It's fun to finally get to show off the first photos in this dress, along with the then-new blonde wig (which has already appeared before) and the sparkly tights.

Unfortunately I've had a tough week, both with my health recently (I'll try and see a doctor soon to see if there's a long-term issue to worry about) and family issues. I've basically been isolating and avoiding alcohol and we'll have to see what happens with being able to dress and meet in future.

I can't describe my feelings when I put my feet on sands of Empty Quarter at the first time in my life !

It looks like an endless of a gold land which takes all breaths and mind.

I wished that I met some clouds that day but may be I'll have some in future. And I'm really wish that you like this composition in black and white.

You are so welcome to visit my website: www.sakhrphoto.com

My entry for the first 1-hour challenge hosted on my Discord server, themed "Belief".

I decided to go for a crusades inspired build with a praying knight in a desert.

If you wanna take part in future challenges or even one of our collaborations, feel free to join The Workshop: discord.gg/uzZy7cV

Seen at Berkeley Square in London, England, UK, Our Observations in February 2016.

To me as an urban planner, Union Square (as it's formally known) is a spectacle of ultra high density mixed use development. This development is built over the Kowloon MTR Station and sits on 13 hectares of land reclaimed from Victoria Harbour. A high end shopping mall, Elements, occupies well over a million square feet above the train/MTR station. The roof of the mall is used as a quasi public plaza and as access to the multiple towers on site. There are over 8,000 housing units here, as well as the 118 storey Intrenational Commerce Centre and W Hotel.

Housing prices are shocking. At the "Harbourside", the 75 storey blue tower second from left for example, a lower floor 743 square foot two bedroom apartments was listed at $21 million HKD ($3.4 million Canadian/ $2.7 million USD )in December 2017 .

When I first visited this development in 2008, it seemed completely isolated from the city and was not at all a friendly place to get to as a pedestrian. In 2017, it's in the middle of a sea of cranes and new buildings.

In future, there will likely be better connectivity, as more massive development, the West Kowloon Cultural District, is currently taking place on 40 hectares of land adjacent to Elements/Union Square.

Almost 4 meters tall, Faun strikes fear into its owner's enemies. This drone is one of the most versatile recent vehicles designed by Neolith corporation, that can perform various roles: from infantry fire support to safeguarding and protecting secret facilities - everything at the discretion of the customer.

Is it already January...? Or as you MOCers call it - Droneuary.

Started as a bit of tablescrap with legs from Inostrancevia, but I really like eventual result. Also I'm showing off custom parts of mine - those bullpup rifles and a heavy machine gun on the drone itself. Maybe (definitely) I'll use this thing in future dioramas.

Yesterday (25/06/15) I uploaded a photograph of a Marbled white butterfly on a Pyramidal orchid. I thought the photo looked ok. However I have had a few people, not nastily I might add contact me to say they thought it was a bit too warm looking. The white was to much on the yellow side. On studying it myself more closely I realised they were probably right and I had overdone the white balance a little. As I only shoot jpeg, not raw, getting a more cool looking image on editing is not easy to do. However after a few tweaks here and there with the levels and shadows and highlights I think this image is a truer representative of what the camera and I saw. I am always open to critique and don't mind if anyone tells me politely that they think my image is too much this or too much that, you know what I mean or even if it's totally crap as long as it's said politely or privately. Lol. Anyhow enough of my rambling. I hope you think this image is an improvement on the other one and in future I will try to judge the white balance a little better

Had a great time at Brick-a-laide, and I should throw out a thankyou to a very talented man who supplied me with some clever gadgets that'll be used in future displays.

Need some lighting solutions for your next MOC?

Check him out here.

The newest addition to the Bridges of London Family Millennium Bridge and one of my favourites Is there a London bridge not to like? The Millennium stretches across the River Thames connecting St. Paul's Cathedral to the Tate Modern. In future posts, I will share some of my favourite London Walks which will include two ways to use this great bridge. If you want a unique visit to London adds each of the bridges along the Thames River to your list of things to do.

For now, I will say the views east or west are not particularly great, though Tower Bridge is in nice view toward the east. What I love most is being at either end of the bridge - Tate Modern side, or St Paul's Cathedral side. I especially favour this area for night photography because there are fewer people out and about after dark. I often mention exploring London after working hours as the city's population dwindles drastically. Depending on the hour you venture out onto London streets, it is entirely possible to have the town to yourself. And, here is a huge promise to you - when you are on your own in the city, you'll appreciate London more and love her even more.

Being atop the Millennium Bridge is fantastic, which I mention above. The contemporary design and airy feel of the bridge lend itself nicely to being below the bridge. If the tide is low climbing down to the banks of the River Thames is easy enough if you don't mind mud on your shoes. The mud does hold a tripod in place very nicely I might add. There are plenty of interesting perspectives for great photos towards The Shard, Tate Modern and even Blackfriars Bridge. The city lights add interesting elements to whichever scene you choose that you will only capture being directly at the water.

For night photography, this is a fantastic spot for a stunning view of St Paul's large dome. Of course, you'll want to be on the bridge and not underneath it. Get right down low, and place your camera on the bridge. Do be warned as others walk by, there is a vibration, so be sure to keep your camera steady. Patience is the key for brilliant images.

Also be aware a few people will ask you not to include them in your photographs. If you know about long exposures, then you know when the shutter is open for a length of time most people will not appear in your image. On one occasion, I proved this to a passerby. She did not like my answer after she told me not to take photos of her. My reply was - "it doesn't matter, you won't show up in my photo." So, I asked her to walk in front of the camera then return to me. She did just that and voila! She was nowhere to be seen in the image.

No matter if you are only a visitor to London or keen to capture brilliant images of the city, the Millennium Bridge should be on your list of things to do. It should be no surprise I think night time is the best time to be here.

I help aspiring and established photographers get noticed so they can earn an income from photography or increase sales. My blog, Photographer’s Business Notebook is a wealth of information as is my Mark Paulda’s YouTube Channel. I also offer a variety of books, mentor services and online classes at Mark Paulda Photography Mentor

All images are available as Museum Quality Photographic Prints and Commercial Licensing. Feel free to contact me with any and all inquiries.

Follow My Once In A Lifetime Travel Experiences at Mark Paulda’s Travel Journal

Hey guys, Here's my Item for Fameshed Thane Outfit mainly for guys, for Gianni Body.

I planned to do more colours of this and add accessories, but was up against a deadline. I might add some more in future.

hope you like..... Thx.

TP: maps.secondlife.com/secondlife/FaMESHed/119/157/1999

Join with me here: Facebook

When I was a boy I was travelled with my parents once in month through high Hills. The route was so long from Office place to our home approx. 10hrs. journey, sometimes due to landslide it goes to 15/20 hrs. So many times I have watched evening in Hills from Cars or Bus. That time I thought I have to sit such a place where clouds are coming from Top of the Hill to Down and light goes down and I am sitting alone and thinking something different, no crowd, no people, no disturbance, no busy life ..only alone.

My Friends, after 26 years I have found the same situation in Sachen, This capture when I have taken, I was alone, friends were busy in talking on that trekkers hut, I was sitting in a place near to the trekking route. The clouds are coming from upside of the hill to below and low light due to evening..what a coincidence!!!! I beleive sometimes what we think today may be(sometimes) it will come true in future.

I have enjoyed that evening very much. The story will continue....

Wish you all Merry Christmas and Happy New Year 2012

Thanks for your Visit, Comments,Suggestions!!!

***********Press L to view in Black***********

***********If you like it press F***********

Please don't use this image on websites, blogs or other media without my explicit permission... © All rights reserved...

A female Golden-headed Quetzal (Pharomachrus auriceps).

This photo was captured as the female emerged from her nest in a dead tree right by the road by a site visited on our Birds of Colombia Photo Expedition.

Fortunately she paused on some branches near by and the sloping terrain allowed us to get eye level with her to capture this shot.

Fingers crossed they will continue nesting there in future years so guests can continue to snap their own photos to take home and preserve the memory forever.

Untamed Birds of Colombia Expeditions

Naun Amable Silva

Canon EOS 5D Mark IV

Valle del Cauca, Colombia - March 2020

Peace and Calmness lies to live in present not in Past not in Future.

BNTM C . 3 HAS ARRIVED

I am your host, Ruby Lowe and welcome to BNTM C . 3

"Hello. Today is the day that auditions are open. This BNTM is just like your normal competition. Themes are to be judged at a high standard, as the themes may become very difficult. No twists and changes to this competition. We are keeping it standard, as you can wait for what's to come in future cycles." - Ruby

Auditioning Requirements.

Our auditions will be different to others. I personally hate doing Auditions, so this audition is only requiring a simple close-up. They are easier, and often show the photographer's real talent.

- Purple Shirt! If you don't have one, edit it.

- Any bottoms if the top of them will be visible, we still want you to wear pants even if they won't be fully seen.

- Close-up (Waist up)

- Preferably Landscape

- White Background

- Hair up and out of your face

- Makeup of your choice

- Good quality please!

Please include the following:

- Name

- Age

- Nationality

- Why you deserve to get in

Even though this is just a simple close-up, take your time as it can make or break your chance on getting in.

Prizes.

1st -

- Cover of mood & beauty in mood

- 5 page spread in mood

- 5 year contract with flush models

- Face of Splash Cosmetics

- $100,000 worth of Splash Cosmetics

- Possibly, a doll from ebay of your choice.

2nd -

- Cover of mood

- 3 year contract with flush models

- $1,000 worth of Splash Cosmetics

Rules.

Normal rules with a competition. If you don't know them, then you better find out because breaking them can get you sent packing.

My rules are,

- Please have a posable body! But no 2013 body's aloud.

- ONLY BRATZ DOLLS SORRY

- Do not quit, then join another person's contest. That is just rude. If you do quit, there will not be an elimination so that I can stick to my calendar. Yes I have a calendar for this. I actually want this to be a good competition!

You have 2 safe’s and on your 3rd no photo, you’re gone. But you have to have a good reason and contact me for you to be safe.

14 beautiful models needed. Please try and make them from around the world. If I don't get at least 14 auditions, the deadline will be extended.

Please join people, I would love a great turn out for this!

And please don’t think that I will just cancel this cycle, because trust me I have put too much effort into planning this I could never.

Deadline is July 10th

Auditions:

1. Cade Brooklyn: www.flickr.com/photos/v1cthepurplejagerbomb/14343304466/

2. Khaleesi Dothraki: www.flickr.com/photos/93280992@N05/14182073279/

3. Hebroni Quinn: www.flickr.com/photos/120568483@N05/14416766513/in/photos...

4. Madonna: www.flickr.com/photos/sailorcrystel/14392602516/

5. Cecelia Blackwood: www.flickr.com/photos/108505456@N05/14236411269/

6. Cassandra Kerr: www.flickr.com/photos/108808824@N05/14420080661/

7. Alarna Decosta: www.flickr.com/photos/123226202@N04/14555829474/

8. Ariana Roberts: www.flickr.com/photos/glglover78/14242926027/

9. Adelia Tomson: www.flickr.com/photos/94548007@N05/14259515718/

10. Elektra-Ann Giannakou: www.flickr.com/photos/88102708@N07/14593563461/in/photoso...

11. Tulisa Caroni: www.flickr.com/photos/119129024@N05/14267329200/

12. Analiese Brooks: www.flickr.com/photos/125311807@N08/14446834276/

13. India Aiden: www.flickr.com/photos/113223348@N03/14464951766/

14. Delilah Augustine: www.flickr.com/photos/bratzjaderox/14444260087/

15. Peyton Chance: www.flickr.com/photos/bratzrlife13/14580485993/

16. Sabrina Moon: www.flickr.com/photos/glitzysistersx9/14595793192/in/phot...

17. Harper Akinna: www.flickr.com/photos/bratzshows102/14600421836/

18. Analeigh Clark: www.flickr.com/photos/93283699@N03/14597497254/

19. Rose Yamazaki: www.flickr.com/photos/rainbowdoll489/14405714357/in/photo...

20. Cara Vosovic: www.flickr.com/photos/obsegebitz_livlover/14599477292/in/...

21. Sui Rozen: www.flickr.com/photos/carolparvatilara/14636912933/

22. Minako Miku: www.flickr.com/photos/mhperfectlyimperfect/14427017838/in...

23. Maura Venkel: www.flickr.com/photos/109421295@N06/14426497298/in/photos...

24. Ariel Freshwater: www.flickr.com/photos/blakelovesdolls/14651287693/in/phot...

25. Blaire Hudson: www.flickr.com/photos/84271682@N06/14637827455/

The Tower of Orthanc as a 16x16 mini modular house.

Its cloudy today again, looks like I will have to switch to artificial lights in future.

I also have an account on Instagram

www.instagram.com/paddybricksplitter/

Rogers Park, Chicago, Illinois.

Sunday, May 7, 2023.

34,5/365

Behind the scenes shot of some preparations and guitar practise with up-coming amp present.

Through careful testing we have arrived at our intermediate conslusion: Gibson guitar with Fender Amp = amazing sound. We will continue to develop our understanding in future I'm sure and may add more amps and guitars as required :))

Strobist: Gridded strips with Elinchrom BRX 500 camera right. Elichrom Dlite 1 behind subject pointin at background which is camera left. Elichrom DLite one from above on boom with gridded beauty dish. ELichrom Quadra Ranger eco ringflash camera left pointing on background.

Nikkor 50f1.4 at f8

Just a bit of fun here, if anyone is interested. Ever since they debuted in my 19 seconds dio, I’ve been struggling to come up with the right name for these silver robot thingies. They’re meant to be an enemy for the Dawn Forge…some sort of ancient, lost machine race that the DF stumbled upon, awoke, and now have no end of trouble with. They were the nameless foe in the Zero Hour project, and I plan on continuing to expand the theme (right now there are only two distinct types, though more are forthcoming) and use them in future projects, so…they need a name.

Which is where you, kind viewer, comes in…give these guys a name! Please? A completely made up name that sounded exotic or menacing is what I was originally going for, but I’m certainly open to whatever you guys might come up with. Simply leave a comment with your suggestion, and after one week, I’ll look them over, pick one, and whoever suggested it will win the vignette pictured here. No, it’s not exactly the crown jewels, but all you gotta do is think of a name for cripes sake! Only one name suggestion per person. Yes, you can edit your comment to change your suggestion if you think of a better one, as long as it is within the one week time period (which ends on 5/5/09 at 11:59 pm CST).

Oh, and just so it's clear, you're supposed to give a name the race of silver robot thingies...NOT the vig.

So put your sci-fi geek thinking cap on (you know, the one with the Mr. Spock ears) and help me out. Because, heaven knows I need it, and hey, free Lego is never a bad thing…

Edit- Just FYI, this “contest” is going on over at MOCpages as well.

Edit- OK, let me address a few questions brought up here and elsewhere.

Should the name be the true name of the silver creatures, or a name the Dawn Forge might give them, under the assumption that there is no way the DF would know their actual name?

My answer is to do whatever seems right to you. I can come up with several scenarios of how the DF might discover their true name, or at least the name they were called at some time in the distant past by civilizations now long dead. Remember, this is an ancient race, and could conceivably have been called many different things by many different people, so pretty much any naming convention is fair game. I can also see the logic and the appeal of a more conventional name given to them by the DF, or even the nameless mystery provided by essentially having no name, and continuing to call them silver creatures. The point is, I’m considering any and all suggestions…just do what sounds best to you.

Will you ship internationally?

Absolutely, as long as the winner is reachable by conventional means, i.e. the postal system, UPS, Fed Ex, or whatever. I probably can’t get it to an isolated hut in the middle of the Amazon rainforest.

How will I know if I won?

I’ll post the winning suggestion here when the contest is over, as well as flickr mail the winner to get his/her mailing info.

If I win, will you substitute an E1 UNITY combat droid in place of the vig?

Sorry, but this one is all about the silver guys. You’ll just have to wait for the inevitable Dawn Forge building contest…;-)

Will you sign the Vig?

Sure, if you really want me to, but my ego is already big enough without any help from you lot…

And remember, only one name suggestion per person to qualify to win the vig. A few small spelling or pronunciation variations are OK, but it must be obvious that they are all basically the same name. Also, if you change your name suggestion to something you like better (which is perfectly fine), please edit your original post instead of making a new one to cut down on the confusion.

And, we have a winner!

Well, my laptop just died, and the back story went with it…*sigh* I’m not going to hold things up any longer to redo it now, so without further ado, the silver creatures new name is…the Csek! (Pronounced “sek”, same spelling both singular and plural)

Many thanks to Leo-J A from MOCpages for his suggestion. Actually, his suggestion was “Ztivone Csek”, which is my last name spelled backwards. Now, even I couldn’t swallow that much narcissism, but the second half of the name caught my eye, and never let go. Leo actually suggested pronouncing it (kuh-sec), but I prefer the sharp and sweet one syllable version.

I know many people questioned if the Dawn Forge would know the real name of these guys, or would the DF actually come up with their own name that they would refer to them as. I assure you, the back story (after I rewrite it…grr!) will explain how the DF found out the true name, but the meat sacks did get in on the action a bit and were good enough to name the individual Csek units as they were encountered on the field.

Nameless no longer, I give you the Csek Disciple and the Csek Reaper. I’ve got some more details on the Csek (as observed by the Dawn Forge in their encounters with them), but that too will have to wait a bit until I sort my computer woes.

I also said I would list my other favorite suggestions, so here they are (from both flickr and MOCpages), in no particular order-

Khad

Csek

Vorukk

Shkarr

Ryjk

Prehadean

Aersache

Cerberus

The Veil

Atroxi

Nyaar

The Risen

Shining Horde

The Awakened

The Fallen

Croyden

Gight

The Markata Aya

The Driven

Cursed Engines of the Gods

Atkars

The Pure

Many thanks to everyone who took part in this little “contest.” The level of participation went far beyond what I had expected, so it was a really gratifying experience for me. Although, in truth, I realize that it’s still all about the free laygoes…;-)

Thanks again, everybody...hopefully I'll see some of you at Brickworld '09 in Chicago!

While creating this MOC I tried to do something unique with the rocks and after some experementing I found a technique that I am looking forward to use and improve in future Creations :)

A little vehicle I've built for my postapocalyptic universe, as small vehicle carried by airships for recon and light support.

I am sure I will change a few things in future, for example I don't like turret.

More builds for my post-apo will follow! :D

Ilford Delta 400 Pro. Generally to fast for such light however, I unfortunately had no other film at my disposal. Moreover after some rolls of this film I think that Delta 400 is kind of too flat (greyish) and for my taste too grainy, at least as a 135 film. The flatness is good for scanning while the grain is not. Since I ultimately want to print in the darkroom, I will only use FP4+ and HP5+ and maybee Delta 100 in future. Unfortunately Tmax 100 is not available as bulk film.

Been off road since 2008, passed its last mot in 2007 with 49,520 miles on the clock but and I don’t think it will pass its next mot or do any more miles due to state. I think this car is probably beyond to be back on rd in future. Thanks to wheel trims uk for giving me the location of this find

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.

(DSC_6047fin2)

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

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

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.

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.

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.

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!

First off:

OMG ITS BEEN SO LONG!!??

Ya, so in case you haven't noticed lately I've been super inactive on here. And I'm sorry, I really do want to upload in here but I just hardly have the time to make figures anymore let alone upload pictures of them. But I'm going to try to be way more on top of things now, but finding the time is just really hard. Anyways.

Telltales second episode here was umm really awesome. I honestly had so much fun being like a member of the "pact" I really enjoyed this episode and I'm so excited for the next.

So I know a lot of people don't like this adaptation of Harley Quinn but I really do, I've heard a lot of complaints about the way telltale is doing things and it not being faithful to the source material but I disagree. I really enjoy it, it makes things fresh and interesting but also still Batman.

L-R:

John Doe: I love John, like straight up if there's an option to romance John in the future I will take it. I'm such a big fan of him here. Every time we interact with him I'm on the edge of my seat. Like what is he gonna do. Anyway big fan of John. The figure is nothing interesting.

Mr. Freeze: He didn't have a lot to do in this episode but I'm excited to see his role grow bigger in future episodes.

Ideal head would be LBM Freeze but I don't have that. Ultron piece, handcuff gauntlet to show his glove, Freeze torso and War Machine legs.

Bruce Wayne: I love Telltale's Bruce Wayne, I like how real of a person he is, Bruce isn't just a mask for Batman which I like.

Owen grady torso, Superboy head and legs and the hat is the best I could find.

Bane: I'm not the biggest fan of this Bane but I still like him. I think starting off the episode with him was a smart choice showing the true danger of the Pact.

Bane head, Lego movie moustache, handcuff gauntlets, reversed Lex Luthor torso, CMF Dino hunter legs.

Harley Quinn: Definitely the highlight of the episode for me. I loved her, at first I thought the accent seemed kinda forced but it grew on me. The car drive was probably my favorite scene because of her. I loved how smart she was, We all know Harley Quinn is very smart and how perceptive she is. But that doesn't always show in other renditions of her. While I know some will disagree with me here I found it very interesting how Telltale has reversed the Joker-Harley relationship and I'm excited to see how it progresses.

Custom cape jacket thing, LBM Mayor hair, Jokerland torso and head, Superboy arms, 2012 leg, LBM hips, Hawkeye leg, and she's wielding her gun and sledgehammer.

Let me know what you guys thought of the Pact, and the figures. So glad to be back!

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 :)

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.