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Sunspots increase : Pentax-K1 + HDPentax-DFA450mmf/5.6 EDDCAW , Focal Length 576mm (( 24x24mm Format ) : Sunset
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www.servervoip.com/blog/ventajas-de-voz-sobre-ip-en-red-l...
This is a Victory stamp from 1942. One of the stratagies used to raise money to pay for that war. The increments on the ruler are .5mm.
Orden: Passeriformes
Familia: Sylvidae
Genero: Sylvia
Nombre común: Curruca cabecinegra
Nombre cientifico: Sylvia melanocephala Macho
Nombre Ingles: Sardinian Warbler male
Lugar de captura: La portilla del Tietar, Monfrague, Extremadura
Estatus: Especie catalogada de interés especial (Catálogo Nacional de Especies Amenazadas). Estatus seguro. Se estima que su población está en incremento.
Longevidad: Pueden vivir hasta 5 años.
Peso: 10-14 gramos, aproximadamente.
Envergadura: con las alas abiertas pueden medir alrededor de 15-18 cms.
Longitud: 13 cms. aproximadamente.
Por: Cimarron mayor Panta
A CORAZON ABIERTO PARA MIS AMIGOS IBERICOS! BIENVENIDOS TODOS AL CONCIERTO CURRUCUSERO!!!
En cosmología física, la energía oscura es una forma hipotética de materia que estaría presente en todo el espacio, produciendo una presión negativa y que tiende a incrementar la aceleración de la expansión del Universo, resultando en una fuerza gravitacional repulsiva.Asumir la existencia de la energía oscura es la manera más popular de explicar las observaciones recientes en las que el Universo parece estar expandiéndose con una tasa de aceleración positiva. En el modelo estándar de la cosmología, la energía oscura actualmente aporta casi tres cuartas partes de la masa-energía total del Universo.
Dos posibles formas de la energía oscura son la constante cosmológica, una densidad de energía constante que llena el espacio en forma homogénea y campos escalares como la quintaesencia: campos dinámicos cuya densidad de energía puede variar en el tiempo y el espacio. De hecho, las contribuciones de los campos escalares que son constantes en el espacio normalmente también se incluyen en la constante cosmológica. Se piensa que la constante cosmológica se origina en la energía del vacío. Los campos escalares que cambian con el espacio son difíciles de distinguir de una constante cosmológica porque los cambios pueden ser extremadamente lentos.
Para distinguir entre ambas se necesitan mediciones muy precisas de la expansión del Universo, para ver si la velocidad de expansión cambia con el tiempo. La tasa de expansión está parametrizada por la ecuación de estado. La medición de la ecuación estado de la energía oscura es uno de los mayores retos de investigación actual de la cosmología física.
Añadir la constante cosmológica a la Métrica de Friedman-Lemaître-Robertson-Walker (FLRW) conduce al modelo Lambda-CDM, que se conoce como "modelo standard" de cosmología debido a su coincidencia precisa con las observaciones.
No se debe confundir la energía oscura con la materia oscura ya que, aunque ambas forman la mayor parte de la masa del Universo, la materia oscura es una forma de materia, mientras que la energía oscura es un campo que llena todo el espacio.
En astrofísica y cosmología física se denomina materia oscura a la materia hipotética de composición desconocida, que no emite o refleja suficiente radiación electromagnética para ser observada directamente con los medios técnicos actuales pero cuya existencia puede inferirse a partir de los efectos gravitacionales que causa en la materia visible, tales como las estrellas o las galaxias, así como en las anisotropías del fondo cósmico de microondas. (danke Wiki vulgarizer)
I’ll start with how I achieved this image. I took 9 images in 1 stop increments, in RAW format. I did this using the camera’s shutter release button. I wanted to capture the wildflowers in as much detail as I could, there was a slight wind, but calmed a bit as the sun was setting. With a lot of landscape I do I use a wireless shutter release, but 3 shot burst bracketing, is a lot faster and you’ll get less blur and ghosting from vegetation. I found this place in advance, set up and waited to be absorbed by the beauty and color that you see. I took many, many sets of 9 shots, different angles, compositions, f stops and ISOs. I layered the 9 images in Photomatix Pro, then did final edit in Lightroom CC.
When I got home, I was met by the usual Yosemite Mobbers/Haters, gloating and baiting, as I walk through the Hall of Hate. When I start my processing; I’ll fist bring my images up in Nikon’s View NX2. I do this to view and select the images and sets to work with. As I do this, I keep notes on the images that I want to use. Remember, I took a butt load of pics. I’ll copy the ones I want and put into a separate folder. With this image, I selected 6 sets, of 9 bracketed images, to work from. These are all in RAW format. I will open Photmaitx Pro 6; from there you can Drag and Drop, or Browse and Load. I select Browse and Load. Once there in the Photomatix window, look to the right top shaded area. Click on the small downward arrow, then select Details. This will place your pics in a list, instead of icons and is much easier to select the 9 pics of each set. Once you highlight the 9 pictures, press open and follow the steps. There are plenty of Tutorials on Photomatix and it’s an easy program to work with. I’ll save the image in TIFF format, Photomatix will save it in the same folder. I will take only the finished Photomatix images that I want to work with and place them to a new folder. I do this because, I do my final edit in Lightroom and I don’t want to fill my Lightroom libraries with a bunch of RAW images that I don’t use. You can edit your pics in any program that will except TIFF format. I save in TIFF to retain as much uncompressed data as possible.
Now that I have these pics in their own folder, I will bring that folder up in Lightroom CC. I did no color editing with this image. I did a little Shadow reduction, added a little Clarity, Dehaze, Vibrance and a light Vignette. I used my Nikon D600 and Bower (Samyang) 35/1.4 at f8, ISO 640. Folks, this is what Crazy can do; the Yosemite Mobbers/Haters want you to think I’m Crazy. And for listening pleasure, you can hear what Crazy Really Is; with the other Post title “No Boundaries” Those here in Yosemite’s Mobbing Community, have none. People; Gang Stalking, Community Stalking and Workplace Mobbing are real. Here in Yosemite National Park; they have these Toxic, conspired forms of spreading hate perfected and some are even rewarded.
Yosemite’s current Superintendent is: Michael T Reynolds
Nominated Director National Parks Services is: David Vela
Audio Truth about Yosemite National Park: flic.kr/p/2hJ7Rye
• The truth about Yosemite 2016 to current: www.nbcbayarea.com/news/local/Yosemite-Chief-Retiring-Ami...
Thank you and Flickr for giving me the opportunity to expose the Truth. Doing so, is becoming more dangerous each and every day, in the United States.
Uribelarrea es una localidad del partido de Cañuelas, provincia de Buenos Aires, Argentina.
Cuenta con 1282 habitantes (INDEC, 2010), lo que representa un incremento del 11,7% frente a los 1147 habitantes (INDEC, 2001) del censo anterior.
Historia
El pueblo fue fundado en 1890, cuando el estanciero Miguel Nemesio de Uribelarrea donó parte de sus tierras con el propósito de establecer una colonia agrícola. El 14 de julio de 1890 se inauguró la Iglesia de Nuestra Señora de Luján, diseñada por el arquitecto Pedro Benoit con influencias neogóticas.
En 1892, cuando ya había 19 construcciones en Uribelarrea, comenzó a funcionar la estación ferroviaria, que conectó al poblado con las ciudades de Cañuelas y de Lobos. El 26 de enero de 1894 se fundó la Escuela Agrotécnica Salesiana "Don Bosco", considerada la primera de su tipo en la Argentina.
En las décadas de 1930 y 1940, Uribelarrea tuvo su mayor apogeo, relacionado con la producción lechera. Llegaron a instalarse 50 tambos y varias queserías, mayormente explotados por inmigrantes vascos e italianos.
Uribelarrea ha visto durante los años 2000 un nuevo despertar, relacionado con su valorización como ambiente conservado al estilo antiguo, como curiosidad histórica y polo gastronómico de comidas tradicionales del ambiente rural (quesos con especias, embutidos, asado, e incluso comidas alemanas). Un buen número de cañuelenses, e incluso porteños establecieron allí sus residencias de fin de semana.
Filmes
Uribelarrea ha sido escenario de distintas películas, como Juan Moreira de Leonardo Favio (1973) y Evita de Alan Parker (1996). Esta última donó a la Iglesia Nuestra Señora de Luján los vitraux que se usaron para las escenas filmadas allí, sumándose estos a los auténticos.
Un escenario de fotógrafos cautivados por sus espacios verdes, su cultura, sus antigüedades, su "PALENQUE", un almacén construido hacia 1890, que también funcionó como depósito de sal para los saladeros de la zona. Actualmente es un bar y casa de comidas.
Estación Uribelarrea
Es una estación intermedia de servicios interurbanos de Trenes Argentinos Operadora Ferroviaria (Línea General Roca) con destino a Saladillo y General Alvear, con 4 servicios de ida y 4 de vuelta semanalmente.
En noviembre de 2015 se implementa un servicio regular entre Cañuelas y Lobos, parando también en Empalme Lobos. Hay dos servicios matutinos y dos vespertinos en cada sentido.
Mapa Turistico
web.archive.org/web/20120509120620/http://www.infocanuela...
Municipalidad de Cañuelas y otras
es.wikipedia.org/wiki/Juan_Bosco
infocanuelas.com/turismo/uribelarrea-un-oasis-muy-cerca-d...
Da qualche settimana è stato incrementato il numero di convogli intermodali provenienti da Venlo e diretti a Melzo Scalo, passati da 2 a 3 treni giornalieri; nella foto possiamo osservare il nuovo convoglio in questione mentre transita presso Lavorgo (CH), al traino della E 486-504 e della E 186-251 di BLS.
Il punto essenziale del provvedimento governativo sta nella doppia manovra: abbassamento di un punto di una o due aliquote Irpef, quella al 23% e quella al 27%, mentre, anziché scongiurare l’incremento dell’Iva, lo si eleva di un punto. Si dice che le due cose dovrebbero stare in equilibrio, ma è assai poco credibile che così effettivamente sia.
La riduzione dell’Irpef dovrebbe portare a un risparmio medio di circa 187 euro a persona su una platea di 30 milioni di contribuenti. Ma questo avverrebbe senza sostanziali differenze fra redditi alti e bassi. Infatti, in virtù del meccanismo progressivo a scaglioni, del taglio delle aliquote beneficeranno tanto i redditi fino a 28mila euro, quanto quelli fino a 75mila euro.
Assai difficile è quantificare quale sarà l’aumento dei prezzi dovuto all’incremento di un punto dell’aliquota Iva. Esso, però, cade proprio nel momento in cui l’Istat rende noto che il potere d’acquisto dei salari è diminuito di un altro 4,1%. Come si sa l’incremento dei prezzi dovuto all’innalzamento dell’Iva riguarda l’intera platea dei consumatori. In astratto si potrebbe dire che colpisce quelli che hanno possibilità di consumare di più. In realtà è il contrario, specialmente se si esce dalla nuda statistica e si guarda alla realtà delle condizioni di vita. Per i redditi da lavoro dipendente che hanno già perduto così tanto potere d’acquisto, per la fascia accresciuta di poveri che popolano il paese, anche un modesto incremento dei prezzi può rivelarsi fatale e ridurre in modo vitalmente sensibile la loro capacità di consumo di beni essenziali.
Se aggiungiamo a questo quadro il rifiuto, ipocritamente nascosto dietro la foglia di fico del parere negativo espresso dalla ragioneria di stato, della soluzione del drammatico problema degli esodati privi di qualunque protezione e il contemporaneo rinvio di un anno dell’introduzione dell’Imu sugli immobili ad uso commerciale di proprietà della Chiesa, il carattere iniquo e persino provocatorio del provvedimento governativo appare in tutta la sua luce.
Leadenhall Market London, a 5 frames at 1 stop increments HDR (High dynamic range) image. _30A8425 tmd
This is 9 images, bracketed in 1 stop increments, layered in Photomatix Pro 6, final edit in Lightroom CC. Lightrooms new Dehaze and Texture sliders; really clean up the detail in landscape photos. This Memorial Day weekend, if you would like to learn some truths about Yosemite National Park, about America; take a look, read and listen through my photostream. Written and posted by a veteran, spawned from generations of veterans. It may be the most patriotic thing you do all weekend.
The Truth about Yosemite National Park: flic.kr/p/2hJ7Rye
Thank you for visiting my photstream.
Note the incremental growth of the ice cover on the river: linear units of ice are being successively added from right to left.
Copyright J.R. Devaney
Uribelarrea es una localidad del partido de Cañuelas, provincia de Buenos Aires, Argentina.
Cuenta con 1282 habitantes (INDEC, 2010), lo que representa un incremento del 11,7% frente a los 1147 habitantes (INDEC, 2001) del censo anterior.
Historia
El pueblo fue fundado en 1890, cuando el estanciero Miguel Nemesio de Uribelarrea donó parte de sus tierras con el propósito de establecer una colonia agrícola. El 14 de julio de 1890 se inauguró la Iglesia de Nuestra Señora de Luján, diseñada por el arquitecto Pedro Benoit con influencias neogóticas.
En 1892, cuando ya había 19 construcciones en Uribelarrea, comenzó a funcionar la estación ferroviaria, que conectó al poblado con las ciudades de Cañuelas y de Lobos. El 26 de enero de 1894 se fundó la Escuela Agrotécnica Salesiana "Don Bosco", considerada la primera de su tipo en la Argentina.
En las décadas de 1930 y 1940, Uribelarrea tuvo su mayor apogeo, relacionado con la producción lechera. Llegaron a instalarse 50 tambos y varias queserías, mayormente explotados por inmigrantes vascos e italianos.
Uribelarrea ha visto durante los años 2000 un nuevo despertar, relacionado con su valorización como ambiente conservado al estilo antiguo, como curiosidad histórica y polo gastronómico de comidas tradicionales del ambiente rural (quesos con especias, embutidos, asado, e incluso comidas alemanas). Un buen número de cañuelenses, e incluso porteños establecieron allí sus residencias de fin de semana.
Filmes
Uribelarrea ha sido escenario de distintas películas, como Juan Moreira de Leonardo Favio (1973) y Evita de Alan Parker (1996). Esta última donó a la Iglesia Nuestra Señora de Luján los vitraux que se usaron para las escenas filmadas allí, sumándose estos a los auténticos.
Un escenario de fotógrafos cautivados por sus espacios verdes, su cultura, sus antigüedades, su "PALENQUE", un almacén construido hacia 1890, que también funcionó como depósito de sal para los saladeros de la zona. Actualmente es un bar y casa de comidas.
Estación Uribelarrea
Es una estación intermedia de servicios interurbanos de Trenes Argentinos Operadora Ferroviaria (Línea General Roca) con destino a Saladillo y General Alvear, con 4 servicios de ida y 4 de vuelta semanalmente.
En noviembre de 2015 se implementa un servicio regular entre Cañuelas y Lobos, parando también en Empalme Lobos. Hay dos servicios matutinos y dos vespertinos en cada sentido.
Mapa Turistico
web.archive.org/web/20120509120620/http://www.infocanuela...
Municipalidad de Cañuelas y otras
es.wikipedia.org/wiki/Juan_Bosco
infocanuelas.com/turismo/uribelarrea-un-oasis-muy-cerca-d...
Here's another tiny incremental change to an older model thanks to new parts being available. The new set 41386 brings us 58176 / 29380 in yellow! This allows me to make the mirrors smaller and more subtle, and I think it looks much nicer than the lever bases I had to use before.
Cifre sempre più allarmanti, sulla povertà. Nel 2010 in Italia le famiglie in condizione di “povertà relativa” erano 2 milioni 734 mila (l'11% delle famiglie residenti), pari a 8 milioni 272 mila persone, il 13,8% dell'intera popolazione. Lo dice il Rapporto sulla Coesione sociale 2011 presentato da Inps, Istat e ministero del Lavoro e delle Politiche Sociali.
La povertà relativa è un parametro che esprime la difficoltà nell'accedere a beni e servizi in rapporto al livello economico medio di vita dell'ambiente o della nazione. Secondo il rapporto nel 2010 il 10,2% delle persone viveva in famiglie, dove meno del 20% del tempo teoricamente disponibile è impiegato al lavoro. Questo dato si spiega anche con la prolungata convivenza con i genitori dei giovani 18-34enni in cerca di occupazione. Nel corso degli anni, la condizione di povertà è peggiorata per le famiglie numerose, soprattutto per quelle con figli minori e residenti nel Mezzogiorno, per le famiglie dove convivono più generazioni e per quelle con un solo genitore.
Nel 2010, l'incidenza della povertà relativa riguardava il 28% fra i minorenni se vivevano con i genitori e almeno due fratelli (dato che diventa del 10,7% se si fa riferimento alla povertà assoluta, con la quale si indica l'incapacità di acquisire i beni e i servizi necessari a raggiungere uno standard di vita minimo accettabile nel contesto di appartenenza), mentre superava il 33% (11,8% nel caso della povertà assoluta) se vivevano in famiglie con membri aggregati.
Nel Mezzogiorno la povertà relativa non scende al di sotto del 26% (7% per la povertà assoluta). Allargando l'analisi del fenomeno a livello europeo, i quattro paesi meridionali (Spagna, Portogallo, Grecia, Italia), insieme al Regno Unito, sono quelli caratterizzati dal maggior grado di disuguaglianza nella distribuzione dei redditi nell'Europa a 15. In base al rapporto fra la quota di reddito del 20 percento più ricco e quella del 20% più povero della popolazione, nel 2010 i paesi con la minore diseguaglianza nell'Europa a 15 sono i Paesi Bassi, l'Austria, la Finlandia e la Svezia.
El municipio de Victoria suspendió por diez días corridos todo tipo de actividad lúdica y recreativa a raíz del incremento de casos de coronavirus en los últimos días. Esta medida involucra a los rosarinos que poseen embarcaciones y suelen cruzar a las islas frente a la costa de Rosario.
Las medidas fueron decretadas este martes por la Municipalidad de Victoria e incluye a actividades tales como windsurf, canotaje, remo, vela, Stand Up Paddle, natación de aguas abiertas y pesca deportiva.
El detalle es que las autoridades de Prefectura fueron notificadas de tal restricción, por lo que los rosarinos no podrán cruzar a las islas, puesto que el canal es el que divide las jurisdicciones de Rosario y Victoria.
Más allá de la disposición del municipio de Victoria, la provincia de Santa Fe evaluaba restringir la actividad náutica en el río Paraná al entender que los incendios en las islas son intencionales. Así lo indicó este martes la ministra de Ambiente y Cambio Climático, Erika Gonnet, quien afirmó que la situación que se vive en el Delta “ha superado cualquier pronóstico” y “parece que nada alcanza”.
La situación en las islas entrerrianas está descontrolada. En los últimos días se agravaron los focos y este lunes incluso se registraron lluvias de cenizas en varias zonas de Rosario. Además, grupos ambientalistas cortaron el tránsito en el puente Rosario-Victoria para reclamar soluciones a los poderes públicos.
Fuente: La Capital
One more look at BUWA. It would be my last look at the "real Iowa Northern". Four days earlier the STB had approved CN's acquisition of this shortline, by the time I visited again it would officially be a CN property. Thankfully, changes have been incremental with plenty of IANR locomotives staying in the area for the time being.
January 18, 2025.
Kingdom Animalia (Animals)
Phylum Arthropoda (Arthropods)
Subphylum Hexapoda (Hexapods)
Class Insecta (Insects)
Order Diptera (Flies)
No Taxon (Orthorrhapha)
Superfamily Asiloidea
Family Asilidae (Robber Flies)
Subfamily Asilinae
Genus Proctacanthus
Common names: Giant Robber Flies, Spine-tailed Robber Fly (P. arno)
May 7, 2020, Jefferson County, Flint Rock WMA, west of Nutall Rise, Florida.
M6 Mark II; MP-E 65mm f/2.8 1-5x Macro; Stack of about 150 images @ 100um increments. Tv 1/200, ISO 100, Av II; Diffused and reflected light from speedlites. Processed with Helicon Focus 7 Method B.
200507_Rob_Fly_Profile_01
Seven images in one stop increments, taken with Nikon D600, Tamron 24-70, 2.8 @ f13. Workflow and final edit in Lightroom 5.7, Layer and fusing in Photomatix Pro 5, Color and effects in NIK Collection, Logo in Gimp 2.8. I started with nine images, but the 2+ and 3+ overexposed were blown way out, because of the sun, so I omitted them. The sky was also washed out so I used a ND Filter effect in NIK Collection.
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
With my last post “Decorating a Tree” I used the term “torture”. With the recent Senate Intelligence Committee on CIA Torture; I’d like to elaborate on this. Like so many times before; the CIA lied and said they did not torture, and when it was exposed they called it Enhanced Interrogation. When the Committee’s report said this was torture; the CIA and many Politician tried to justify the use of torture, as the media fell in place and most Americans looked away. Power decoupled from responsibility has become the American way.
Federal Law defines torture as “the intentional infliction of severe physical or mental pain or suffering”. This is also banned by the Convention Against Torture; the International Treaty that the United States ratified in 1994. This requires prosecution of any acts of torture. Acts of torture are prohibited by Federal Law.
A Targeted Individual endures 24/7 Stalking, Harassment, Sleep Deprivation, Street Theater, Gas-Lighting, Workplace Mobbing. These are acts of Conspired Psychological Torture. This is done to US Citizens living on US soil; while our Government and Law Enforcement Look Away. This bombardment of Psychological Torture has been shown to increase the risk of cardiovascular disease, metabolic diseases, likelihood of diabetes and cancer. This at the hands of conspired perpetrators involved in Gang Stalking, Community Stalking and Workplace Mobbing. If your son or daughter came to you, said they exposed corruption and illegal activity and are Targeted; would you look away?
Gang Stalking, Community Stalking and Workplace Mobbing are Psychological Torture. These illegal and immoral acts are carried out by residents and contractors; in Yosemite National Park every day, while Yosemite’s Superintendent and Law Enforcement look away.
If you are not familiar with Street Theater and Gas-Lighting; please take the time to research. If you would like ti hear it, put on a good pair of headphones and listen
Thank you for taking the time to visit my photostream.
With this picture; I took five images bracketed in 1 stop increments. I used Photomatix Pro 6.3, to layer them. In Photomatix, it only takes a few minutes to do so. I then, took that layered image, did my final edit in Lightroom CC. I bumped the Clarity up 20, Dehaze 10, added a medium Vignette, and my Logo. The whole process took about 25 minutes, once I had the 5 images selected. Koda the Magnificent, stood in place, given the wait command. He’s quite the trooper and truly Magnificent.
Now, to the title. I informed the Grand Junction, VA staff; that I would be sticking around until mid November. They, in turn, must have informed the local Bottom Feeders Association. We couldn’t make it out of the hospital; without being mobbed and blocked.
Koda, and I went to the local Zoo (Walmart), shortly after. I must have mentioned the Grand Junction, Walmart, too many times in my last post. Yep, some of the locals in Grand Junction, Colorado, have a problem with the truth. It seems, many in the Republican Party do too. The Democrats, aren’t any better. I’ll get to those Monsters later, but now; its the Bottom Feeders, of Mesa County, Colorado.
Koda, and I made a couple trips to the Zoo (Grand Junction Walmart), since my last post. The locals, were having hissy-fits. They were mainly using couples, those trips. We had the smoker standing at the door, and the couples blocking at designated areas (items I purchase frequently). We even had couples pulling the; Flailing and Pointing Arms Skits. I told Koda, that’s what hate looks like. One, turned Devil Red. We were no where near the Red Hot sauce, when he flamed. We made it out, without being spit on, or murdered. I think one woman did fart. But, seriously, Gang Stalking is nothing to laugh about. Is it; Mr FBI Director, that does nothing to stop it.
When we got back to camp that Friday; the Bottom Feeders had set up around us. More come rolling in Friday night, as we lay in bed. Saturday morning; Koda’s first trip out to pee; a Black SUV stops right behind our motorhome and watches. Then, the Convoy of Hate. The crowd, from the local BP, were zooming back and forth, burning up gallons of gas. They must be getting, the Village Idiot’s Discount. You think I have them pissed off yet? All it really takes; is a Targeted Individual, moving into their area. While Koda, was looking for the perfect bush to pee on; I noticed how beautiful the sky was. We went back to the motorhome, and stepped out with the Nikon and tripod. A plane came across my composition, then banks right towards us, as I take sets of pictures. Shortly after, another plane comes from Grand Junction, buzzed the top of our motorhome. Following that, the gunfire begins. The Bottom Feeder Blitz, begins. I’m waiting for a Tank, or an APC, to show up next. No National Guard Jets this time.
Who do you think is financing and coordinating, all of this? As hundreds of billions, goes to Defense Contractors. In turn; they flip hundreds of millions, into our legislator’s campaigns. Meanwhile; small crumbs, are tossed to the lower classes. As they continue to struggle, never to see their benefits.
One of the local Bottom Feeders from before; came back, set up close, so he could see each time we stepped out. Others, just over the hill to our west, set up, firing off high powered rifles, each time we do, and when we came back towards our motorhome. Koda, and I, stood our ground, and took several more sets of pictures. He even squeezed out a poo. That, set the Poo Perps off. They brought out the Big Billy-Bob trucks. Accelerating, up and down the highway, just to our east. Two, set up on hilltops, just to our south. Could this be Overwatch? My head hurts now.
I was feeling better, so after breakfast; I decided to slay a few of these Monsters. I strapped on the Nikon, let Koda be a dog; and walk without being leashed. We walked pass the Spotter, camped in the creepy Astro Van, just behind us. Koda, wanted to rush over and pee on his tires, but I said “Leave it”, so he did. What a champ, Koda. We walked pass the Buckeyes; with the Big Orange Tent. They zoomed off, just as we were stepping out, to go for our walk. Once, pass them, here comes Billy-Bob and his Cousin/Brother; Billy-Bobless. They were in their Big Black Billy-Bob, truck. Black vehicles, are the theme out here, in Half-wit Land. Ooooh, they’re so intimidating; I’m shaking in my slip-on shoes. They give me the smirky smile. Letting me know; they are true Wannabes. They give Koda, the stern stare of stupidly. I took a few pics; documenting the same repeated acts of hate and ignorance, year after year.
Koda, and I, made the small loop, and headed back towards camp. By this time, the Buckeyes were back. One in a tube top, putting on a show to draw attention. Even Koda ignored her. As we got closer to our camp; here comes another airplane, the gunfire, just like in Arizona, and Wyoming. Koda, has to stop and scratch, where he’s probably had something inserted just under his skin. Once we’re established at a new camp, this scratch is repeated, each time we return close to camp. Just like the airplane fly over. I’ve documented it repeatedly, for almost two years now. Maybe, this is why he refuses, to return to certain day care and boarding facilities?
Once settled back in the motorhome; here comes the motorcycle. Zooming beside, behind, then around the motorhome. The rest of the day, was a real Stupid Fest. Koda and I pretty much ignored it, had a nice dinner, settled in for a couple of movies. Once in bed, we had the Bottom Feeders stopping right behind the motorhome. Maybe, I have an admirer?
We, supposedly being one of the richest Nations in the world, lowering our education standards, even lower. Many states, reducing their teaching standards. When our children are so far behind the curve, as it is. Is it, to better control the Half-wits mentioned above? Or, is it to hide our repulsive history? Or, both?
This Wednesday, I have angiogram scheduled for my blocked carotid artery. The vascular surgeon said, he usually see this type of severe blockage, in trauma patients. I haven’t had any trauma to that area, but have had many years of Direct Energy Weapons Attacks. Maybe, that’s why the VA, has not made a diagnosis, or prognosis; on my neurological problems, showing on my MRI? I’ve addressed the symptoms, for over two years. The same symptoms seen; in the many US officials, suffering from Direct Energy Weapons Attacks. As seen on 60 Minutes, CBS. We can see beyond our CIA Directors eyes, as he tells the interviewer; he doesn’t know how, or who is using Direct Energy Weapons, on US Citizens. While veterans and unknowing citizens, are being used as test subjects.
Maybe, that’s what some of our hundreds of billions, in Defense Spending, is spent on? Could it be, why possibly millions have been spent; over the years, trying to overwhelm, intimidate, and bully me into submission? Or, having the Hal-wits from hell, descend upon us. Its not me I’m worried about. Its my family! Its you! Its our future! Its me, having to board Koda overnight, for my procedures!
I don’t want your sympathy, your money or fame. I want the World to know the Truth, about the United States of America. I know my words can be harsh; the truth often is.
All photos, and content of my photostream, are free to download, copy, print and share. All I ask, is that they maintain my logos and copyright info; on all prints. Help me Destroy These Monsteers! Knowledge, Truth and Exposure, are powerful tools. We don’t need violence.
Thanks for visiting our photostream.
Uribelarrea es una localidad del partido de Cañuelas, provincia de Buenos Aires, Argentina.
Cuenta con 1282 habitantes (INDEC, 2010), lo que representa un incremento del 11,7% frente a los 1147 habitantes (INDEC, 2001) del censo anterior.
Historia
El pueblo fue fundado en 1890, cuando el estanciero Miguel Nemesio de Uribelarrea donó parte de sus tierras con el propósito de establecer una colonia agrícola. El 14 de julio de 1890 se inauguró la Iglesia de Nuestra Señora de Luján, diseñada por el arquitecto Pedro Benoit con influencias neogóticas.
En 1892, cuando ya había 19 construcciones en Uribelarrea, comenzó a funcionar la estación ferroviaria, que conectó al poblado con las ciudades de Cañuelas y de Lobos. El 26 de enero de 1894 se fundó la Escuela Agrotécnica Salesiana "Don Bosco", considerada la primera de su tipo en la Argentina.
En las décadas de 1930 y 1940, Uribelarrea tuvo su mayor apogeo, relacionado con la producción lechera. Llegaron a instalarse 50 tambos y varias queserías, mayormente explotados por inmigrantes vascos e italianos.
Uribelarrea ha visto durante los años 2000 un nuevo despertar, relacionado con su valorización como ambiente conservado al estilo antiguo, como curiosidad histórica y polo gastronómico de comidas tradicionales del ambiente rural (quesos con especias, embutidos, asado, e incluso comidas alemanas). Un buen número de cañuelenses, e incluso porteños establecieron allí sus residencias de fin de semana.
Filmes
Uribelarrea ha sido escenario de distintas películas, como Juan Moreira de Leonardo Favio (1973) y Evita de Alan Parker (1996). Esta última donó a la Iglesia Nuestra Señora de Luján los vitraux que se usaron para las escenas filmadas allí, sumándose estos a los auténticos.
Un escenario de fotógrafos cautivados por sus espacios verdes, su cultura, sus antigüedades, su "PALENQUE", un almacén construido hacia 1890, que también funcionó como depósito de sal para los saladeros de la zona. Actualmente es un bar y casa de comidas.
Estación Uribelarrea
Es una estación intermedia de servicios interurbanos de Trenes Argentinos Operadora Ferroviaria (Línea General Roca) con destino a Saladillo y General Alvear, con 4 servicios de ida y 4 de vuelta semanalmente.
En noviembre de 2015 se implementa un servicio regular entre Cañuelas y Lobos, parando también en Empalme Lobos. Hay dos servicios matutinos y dos vespertinos en cada sentido.
Mapa Turistico
web.archive.org/web/20120509120620/http://www.infocanuela...
Municipalidad de Cañuelas y otras
es.wikipedia.org/wiki/Juan_Bosco
infocanuelas.com/turismo/uribelarrea-un-oasis-muy-cerca-d...
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
Yes, snow in April again. This image I used my traditional techniques. I took 9 images in RAW format, in 1 increment stops. Stability is crucial; I use a wireless shutter release and carbon fiber tripod. The composition was achieved with the tripod at its lowest position. With many of my images; I’m lying in a prone position along a riverbank or lake, standing in water, on rocks, logs, anything to get that in your face perspective. This was taken at sunrise as the sun was breaking the ridgeline on the right. The fog was a nice bonus.
Editing; I used Photomatix Pro 5 to layer the nine images. This is done in RAW format and I used default tonemapping. Photomatix can be used as a standalone application or as a Lightroom and Photoshop plugin. I use it as a standalone; so I don’t fill my Lightroom backup with a bunch of unused images. I’ll preview the images in Nikon View NX2, save the ones I want to use in a Windows folder. I load them from that folder into Photomatix. I highlight the 9 images, click open and I’m on my way. Photomatix Pro 5 has some great presets; I mostly use the default to layer them pretty much as they are and save in Tiff format to keep as much data as possible. There are color, contrast and sharpening tools on board, but I use those mostly in NIK Collection. Photmatix saves the image in the same folder. I’ll take the fused image, save it in another folder titled Fused and date. That folder I open in Lightroom; to prevent repetitive storage copies.
In Lightroom 5.7, I’ll crop if needed, then I’ll start with NIK Collection (I use it as a plugin, it can also be used as a standalone). I’ll use Lightroom toolbar, click on photo, click on edit in and it list all the NIK Collection options. I’ll first select Color Efex Pro; it has great presets with major adjustment tools. I’ll 1st select the Contrast; it has some of the best Highlight and Shadow adjustments I’ve worked with. If not for their highlight slide; the upper 3rd of this image would have been blown out. I’ll tweak the Dynamic range, add a little Polarization if need and blam, I’m back in Lightroom. With lightroom; I’ll adjust the Exposure (if needed), add a little Clarity and Vibrance, maybe a little Vignette and save. Once saved; I’ll open it in Gimp 2.8, do my Logo (TI_in_Yosemite), layer it on the image, save as jpg and load this bad puppy onto Flickr. It sounds like a lot of work, but once you do it a few times the workflow is very fast.
With my last post “9”, I knew there would be retaliation; it’s pretty much expected when I speak the truth. The next day (after posting) there were employees at work talking about guns (Street Theater). When I got home; Dumb and Dumber were in the parking lot, waiting to expose me to second hand cigarette smoke, as I walk to my building. As I walk down my hallway; one of my neighbors had his door open, talking loudly with a group of young males. I would normally say young men, but that would indicate a level of maturity and they possess none. They kept repeating the word bullet; again Street Theater pertaing to my post “9”. I doubt if they knew the difference from a 124 grain +P, bonded hollow point and a 147 grain, jacketed hollow point.
At work they’ve really picked up the harassment; being a Targeted Individual I expect it. There using a couple of young females, to play the defenseless young woman card. Again, I would normally say young women, but that would indicate some level of maturity and they possess none. One of them recently under investigation for theft, the other a big girl, that probably bullied kids throughout her school years.
Over the years my coworkers have left their lockers open at work; this is in a narrow hallway. The lockers left open were above and beside mine, to make it difficult for me to put or remove my gear. A while back an employee was rushing into the narrow hallway; I stepped to the side out of his way. As I stepped to the side, it was right into an open locker. The corner caught my rib, broke the skin and left a big bruise. I didn’t say anything at the time, but when I got home I realized how bad it was. I started politely asking my coworkers to close their lockers, told them my rib caught the corner of one. Then instead of 2-3 lockers being left open; there were 5-7 lockers being intentionally open. I spoke to a supervisor; told them what happened and asked if they could speak to the employees. I was ridiculed for walking into a locker and the harassment continued, every time I’d go to my locker 5-7 lockers would be left wide open to protrude into the hallway, the lockers above, to the right and left of mine left open. I continued the issue, stated it is a safety issue. Then a senior manager came in, ridiculed and belittled me in front of my coworkers. Now I have the 2 young females leaving their lockers open every day, in my face all day, hoping I say something so I can be disciplined. Meanwhile employees walk around saying “crazy” all day. They don’t care if others are affected; many times there are. Guest and their children are exposed to their second hand cigarette smoke, butts and ashes, their foul language, loud obnoxious behavior, intentionally leaving trash and defacing National Park Property. As long as they are harassing their target; everyone looks away.
I’m a mature man, not meaning to complain. These acts are just a few that are carried out every day, 24/7, by my coworkers and neighbors. I stand up for myself; endure these immoral and illegal acts as best as I can. This happens to Targets every day, many unable to cope. No person should have to live like this, but millions do any given week. Gang Stalking, Community Stalking and Workplace Mobbing are real; they are not Conspiracy Theories, they are proven facts. In the United States today; if at work you don’t follow the statuesque of doing as little as possible, to generate the highest profit, if you expose corporate or government corruption, if you upset someone with power, you will be Targeted in one way or another.
Gang Stalking, Community Stalking and Workplace Mobbing are Psychological Torture. These illegal and immoral acts are carried out by residents and contractors, in Yosemite National Park every day; while Yosemite’s Superintendent and Law Enforcement look away.
The Truth about Yosemite National Park: flic.kr/p/2hJ7Rye
Thank you for visiting my Photostream
Museo Arqueológico
Contiene importantes colecciones de hallazgos arqueológicos de los períodos paleoveneciano, prerromano y romano y alberga una sección egipcia que se incrementó con los descubrimientos arqueológicos del explorador paduano Giovan Battista Belzoni (1778-1823).
Museo de Arte Medieval y Moderno
En la rica galería de arte, con obras creadas entre el '300 y el 800 por los grandes maestros de la pintura italiana, se exhibe el Crucifijo de Giotto, obra de principios del '300, que antes se encontraba sobre el altar de los Scrovegni.
Sigue un importante grupo de pinturas sobre tabla de Guariento, incluidos los "Ángeles" de la Capilla de la Reggia Carrarese.
Entre las muchas obras maestras del siglo XVI, la "Virgen con el Niño" de Boccaccio Boccacini y algunas pinturas de Veronese; También son de gran interés la "Cena en casa de Simone" y "La Crucifixión" de Jacopo Tintoretto.
Para el siglo XVIII hay que recordar "San José con el Niño", "Madonna", "Cristo en el huerto de los olivos" de Giambattista Tiepolo.
Dentro del Museo también encontramos la sala multimedia dedicada a la obra de Giotto en la Capilla Scrovegni.
Siete estaciones multimedia introducen al visitante en el conocimiento de los frescos de la Capilla y el contexto histórico y artístico en el que trabajó Giotto.
El Museo Eremitani también cuenta con un Gabinete Fotográfico que reúne más de 36 000 negativos, 2000 diapositivas y muchos positivos sobre la ciudad o resultado de donaciones de fotógrafos paduanos.
Uribelarrea es una localidad del partido de Cañuelas, provincia de Buenos Aires, Argentina.
Cuenta con 1282 habitantes (INDEC, 2010), lo que representa un incremento del 11,7% frente a los 1147 habitantes (INDEC, 2001) del censo anterior.
Historia
El pueblo fue fundado en 1890, cuando el estanciero Miguel Nemesio de Uribelarrea donó parte de sus tierras con el propósito de establecer una colonia agrícola. El 14 de julio de 1890 se inauguró la Iglesia de Nuestra Señora de Luján, diseñada por el arquitecto Pedro Benoit con influencias neogóticas.
En 1892, cuando ya había 19 construcciones en Uribelarrea, comenzó a funcionar la estación ferroviaria, que conectó al poblado con las ciudades de Cañuelas y de Lobos. El 26 de enero de 1894 se fundó la Escuela Agrotécnica Salesiana "Don Bosco", considerada la primera de su tipo en la Argentina.
En las décadas de 1930 y 1940, Uribelarrea tuvo su mayor apogeo, relacionado con la producción lechera. Llegaron a instalarse 50 tambos y varias queserías, mayormente explotados por inmigrantes vascos e italianos.
Uribelarrea ha visto durante los años 2000 un nuevo despertar, relacionado con su valorización como ambiente conservado al estilo antiguo, como curiosidad histórica y polo gastronómico de comidas tradicionales del ambiente rural (quesos con especias, embutidos, asado, e incluso comidas alemanas). Un buen número de cañuelenses, e incluso porteños establecieron allí sus residencias de fin de semana.
Filmes
Uribelarrea ha sido escenario de distintas películas, como Juan Moreira de Leonardo Favio (1973) y Evita de Alan Parker (1996). Esta última donó a la Iglesia Nuestra Señora de Luján los vitraux que se usaron para las escenas filmadas allí, sumándose estos a los auténticos.
Un escenario de fotógrafos cautivados por sus espacios verdes, su cultura, sus antigüedades, su "PALENQUE", un almacén construido hacia 1890, que también funcionó como depósito de sal para los saladeros de la zona. Actualmente es un bar y casa de comidas.
Estación Uribelarrea
Es una estación intermedia de servicios interurbanos de Trenes Argentinos Operadora Ferroviaria (Línea General Roca) con destino a Saladillo y General Alvear, con 4 servicios de ida y 4 de vuelta semanalmente.
En noviembre de 2015 se implementa un servicio regular entre Cañuelas y Lobos, parando también en Empalme Lobos. Hay dos servicios matutinos y dos vespertinos en cada sentido.
Mapa Turistico
web.archive.org/web/20120509120620/http://www.infocanuela...
Municipalidad de Cañuelas y otras
es.wikipedia.org/wiki/Juan_Bosco
infocanuelas.com/turismo/uribelarrea-un-oasis-muy-cerca-d...
Nine images in one stop increments; Taken with Nikon D600, Tamron 24-70 2.8, Hoya Circular Polarizer. Edit: Workflow and final edit; Lightroom 5.6, Fusion/layers; Photomatix Pro 4, Contrast, light, shadow, color; NIK Collection, Color Efex Pro 4, Logo; Gimp 2.8.
I’m often able to escape the constant illegal and immoral act of Community Stalking, Gang Stalking and Workplace Mobbing; that is allowed in Yosemite National Park. There are many Americans that have no escape. If our Government Agencies and Law Enforcement took the time to read our Constitution; they would see that the rights therein are inalienable. They would see that Conspiracy Against Rights is a Felony. They would see every American Citizen has the Right to Enjoyment. Conspiracy against these rights is a Felony. Here in Yosemite National Park and many communities; they don’t see it.
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
Help us bring Social Change through Photography; bring awareness and stop Gang Stalking, Community Based Stalking and Workplace Mobbing. We are trying to make these changes one community at a time. So, here is a contact page for Yosemite National Park: www.nps.gov/yose/contacts.htm. Once on this page; click on ask a question or make a comment. This is your National Park please take the time to contact them; tell them to put a stop to Gang Stalking, Community Based Stalking and Workplace Mobbing.
These immoral and illegal acts are allowed in Yosemite National Park by Law Enforcement, encouraged and performed by its Contractors and residents.
If you would like to hear what I'm standing up against, put on a good pair of headphones and listen flic.kr/p/2hJ7Rye
Thank you for taking the time to visit my photostream.
Sleeping Bear Dunes along Lake Michigan - somewhere down there is the lake, completely engulfed in fog.
IN ENGLISH BELOW THE LINE
L'evolució estètica de les cameresfotogràfiques entre els anys 1900-1910 i els anys 20 del s. XX està clarament marcada per un increment de la sobrietat i el domini del color negre. Però crec que enlloc es veu tant com en les càmeres de la marca alemana Ernemann. Encara que costi de creure, els models Ernemann dels anys 20 son l'extrem més radical de discreció, essent totes elles de negre absolut, gairebé com de dol. I costa de creure perque les primeres càmeres Ernemann son un esclat de color i metalls polimentats, com aquesta.
Es tracta d'una Ernemann HEAG XII, fabricada cap al 1905-1906. El format és el més usual per a càmeres europees de plaques, el 9x12 cm, i no cal dir que la manxa de pell vermella era a inicis de s. XX, "de rigeur".
Encara destaca més el molt poc usual obturador central, model Ernemann Bob X. Només es produí molt poc temps. L'objectiu és un Ernemann Detektiv Aplanat f6.8. Era molt usual que les càmeres Ernemann montessin tant l'obturador com l'objectiu de la mateixa marca (cosa gens normal en altres fabricants).Un detall molt divertit es que el visor superior es plega i desplega amb la càmera. Per desgracia el obturador no funciona del tot bé i la càmera manca el cristall esmeril·lat d'enfoc.
www.camarassinfronteras.com/articulos/obturadores/erneman...
camera-wiki.org/wiki/Ernemann_Heag_XII
=================
The aesthetic evolution of photographic cameras between the years 1900-1910 and the 1920s in the XX Century is clearly marked by an increase in the sobriety, restraint, and dominance of the black. But I think nowhere is it seen as much as in the cameras of the German brand Ernemann. Although hard to believe, the Ernemann models of the 1920s are the most radical end of discretion, all of them in absolute black, almost like mourning. And it's hard to believe because the first Ernemann cameras are a burst of color and polished metals, like this one.
It is an Ernemann HEAG XII, manufactured around 1905-1906. The format is the most common for European plate cameras, the 9x12 cm, and needless to say the red leather bellows was in the early XX Century, "de rigeur".
Even more noteworthy is the very unusual leaf shutter, a model Ernemann Bob X. It's manufacture was quite short lived, only a couple of years. The lens is a Ernemann Detective Aplanat f6.8. It was very common for Ernemann cameras to mount both the shutter and the lens of the same brand (which is not normal in other manufacturers). An interesting detail is that the top viewfinder folds and unfolds with the camera bed. Unfortunately the shutter does not work quite well and the camera lacks ground glass to focus.
www.camarassinfronteras.com/articulos/obturadores/erneman...
Incremental cut-overs to A5's once mighty plant have taken their toll on their board. Scratched out EBD & WBD tracks to the Bloomingdale wye behind the tower are history, as the right of way is reclaimed by the city for an elevated bike path. Some changes like the northwest wye are shown partially, as new locations like Tower A6 and Tower B6 have been cutover to CPU control and have been hastily altered on the old black board.
New Year is the time at which a new calendar year begins and the calendar's year count increments by one. Many cultures celebrate the event in some manner. The New Year of the Gregorian calendar, today mostly in use, falls on 1 January (New Year's Day), as was the case both in the old Roman calendar (at least after about 713 BCE) and in the Julian calendar that succeeded it. The order of months was January to December in the Old Roman calendar during the reign of King Numa Pompilius in about 700 BCE, according to Plutarch and Macrobius, and has been in continuous use since that time. Many countries, such as the Czech Republic, Italy, Spain, the UK, and the United States, mark 1 January as a national holiday.
Nice to see informative incremental changes going on here at Sir Richard Arkwright's Cromford Mills which is part of the Derwent Valley Mills UNESCO World Heritage Site, Derbyshire. A must see if you happen to be in the area.
Runtime: 56 seconds
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©Simon W. Photography
El municipio de Victoria suspendió por diez días corridos todo tipo de actividad lúdica y recreativa a raíz del incremento de casos de coronavirus en los últimos días. Esta medida involucra a los rosarinos que poseen embarcaciones y suelen cruzar a las islas frente a la costa de Rosario.
Las medidas fueron decretadas este martes por la Municipalidad de Victoria e incluye a actividades tales como windsurf, canotaje, remo, vela, Stand Up Paddle, natación de aguas abiertas y pesca deportiva.
El detalle es que las autoridades de Prefectura fueron notificadas de tal restricción, por lo que los rosarinos no podrán cruzar a las islas, puesto que el canal es el que divide las jurisdicciones de Rosario y Victoria.
Más allá de la disposición del municipio de Victoria, la provincia de Santa Fe evaluaba restringir la actividad náutica en el río Paraná al entender que los incendios en las islas son intencionales. Así lo indicó este martes la ministra de Ambiente y Cambio Climático, Erika Gonnet, quien afirmó que la situación que se vive en el Delta “ha superado cualquier pronóstico” y “parece que nada alcanza”.
La situación en las islas entrerrianas está descontrolada. En los últimos días se agravaron los focos y este lunes incluso se registraron lluvias de cenizas en varias zonas de Rosario. Además, grupos ambientalistas cortaron el tránsito en el puente Rosario-Victoria para reclamar soluciones a los poderes públicos.
Fuente: La Capital
Las zarigüeyas pertenecen al grupo de los marsupiales y se encuentran distribuidas a lo largo de todo el continente americano, América del Sur tiene un gran número de especies endémicas y la mayor diversidad. Las condiciones medioambientales actuales y el desconocimiento a cerca de la importancia de esta especie, incrementa su vulnerabilidad (Rueda et al., 2013).
Uribelarrea es una localidad del partido de Cañuelas, provincia de Buenos Aires, Argentina.
Cuenta con 1282 habitantes (INDEC, 2010), lo que representa un incremento del 11,7% frente a los 1147 habitantes (INDEC, 2001) del censo anterior.
Historia
El pueblo fue fundado en 1890, cuando el estanciero Miguel Nemesio de Uribelarrea donó parte de sus tierras con el propósito de establecer una colonia agrícola. El 14 de julio de 1890 se inauguró la Iglesia de Nuestra Señora de Luján, diseñada por el arquitecto Pedro Benoit con influencias neogóticas.
En 1892, cuando ya había 19 construcciones en Uribelarrea, comenzó a funcionar la estación ferroviaria, que conectó al poblado con las ciudades de Cañuelas y de Lobos. El 26 de enero de 1894 se fundó la Escuela Agrotécnica Salesiana "Don Bosco", considerada la primera de su tipo en la Argentina.
En las décadas de 1930 y 1940, Uribelarrea tuvo su mayor apogeo, relacionado con la producción lechera. Llegaron a instalarse 50 tambos y varias queserías, mayormente explotados por inmigrantes vascos e italianos.
Uribelarrea ha visto durante los años 2000 un nuevo despertar, relacionado con su valorización como ambiente conservado al estilo antiguo, como curiosidad histórica y polo gastronómico de comidas tradicionales del ambiente rural (quesos con especias, embutidos, asado, e incluso comidas alemanas). Un buen número de cañuelenses, e incluso porteños establecieron allí sus residencias de fin de semana.
Filmes
Uribelarrea ha sido escenario de distintas películas, como Juan Moreira de Leonardo Favio (1973) y Evita de Alan Parker (1996). Esta última donó a la Iglesia Nuestra Señora de Luján los vitraux que se usaron para las escenas filmadas allí, sumándose estos a los auténticos.
Un escenario de fotógrafos cautivados por sus espacios verdes, su cultura, sus antigüedades, su "PALENQUE", un almacén construido hacia 1890, que también funcionó como depósito de sal para los saladeros de la zona. Actualmente es un bar y casa de comidas.
Estación Uribelarrea
Es una estación intermedia de servicios interurbanos de Trenes Argentinos Operadora Ferroviaria (Línea General Roca) con destino a Saladillo y General Alvear, con 4 servicios de ida y 4 de vuelta semanalmente.
En noviembre de 2015 se implementa un servicio regular entre Cañuelas y Lobos, parando también en Empalme Lobos. Hay dos servicios matutinos y dos vespertinos en cada sentido.
Mapa Turistico
web.archive.org/web/20120509120620/http://www.infocanuela...
Municipalidad de Cañuelas y otras
es.wikipedia.org/wiki/Juan_Bosco
infocanuelas.com/turismo/uribelarrea-un-oasis-muy-cerca-d...
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 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 future production and also repaired defective early models under warranty. Naturally, the sophisticated functionality of the FA requires more electronic circuitry that 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 FE2 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. Still 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 centerweighted 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 centerweighted 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 centerweighted metering by operating the Metering Control Button on the bottom right of the lens mount. Push the button in and turn clockwise to set centerweighted 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 centerweighted 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 centerweighted 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 centerweight, 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 centerweight 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 centerweighted. 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 centerweighted 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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MONSARAZ (Portugal): Castelo.
As obras têm início após a Reconquista Cristã e prolongam-se por vários reinados. Visando incrementar o povoamento e a sua defesa, o rei D. Afonso III, pela mão do cavaleiro Martim Anes, começa a erguer a nova alcáçova e as cinco torres quadrangulares que a compõem, o cubelo e o troço da barbacã sul. No reinado seguinte, sob a égide do rei D. Dinis, procede-se à construção da Torre de Menagem e quase toda a barbacã exterior. Por fim, D. Fernando constrói a cortina interior de separação do alcácer com o casario da vila. A muralha que delimita a praça de armas é constituída em pedra de xisto e cal reforçada por torres, ao passo que os panos de alvenaria que rodeiam a vila se encontram assentes em xisto, granito, argamassa de barro e cal.
info: www.cm-reguengos-monsaraz.pt/pt/visitar/Paginas/m-castelo...