflict in Syria and the spades of terror attacks has captured the recent headlines. Especially the latest truck attack in Berlin Christmas Markets just two days ago, which I will be visiting on New Years Eve, is a tragic reminder about how fragile life is. We should make the best use of our time on this planet, cherish the people that we love.

 

The Germans really know how to celebrate Christmas! There is a Christmas Market in almost every town and city! The festive atmosphere is just something that is not present in Asia Pacific region. I really enjoyed walking around these markets, absorbing the great vibes and looking at the items they have for sale.

 

Originally, I intended to arrive at this location earlier to photograph the warm ray of light from the setting sun reflected on the iconic buildings. Unfortunately, someone was attempting to commit suicide on the train track and all train services into the city centre came to a grinding halt. I had to walk a good half an hour just to get to the church. After paying a small admission fee, I started climbing a series of narrow wooden staircases. It was definitely a work out to get to the top as quickly as possible. The viewing platform was really narrow and with the number of people around, it was impossible to set up a tripod. I had to shoot handheld and hence the rather slow depth of field to avoid camera shake. It also didn't help to have all the cranes and the scaffolding around Frauenkirche tower. I guess it was the off peak season and the attractions were conducting restoration work. Overall, the bird eye views from the church tower were splendid and a must see for any travelers!

 

On a personal note. At the start of the year, I could have never imagined that I will be spending three months in Germany on a dream internship. Working on cutting age aerospace morphing technology that could have the potential be incorporated in future aircraft. Being in Europe also given me the opportunity to spend Christmas in a place that is at the top of my wish list: Iceland. Never in wildest dream would I have thought that I will visit Iceland this soon! At the time of writing, I am desperately hoping for great weather and a chance to photograph the Northern Lights! Hopefully, plenty of Icelandic landscape images to come!

 

1 exp shot, edited in Photoshop and Lightroom.

Any comments or constructive criticisms are appreciated!

  

I've given up trying to smile. In future, it will be an evil grin or a smug smirk....or possibly both. Have a great weekend everyone.

As I was driving from my home to Holland I saw this farmstand in nearby Richland . It just caught my eyes with it's delightful color and bounty. This stand boasted not only the standard fare but a number of heirloom tomatoes and onions ... just BEAUTIFUL!

 

It's a blessing to have farmers selling their locally grown produce to us at farm stands and farmers markets. Unfortunatelly my fridge was filled with vegetables already BUT I will most certainly purchase some of this bounty in future. I strongly believe purchasing locally grown foods is one of the best things we can do to keep ourselves healthy and to support local small farms. This food is simply better for us and better for the earth (just think of all the gasoline saved by not paying for trucks that have to haul the produce across country); it's much fresher and the flavors of these delicious fruits and veggies speak for themselves! ...

Canon 5D Mark III + Canon MP-E 65mm f/2.8 1-5x Macro

 

ISO 100, F 6.7, 0.3 SEC

 

This was my first try with Canon MP-E65 lens I purchased two days back.

 

Working on my macro set up with twin flash and wemacro stacking rail. Hope to get better results in future shots.

 

Thanks everyone for your visit and have a wonderful day!

Thank you all! I'm very glad that once upon a time you chose me and still following me. I will try bring you pleasure with my MOCs in future.

 

P.S. I hope that I wrote this without mistakes %)

It was so much fun getting to spend time with Helenmarie - having a nice chat was just great. And thank you so much for your lovely gift of a dress Helenmarie - you can expect to see it in future pictures!

I am Zoë, I live in Belgium, near Lier. I am 13 years old and I do have one brother. I love posing for the camera. It's my dream to become a professional model in future...

another beastie ive been hunting, Biffa Bin Wagons are now quite common, but actually having a camera handy when there is one around has been so difficult, i think in future i shall take my camera everywhere

Another shot worked on in lightroom.

Not enough time tonight to post the original for comparison but will try to in future.

 

You'll see more of me in future, because my companions aren't going on any adventure without me. 😁

 

Oh.. and before you are wondering... I'm a Border collie or I will be one, when I'm grown up.

 

I'm looking forward to many journeys and adventures.. see you guys... life's so exciting! 😎

The recent announcement that the Brunner Mond works of Tata Chemicals at Lostock is to close at the end of January 2025 will bring an end to the production of soda ash in the Northwich area. No longer will the limestone trains run from Tunstead and area every day as they have since, I think, 1878. These massive limekilns will soon be replaced by executive housing or some similar nonsense. Soda ash for bicarbonate of soda production at Winnington will in future be imported from the USA!

Update: I'm re-posting this as it's been used on a few recent blogs and kind people are coming past to see it, way back in the order of things. It also brings a bit of colour to the front of my photostream, amidst a lot of recent black and whites. I just noticed that this was possible, so thought I would have a test run to see how it was done. Hope that doesn't offend anyone!

 

Broadgate Circus is a private office estate in The City of London, adjacent to Liverpool Street station. Resolved to take some photos despite the rain, I found a sheltered corner of Broadgate with a good view of City commuters hurrying home from their offices in the grey London weather. The wet granite gave a nice dark mirror, with the turquoise glass of Gaucho and glowing gold of other office lights a not entirely uninteresting backdrop to the scene. The airvents here provide a workable improvised tripod too.

 

I managed to get around 25-30 shots away before private security arrived on the scene to impose their intolerance upon me, and I was ejected with stern authority, and a hand on my shoulder, though with memory cards unmolested. For people taking photos at Broadgate Circus in future, it would be worth noting. The guards were professional, but clearly bored and thus more intimidating than they need have been.

 

With the first half of the images no more than sighting shots of limited use, only this one stood out from those remaining, but I'm very happy with it. There's a nice symmetry, I think, especially between the red umbrella, blurred to an arrow pointing sharply down to the flowers. This one was cropped to centre the lady; more at home as a focal point than drifting on the top/right third point as she was.

 

It has been a grey day with some bad news and thick rain, so it's nice to share a colourful, meditative image at the end of it. Hope people approve. Thanks for all the nice comments so far.

 

[For Long Exposure group info, shutter was 1.3 secs]

LEGO Custom minifigure

I hope Lego will make this figure in future!)

 

.....in “Desert days” like in any other settlement in the area using Greywater helps to grow trees and plants. The drippers they use create around the trees wet soil where wild flowers flourish. As you’ll see in future photos, some kind of succulents grow without any help, but those who grow close to the water can survive thanks to this water addition.

I'm taking part of the "30 days creativity challenge" and today was about creating in the smallest place you can... I had a similar idea some time ago, today I took a box and start to take pictures...I'm not sure if i'm satisfied with the editing (even if i love the concept), but that's ok, I'll take it as a starting point for making better in future :)

anyway, this picture reminds me of some of my first self portraits :)

Those two white gateposts will become familiar in future years as 171 pulls out of Laytown with the 12.48 Dundalk - Dublin Connolly. Interesting there is a full brake behind the loco and a heating van at the rear. Did this service convey mails from Dundalk?

 

All photographs are my copyright and must not be used without permission. Unauthorised use will result in my invoicing you £1,500 per photograph and, if necessary, taking legal action for recovery.

The 39th Monorail Monday - Volume 5 - shot features Monorail Blue passing by the blooms of the 2014 Flower & Garden Festival in Future World at EPCOT Center.

 

If you post your Monorail Monday images to Google+, please add the tag #MonorailMonday

 

EPCOT Center | Future World | Monorail Blue

 

Thanks for looking! I appreciate feedback.

Metroline recently regained the 266 on a short term contract. They deployed existing ADL E400s on the route. Here is TE1092 about to depart Hammersmith low level bus station. If TfL plans go ahead the 266 will not reach Hammersmith in future.

Talent without training is nothing.

 

Luke Skywalker from The Mandalorian S2 finale✨

 

Base hood printed by NatesMinifigs

 

Robe lines inspired by LM9 Productions

 

Lightsaber hilt by OMV & casted by forge510

 

Dark Troopers originally printed by the now inactive CustomBrickBuilder

 

Of course I’ve been waiting to make Luke from The Mandalorian S2 ever since Chapter 16 last Christmas! Saved him for last though since he’s definitely still one of the simpler minifigures to make out of everyone else in the showcase lineup. Managed to finish him in under a week of on/off work too. Sculpted hairpiece (already posted to Patreon 👀) will be featured in future edits and during the showcase coming up on my channel!

 

Let me know what you guys think of Plo Koon! Pretty much on the home stretch for the Mandalorian S2 project now! Feels like I’ve been working on these customs my entire life

I found this bird in woods and kept eye on it. But, it was not willing to come down from high tree branches. Finally, it decided to land on the shrub near me. I hope to get it closer in future for a better shot.

Like me on facebook|Blog| Instagram:DejeneeRenee

Hello guys!

 

This is another photo I got to do with my friend Nathan! He was quite the mode, and actually agreed to letting us spread mud all over his face found in the middle of the house coral... hopefully it was mud;) But anyway! He is an amazing model and hope to see more of him in future photos I will be doing!

© all rights reserved

 

Please take your time... and enjoy it large on black

 

The Oostvaardersplassen is a nature reserve in the Netherlands. Despite its young age ,it is in a polder which was only created in 1968, it already has international importance as a European wetland. The Oostvaardersplassen can be divided into two areas: wet and dry. Before the establishment of the reserve, the dry area was a nursery for willow trees, and in the first year hundreds of seedlings could be found on each square metre. This led to concern that a dense woodland would develop, significantly reducing the value of the habitat for water birds. To avoid this, the park's managers brought in a number of large herbivores to keep the area more open, including Konik horses, red deer and Heck cattle. These large grazing animals are kept out in the open all year round without supplemental feeding, and are allowed to behave as wild animals without, for example, castrating males. The ecosystem developing under their influence is thought to resemble those that would have existed on European river banks and deltas before human disturbance. Twelve hundred of the estimated thirty-six hundred cattle, horses, and deer have perished from today's winter starvation. Scientists and managers have deemed the deaths normal. People are not very happy that the government is letting the animals die. They see the Oostvaardersplassen as more of a zoo than a wild space. Well, I think the managers are doing the right thing to maintain a healthy population within the park’s carrying capacity.

 

Photo of Heck cattle in the harsh winter taken at the Dutch nature reserve Oostvaardersplassen between Almere and Lelystad. I did enter the park at the Kottertocht entrance. It is hard to survive the winter. All animals are kept without supplemental winter feeding. Konik horses and many deer already crossed the frozen water above in search for food. Some horses were stucked due to their weight did crush the too thin ice. These konik horses where consuming the fibres of tree trunks, because food is very hard to find, although it is not there daily nutrition. Especially when there is deep snow, lack of food causes starvation among the weak and the strongest will survive . So the survival of the fittest keeps the herds strong and healthy. Also Foxes, which are quite common in this reserve, profit from carcasses of deer, cows and birds in winter. Maybe in future a pack of Wolves could do a great job as natural predators in this part of Holland.

 

Een bezoek aan de Oostvaardersplassen is een kennismaking met het Nederland van duizenden jaren geleden. Een ongerept moerasgebied, met uitgestrekte plassen en woeste graslanden. De natuur mag er onbelemmerd haar gang gaan. Uniek in Nederland én in Europa. Natuurliefhebbers komen hier helemaal aan hun trekken. Vogels kijken op de plassen, een excursie naar de edelherten, een fotosafari naar de grote grazers. Of maak een rustige wandeling naar een van de vogelobservatiehutten.

De Oostvaardersplassen zijn het grootste moerasgebied van Nederland. De weidsheid is ongekend en de natuur heeft er vrij spel. Ontelbare vogels hebben bezit genomen van het gebied. Vooral in de winter is dat een spectaculair gezicht. Het witte besneeuwde winterlandschap is indrukwekkend kaal en stil. De natuur is er nog jong. Toch is het nu al een natuurgebied van internationale allure. De bomen, struiken en bossen zitten vol vogels, zoogdieren en insecten. Grauwe ganzen grazen in het moeras. En de honderden Heckrunderen, konikpaarden en edelherten geven het gebied een haast on-Nederlandse aanblik. Staatsbosbeheer verwacht dat door de strenge winter dit jaar 30 procent van de edelherten, heckrunderen en konikpaarden in het natuurgebied de Oostvaardersplassen dood gaan. Het gaat om ongeveer 1200 dieren. Op zich is 30 procent niet meer dan in voorgaande jaren", aldus Staatsbosbeheer. ,,Maar de kuddes zijn door de zachte omstandigheden van de afgelopen jaren flink gegroeid. In absolute cijfers is het aantal dieren dat dood gaat daarom wel hoger dan normaal." Voor de winter liepen er in het natuurgebied ongeveer 570 heckrunderen, 1140 konikpaarden en 2320 edelherten. In de winter is de sterfte, vooral onder jonge dieren, groot. In de Oostvaardersplassen worden ernstig verzwakte dieren die toch zouden sterven afgeschoten. Zo wordt hen nodeloos lijden bespaard.

  

Spaceship Earth in Future World at Epcot taken after Illuminations.

Panzerbricks display at HBME 2015. Unfortunately there was place to put only two thirds of the collection.

 

We also made a fast improvised diorama with the Panzerbricks train and some vehicles of another builder: "Tanki Sherman". He is a new builder but his creations were very nice, and we will probably do more collaborations in future events.

 

Back at Wisley for some shots of rubber plants in the greenhouse. (Note to self: Remember to write down their names in future!!)

  

macro

.

Venom wishes to take his revenge on Peter Parker, and begins a quest to hunt down those Peter loves, starting with Mary Jane Watson! Venom's already arrived at her house, but Spidey's swooping in now to stop his evil plans!

 

__________________

 

So here is the new Spider-man Diorama I talked about. Hopefully you enjoy it. Now this scene was partially inspired by a scene from the Spiderman N64 game released in... I believe 2000? Anyway the scene in the game you're chasing Venom around New York and fight him in a back alley, he then jumps down into the sewers where Mary Jane is being held captive. I was originally going to build sewers and a drain pipe leading down kinda thing, but I know in future I'll be doing a Batman vs Killer Croc Diorama, so I wanted to save that kinda thing for that diorama. So instead I'll just say this is inspired by that scene, and not based off it.

 

I'm planning more Marvel MOC's too btw, working on an Avengers Diorama now, you you can expect that in the near-ish future :)

 

Credit to Larry Lars for the Window design btw (www.flickr.com/photos/28192677@N06/11907061253/)

Mamiya RB67 proSD

KL 90mm F3.5L

Kodak T-Max iso400

T-max developer

EPSON ES-10000G

 

She continues drawing pictures of animal in future. And she wishes to be an animal... Well, our graduate ceremony will take place tomorrow!

 

November/2019

 

I've just come back from Skomer where I stayed for 3 nights with a great group of photographers. I can't remember when I have laughed so much! Contrary to this image though, the weather was not kind to us. We only managed 2 afternoons of sunshine and a brief 20 minute sunrise but as you will see in future posts the weather gave us lots of drama (and a lot of wet clothes)

I must apologise to all my contacts for my lack of comments over the last month. Due to a shoulder injury, and knowing I had this trip coming up, I had to abandon the computer.

As part of our extremely enjoyable visit to Dubai, UAE in September 2014

 

After alot of thought and consideration, i have put my stanza up for sale, so it will just be the sunny i own in future, i’m asking for around £3000 for the stanza. 36,000 miles, MOT’d until may which it will be exempt by then. If you’re interested in it please let me know otherwise she’ll be listed on Evoke Classics in the coming weeks.

Stocking up on warriors featured in previous MOCs, some still to be used/reused in future MOCs

The current style of markings applied to NSW Highway Patrol cars. The base colour of this one is silver but it can be any colour. Blue, red, white and silver seem to be common.

 

For several decades the main pursuit vehicles in Australia have been locally built large sedans or coupes, but local car manufacturing ceases this year. It will be interesting to see what cars are chosen in future.

Amsterdam Zuid, 12 November 2021.

 

In December 2020 tram service 25 was introduced in Amsterdam. It operates from Amsterdam Zuid to Amstelveen Westwijk. In future it will be extended to Uithoorn. These silver R-NET liveried CAF Urbos trams are used on the service and can operated coupled with a length of up to 60 m.

Super excited that I was not only able to get a retro style bathing suit, but guessed my size online and it actually fit perfect! I have a few others in future sessions down the road (it is summer after all!).