View allAll Photos Tagged instanced
“Nobody of any real culture, for instance, ever talks nowadays about the beauty of sunset. Sunsets are quite old fashioned. To admire them is a distinct sign of provincialism of temperament. Upon the other hand they go on.”
Oscar Wilde
SOOC
i miss fresh time-zero. here's an old shot that i have never scanned until now for polaroid week.
time-zero
polaroid sx-70
King's College, University of Cambridge. Live upload using iPhone today as I'm out. Passed by... snap!
Just attended a combined town and gown remembrance service and reception marking the World War One centenary. Moving experience. War, death, suffering, peace, reconciliation, prayer... but do we learn? Take Gaza, for instance. Man: you're a violent creature:-(
Surely, we can rise above all this. There is within us a genuine desire for love, peace, and beauty. Let's reach out and create more understanding. We can easily share beauty through our photos.
A rare instance of a Sea Otter attacking and eating a bird. Normally Sea Otters feast on shellfish not birds. More on this encounter can be found on my blog entry Sea Otter Attacking a Western Grebe
©2008 Jim M. Goldstein, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
This picture is a reproduction of one I first saw in the Athleta catalog (for instance athleta.gap.com/browse/outfit.do?cid=1047782&oid=OUT-...), which seems to arrive at our house once a week. The landscape in the Athleta photo looked at lot like Utah and the signs on the trailhead board offered some clues for a location but it took using a magnifying glass to make out the words. I discovered this is Faux Falls right outside of Moab, Utah. Coincidentally, we were going to be traveling through Moab on our way back from New Mexico and so I got the directions on the internet and we made the slight detour and then the hike to the falls. It was extremely hot. Jessica complained about hiking from the car being the worst experience of her life. When it came to recreating the Athleta picture, as you can see, only one of my models, Kellie, was cooperative while the other one was only looking for shade. Faux Falls got its name because although the water looks like it is coming right out of the desert rock, this is actually a man-made waterfall build by diverting a water source with pipes. Still beautiful!
For more of my creative projects, visit my short stories website: 500ironicstories.com
This was an instance where I just wanted to satisfy the image that had popped into my brain...
Texture by SkeletalMess
Birds by Shadowhouse Creations
Trees by MidnightsTouch
The top table in the Great Hall of Christ Church College, Oxford.
One of the issues I find with using my 8mm Samyang semi-fisheye is that often you need the camera to handle vast ranges of contrast and exposure such as in this shot here. Often you can recover detail at the processing stage but sometimes it's just too far gone. I suppose this would be one instance where some mild HDR might be work a go.
Click here to see more University of Oxford shots : www.flickr.com/photos/darrellg/albums/72157629194588410
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
A rare instance of a Sea Otter attacking and eating a bird. Normally Sea Otters feast on shellfish not birds. More on this encounter can be found on my blog entry Sea Otter Attacking a Western Grebe
©2008 Jim M. Goldstein, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
I am normally against backlit anything, but I still take pictures in hopes that it will be salvageable. In a rare instance, this one actually was.
Here's an instance where I really could've used a different focal length. Sometimes I really wish the G617 had the ability to zoom or switch lenses. In this case, I would've loved to zoom out just a little so the top of McGown Peak wasn't so close to the edge of the frame.
Fuji G617
Velvia 50
yesterday we passed through many flower meadows with lots of wildflowers. So that made it worth to get the macro lenses out :) The flower depicted is a tiny blue wildflower, not larger than than a thumbnail and I still don't know the name of this bewitchingly beautiful wildflower but I had to showcase it in proper manner in a triptych.
This sort of photo has been on the bucket list, viz. to shoot light trails in a place with lots of passing cars. I was drawn to this location because of a nearby pedestrian suspension bridge over I-4 that I spotted when we pulled in to our hotel during the afternoon. I tried setting up on the bridge, but a few test shots seemed to show that I wasn't going to be able to eliminate entirely the blur of the chain link fence in the photo. Then I spotted what turned out to be a totally empty parking garage with this vantage over Interstate 4. I'm afraid that the composition isn't altogether inspiring; for instance, some interesting, stationary subject would be nice, but I got my heavy light trails.
In this instance, the title is factual as what appears to be a misty day at the reservoir was in fact somebody burning a lot of stuff nearby and the smoke was drifting over the water at Trenchford reservoir.
An attraction well worth standing in the rain for - the very first CSeries of any sort to enter scheduled revenue service. Even though it's been plying the airways for months now - in this instance seen returning home from Budapest - catching it in the metal is still somewhat hard... though this was helped recently by the arrival of its brother HB-JBB (incidentally, the second CSeries of any sort to enter scheduled revenue service).
The draconian ruling of the Polish Constitutional Court which bans pregnancy terminations even in instances where a foetus is diagnosed with a serious and irreversible birth defect, has brought thousands of people to the streets. At the same time, the recently appointed catotaliban minister of education announced that students and teachers involved in the protests will be punished. This photo was taken at a rally opposed to that minister of education and demanding his resignation.
Here are some online petitions supporting women's rights in Poland:
secure.avaaz.org/campaign/pl/solidarity_with_polish_women...
www.change.org/p/polish-government-legalise-abortions-in-...
A very rare instance of a car that had previously looked abandoned, but for one reason or another was brought back into use. Currently taxed and MOT'd until September 2022. A few more new photos in this upload, but I'm determined not to forget about the stuff from the last couple of years that I keep meaning to upload.
“The hypothesis of God, for instance, gives an incomparably absolute opportunity to understand everything and know absolutely nothing. Give man an extremely simplified system of the world and explain every phenomenon away on the basis of that system. An approach like that doesn't require any knowledge. Just a few memorized formulas plus so-called intuition and so-called common sense.”
Arkady Strugatsky, Roadside Picnic
and dream well,
Macro Mondays theme: Look Up
Birdy (aka B B Poirot, Birdie) usually avoids closeups but in this instance he was trapped on his perch just inside the cage door. After a moment he became curious about this huge round thing underneath and considered whether it might contain a treat for him.
HMM
ATSH: In for the long haul.
This scene at Disneyland is a small tribute to Día de los Muertos, a Mexican holiday that pays tribute to friends and relatives that have died with costumes, celebrations and alters erected in the honor of the deceased. Día de los Muertos occurs simultaneously with Halloween. (please google it, it is too much to include here...)
while beautifully lit at night, the scene is extremely detailed and crowded with objects, making it difficult to determine a subject from the clutter. Closeup on the skeletons or wide angle on the entire scene? I chose wide angle this time, but here is a shot from my flickr page showing a daytime closeup: flic.kr/p/oXdWgi
The challenge for me when photographing night scenes at Disney Parks is to keep the scene looking like "night" when long exposures are nescessary...Long exposures can make a scene look like daytime. Also, most lighting at night is incandescent and warm, and I like my scenes to reflect that. It is easy to correct the warm tones to daytime hues that our brains know are propper for the scene, but to me it looks weird in a night scene. Lilly Belle or Mark Twain for instance are white, but night lighting makes them warmer...however, our brains tell us "white" so naturaly we color correct the boat to "white" and it looks weird...so I like to let it be a little warm at night. However, some things just NEED to pop sometimes, such as the skeletons here, which needed to be "white" in order to sepparate them from the scene. Sky is subjective, but for me, night skies look better in cooler tones...
I perfom color corrections on separate layers in photoshop targeted for individual areas (such as the skeletons, the sky, and a little bit of the greenery and decorations) followed by layer masking the corrected area back into the original. Layer masking is essential to my entire process as I never make a modification that is "global". Instead, I make targeted adjustments throughout that encompas more than just color changes, such as contrast and textures. Luminosity masks are a modification of a layer mask based on light values that protects certain desired elements from being effected, such as sepparating foreground from sky, midtones from shadows or brights, or even stars in the sky, allowing ONLY these elements to be adjusted. I use them extensively. Sometimes this process is tedious and time consuming but worth it to me in order to make the scene the way I remeber it to be or even how I WANT it to be...
I include a unedited version in the comments that shows the color washout and includes a vertical plant in the middle of the scene that required removal...
A rare instance of a Sea Otter attacking and eating a bird. Normally Sea Otters feast on shellfish not birds. More on this encounter can be found on my blog entry Sea Otter Attacking a Western Grebe
©2008 Jim M. Goldstein, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
For instance, look at this poor angel, left out in all weathers, either with a goose for company or to contend with. Isn't it time we put an end to child abuse?
Hello there. Relevant comments welcome but please do NOT post any link(s). All my images are my own original work, under my copyright, with all rights reserved. You need my permission to use any image for ANY purpose.
Copyright infringement is theft.
The magnificient temple complex is one of the finest monuments built by the Hoysalas and is regarded as the most exquisite shrine of the South. Its construction was initiated in 1117 A.D., at the instance of King Vishnuvardhana and was completed by his son Narasimha I and grandson, Veera Ballala II. According to historical records, it took about 103 Years to complete this profusely sculpted masterpiece of Hoysala architecture. The temple is said to be built to commemorate the victory of Hoysalas over the Cholas in the great battle of Talakkad. Some also believe that it was constructed when Vishnuvardhana adopted Vaishnavism under the influence of the great Guru Sri Ramanujacharya. The ornamental temple was built in chloritic Schist, a light green soapstone, ideal for carving which acquires granite like harness after getting exposed to the atmosphere.
TEMPLE COMPLEX:
The huge temple complex enclosed by a high wall has a large paved courtyard with a main temple surrounded by subsidiary shrines, colonnades and other structures. There are two gateways, but only the main eastern gateway is crowned by a gopuram, which was built in 1397, by gunda, a general of Vijayanagara King Harihara II, after the original Mahadwara was burnt down by Ganga Salaer, a officer of Tughalaks during the invasion and seize of the shrine. The Vijayanagara kings alos considered the presiding deity as their Kuldevta of patron courtyard is dedicated to Lord Vijayanarayan or Keshava, one of the twenty four forms of Lord Vishnu. The presiding deity is popularly known as Chenna Keshava or the 'handsome' Keshava. The Chenna Keshava temple facing Channigraya. Some other important temples here are of Narasimha, Anjeaneya etc. The courtyard has an idol of Praying Garuda sthambha or pillar erected during the Vijayanagara era and a Deepa sthamba built by the Hoysalas.
TEMPLE PLAN:
The temple is built in charecteristic stellate plan of the Hoysalas and looks like a carved casket made of wood and polished to perfection. It is larger in size as compared with other Hoysalas temples and is about 443 ft. long and 396 ft broad. The main temple set on a raised platform (Jagati) is 178 ft. long from east to west and 156 ft broad from North to South. The platform is also star shaped,similar to the temple built upon it. It is an example of ekakuta vimana or single shrine design. The temple comprises of a garbha griha (Sanctum sanctorium), a large sukhanasi (vestibule) connecting the navaranga mandapa (pillared hall) and garbha griha. The navaranga mandapa noted for its lathe turned pillars and capital was originally an open one, with only parapets. Later on , the space between parapet and the roof was covered by beautiful filigreed panels or pierced window screens depicting puranic themes and geometrical designs, while the base of the temple is decorated with eight levels of horizontal friezes.The unusual Vimana (tower) of the sanctum, made of brick and mortar was supported by wood work and plated with gold glided copper sheets. Unfortunately, the crumbling vimana had to be dismantled in 1879, to protect the main sanctum. The tower was built in bhumija style and not in the regular star shape. The curvelinear outline with a central verticle band and four coulmns of miniature nagar nikharas per side makes it a type of nagara (North India) tower. This type towers can be seen on the miniature shrines.
In a strikingly specific instance of mimicry, the patterns on the wings of this moth (Macrocilix maia) appear to resemble two flies feeding at a glistening bird dropping. This, coupled with a pungent odor that the moth emits, may be enough to dissuade a predator from considering a meal. Although flies are certainly edible, they nevertheless sometimes serve as models for mimicry because they are so quick and agile that most birds won't bother pursuing them. Sabah, Malaysia (Borneo).
Recently I made a couple of photo book, using pictures taken during our stay in Valparaiso. I used this photo as the cover on one of them.
Unfortunately, the hand of man is present in this shot. However, some of the nature competitions have relaxed that stipulation for entries into some nature competitions.
From what we saw, it's evident that this is part of the birds' daily routine when the fishermen are cleaning fish.
Whilst I'm at it, the roof was sloping so this photo is straight!
I think, most of all, I love the differences in their feather patterns. The colours are so different from those seen on our local pelicans and that drew me to them in the first instance.
I used to teach kindergarten and collected buttons to teach sorting and patterns. The bottom row of black buttons for instance could be sorted by color, shape or how many button holes the button has. In the middle row I found buttons that resembled a bow. I'm retired from teaching but never did get rid of my button collection. I probably have over 500. I knew there would come a time when I could use them again.
That’s the cheapest gasoline I’ve purchased in quite some time.
And for the record, not directly related to Obama’s administration, as far as I know. (Though it was a talking point of Newt Gingrich and other GOP presidential candidates in 2012)
for instance:
What are the odds for an Osprey to catch two fish in one dive? And for that matter two different coloured fish? Read on. I was hooked into Osprey photography when I first saw them in a local pond back in 2013. Since then, every summer I spend good amount of hours over the week-ends scouting various storm water ponds for a chance to see the spectacle. It is quite challenging as one doesn't know where it is going to dive or which direction it is going to fly. The statistics that I have collected over the years seems to indicate that the Ospreys have been successful in catching a fish from these ponds in 70% of their dives with less than 5% of those with a pair of fish. In case anybody wondering, the Osprey eventually let one drop - not sure why. In those instances where they got two fish, I have never seen them carrying both fish beyond the boundary of the pond, they always seem to let one drop. Markham, Ontario.
Another image from last Wednesday at Hatch Hill. I was looking for butterflies with Paul Redman when we noticed this male Chalk Hill Blue taking in the morning sun - by carefully making our way around the butterfly I was able to get this front on shot. In this instance the chalkie was very vertical in it's position allowing a fair bit of detail in the wings.
Go Large
There are instances when I have duplicates of a doll or when two dolls have the same face screening, I will rebody the other one with an older style body so she can wear older fashions.
I've been building the occasional submarine in LDD since 2014; it was inevitable that I would eventually build one in real brick.
Because, you know, I like submarines.
__________
The Gato Class of United States submarines was the first to enter mass production in World War Two. Together with the later Balao and Tench Classes, which were very similar in design, the Gato Submarines were the most numerous submarine in the US Fleet. By extension, that makes the Gato class the most numerous in the world during the war.
Scale: 1:125 (1 stud = 1 meter)
Length: 95 Studs, or about 30 inches
The Cavalier King Charles Spaniel is a British breed of toy dog of spaniel type. Four colours are recognised: Blenheim (chestnut and white), tricolour (black/white/tan), black and tan, and ruby; the coat is smooth and silky.[2] The lifespan is usually between eight and twelve years.[1]
The Cavalier King Charles changed dramatically in the late seventeenth century, when it was inter-bred with flat-nosed breeds. Until the 1920s, it shared the same history as the smaller King Charles Spaniel. Breeders attempted to recreate what they considered to be the original configuration – a dog resembling Charles II's spaniel of the English Civil War period, when supporters of the king were known as Cavaliers.[3][4]
History
Cavalier King Charles Spaniel; lesser stop; skull not inclined to be domed with spot in centre of skull on the Blenheim. A white blaze between the eyes is standard of the Tricolour variety.
Correct Ruby Cavalier King Charles Spaniel; uniform chestnut colour, with no white markings; ears and slippers are often slightly lighter but dark chestnut colour should predominate
During the early part of the 18th century, John Churchill, 1st Duke of Marlborough, kept red and white King Charles type spaniels for hunting. The duke recorded that they were able to keep up with a trotting horse. His estate was named Blenheim in honour of his victory at the Battle of Blenheim. Because of this influence, the red and white variety of the King Charles Spaniel and thus the Cavalier King Charles Spaniel became known as the Blenheim.[5]
Attempts were made to recreate the original Cavalier King Charles Spaniel as early as the turn of the 20th century, using the now extinct Toy Trawler Spaniels. These attempts were documented by Judith Blunt-Lytton, 16th Baroness Wentworth, in the book "Toy Dogs and Their Ancestors Including the History And Management of Toy Spaniels, Pekingese, Japanese and Pomeranians" published under the name of the "Hon. Mrs Neville Lytton" in 1911.[6]
Divergence from King Charles Spaniel
In 1926, the American Roswell Eldridge offered a dog show class prize of 25 pounds of sterling silver each as a prize for the best male and females of "Blenheim Spaniels of the old type, as shown in pictures of Charles II of England's time, long face, no stop, flat skull, not inclined to be domed, with spot in centre of skull."[7] The breeders of the era were appalled, although several entered what they considered to be sub-par Cavalier King Charles Spaniels in the competition. Eldridge died before seeing his plan come to fruition, but several breeders believed in what he said and in 1928 the first Cavalier club was formed.[7] The first standard was created, based on a dog named "Ann's Son" owned by Mostyn Walker,[8] and the Kennel Club recognised the variety as "King Charles Spaniels, Cavalier type".[7]
The Second World War caused a drastic setback to the emerging breed, with the vast majority of breeding stock destroyed because of wartime hardship and food shortages. For instance, in the Ttiweh Cavalier Kennel, the population of 60 dogs dropped to three during the 1940s.[9] Following the war, few dogs survived as the new beginning from which all present-day Cavaliers descend. And in 1945,[10] the Kennel Club first recognised the breed in its own right as the Cavalier King Charles Spaniel.[7]
The first recorded Cavalier living in the United States was brought from the United Kingdom in 1956 by W. Lyon Brown who, together with Elizabeth Spalding and other enthusiasts, founded the Cavalier King Charles Club USA that continues to the present day. In 1994, the American Cavalier King Charles Spaniel Club was created by a group of breeders to apply for recognition by the American Kennel Club. It was recognised by the American Kennel Club in 1995,[2] and the ACKCSC became the parent club for Cavaliers.[11] Since 2000, it has grown in popularity in the United States and ranks as the 15th most popular pure-breed in the United States.[12]
Description
"The purebred Black and Tan uniform."
A purebred Black and Tan uniform.
Historically the Cavalier King Charles Spaniel was a lap dog and is small for a spaniel, with fully grown adults comparable in size to adolescents of other larger spaniel breeds. The tail is usually not docked,[13] and the Cavalier should have a silky coat of moderate length. Standards state that it should be free from curl, although a slight wave is allowed. Feathering can grow on their ears, feet, legs and tail in adulthood. Standards require this be kept long, with the feathering on the feet a particularly important aspect of the breed's features.[13]
The Cavalier King Charles Spaniel and the English Toy Spaniel can often be confused with each other. In the United Kingdom, the English Toy Spaniel is called the King Charles Spaniel, while in the United States, one of the colours of the Toy Spaniel is known as King Charles. The two breeds share similar history and only diverged from each other about 100 years ago.[citation needed] There are several major differences between the two breeds, with the primary difference being size. While the Cavalier weighs on average between 13 and 18 pounds (5.9 and 8.2 kg), the King Charles is smaller at 9 to 15 pounds (4.1 to 6.8 kg). In addition, their facial features, while similar, are different; the Cavalier's ears are set higher and its skull is flat, while the King Charles's skull is domed. Finally, the muzzle length of the Cavalier tends to be longer than that of its King Charles cousin.[7][14]
Colour
"Two dogs with long ears sit on a wooden platform overlooking the sea. They are mostly white, but have black ears and black and brown markings on their faces. Their fur is ruffled by the breeze."
Tricolour Cavalier King Charles Spaniels
Cavalier King Charles Spaniel, Blenheim variety, with chestnut brown markings on a white background on its back, patches over eyes and all brown ears
The breed has four recognized colours. Cavaliers that have rich chestnut markings on a pearly white background are known as Blenheim in honor of Blenheim Palace, where John Churchill, 1st Duke of Marlborough raised for assistance in hunting the predecessors to the Cavalier breed in this particular colour. In some Blenheim dogs there is a chestnut spot in the middle of the forehead: this is called the "Blenheim" spot.[15] The Blenheim spot is also known as the mark of the "Duchess Thumb Print", based on the legend that Sarah Churchill, Duchess of Marlborough while awaiting news of her husband's safe return from the Battle of Blenheim, pressed the head of an expecting dam with her thumb, resulting in five puppies bearing the lucky mark after news that the battle had been won.[16]
Black and Tan are dogs with black bodies with tan highlights, particularly eyebrows, cheeks, legs and beneath the tail.[17] Black and Tan is referred to as "King Charles" in the King Charles Spaniel.[7] Wikipedia
In one of those divine instances that a family so graciously welcomed me into their home, I was able to marvel at her up-close. This beautiful piece of sculpture, with [by my personal preference] the unmatched visage of a grieving mother -with the right age, unlike very youthful looking Dolorosas- is a gem of Philippine Ecclesiastical Art.
She is enshrined in her urna, assembled on a separate bust, wearing her pre-war faded cobalt blue ensemble -the sequins made of actual pressed metal plates, not synthetic...
another instance of Seville's impressive giant structure called Metropol Parasol, or as the Spanish call it: las cetas (the mushrooms)
Another instance of me aiming to make something completely different, but ended up drawing too much from something else.
The funny thing is I had the full intention of making a BTR-152 earlier in the week, which this is based off of. I had made the bottom half of it, but had gotten stumped on how to make the armoured windshield and slanted back armour. I eventually gave up on it and went to try making another Metro-inspired armoured truck. Yet the first project was still fresh in my head and I ended up making the BTR anyway (however be with a few creative liberties).
Acqua alta is the term used in Veneto, Italy for the exceptional tide peaks that occur periodically in the northern Adriatic Sea. The peaks reach their maximum in the Venetian Lagoon, where they cause partial flooding of Venice and Chioggia; flooding also occurs elsewhere around the northern Adriatic, for instance at Grado and Trieste, but much less often and to a lesser degree.
The phenomenon occurs mainly between autumn and spring, when the astronomical tides are reinforced by the prevailing seasonal winds that hamper the usual reflux. The main winds involved are the sirocco, which blows northbound along the Adriatic Sea, and the bora, which has a specific local effect due to the shape and location of the Venetian Lagoon.
Precise scientific parameters define the phenomenon called acqua alta, the most significant of which (i.e., the deviation in amplitude from a base measurement of "standard" tides) is measured by the hydrographic station located nearby the Basilica di Santa Maria della Salute. Supernormal tidal events can be categorized as:
intense when the measured sea level is between 80 cm and 109 cm above the standard sea level (which was defined by averaging the measurements of sea level during the year 1897);
very intense when the measured sea level is between 110 cm and 139 cm above the standard;
exceptional high waters when the measured sea level reaches or exceeds 140 cm above the standard.
Generally speaking, tide levels largely depend on three contributing factors:
An astronomical component, which results from the movement and alignment of celestial bodies, principally the Moon, secondarily the Sun, and marginally other planets (with effects decreasing in relation to their distance from the Earth); this component is dependent upon the laws of the astronomical mechanics and can be computed and accurately predicted for the long run (even years or decades)
A geophysical component, primarily dependent upon the geometric shape of the basin, which amplifies or reduces the astronomical component and, because it is dependent upon the laws of the physical mechanics, can be also computed and accurately predicted for the long run (even years or decades);
A meteorological component, linked to a large set of variables, such as the direction and strength of winds, the location of barometric pressure fields and their gradients, precipitation, etc. Because of their complex interrelations and quasi-stochastic behavior, these variables cannot be accurately modeled in statistical terms. Consequently, this component can only be forecast for the very short run and is the principal determinant of acqua alta emergencies that catch Venetians unprepared.
Two further contributing natural factors are the subsidence, i.e. the natural sinking of the soil level, to which the lagoon is subject, and eustasy, i.e. the progressive rise of sea levels. While these phenomena would occur independently of human activity, their effects have increased because of inhabitation: the use of lagoonal water by the industries in Porto Marghera (now ceased) sped up subsidence, while global warming has been linked to increased eustasy. Venice's "Tide Monitoring and Forecast Center" evaluates that the city has lost 23 cm in its elevation since 1897, the year of reference, 12 of which are attributable to natural causes (9 because of eustasy, 3 because of subsidence), 13 are due to the additional subsidence caused by human activity, while the "elastic recovery" of the soil has allowed the city to "gain back" 2 cm.
Geophysical determinants linked to the Adriatic Sea
The long and narrow rectangular shape of the Adriatic Sea is the source of an oscillating water motion (called seiche) along the basin's minor axis.
The principal oscillation, which has a period of 21 hours and 30 minutes and an amplitude around 0.5 meters at the axis' extremities, supplements the natural tidal cycle, so that the Adriatic Sea has much more extreme tidal events than the rest of the Mediterranean. A secondary oscillation is also present, with an average period of 12 hours and 11 minutes.
Because the timeframe of both oscillations is comparable to naturally occurring (yet independent) astronomical tides, the two effects overlap and reinforce each other. The combined effects are more significant at the perigees, which correspond to new moons, full moons and equinoxes.
Should meteorological conditions (such as a strong scirocco wind blowing north along the major axis of the Adriatic basin) hamper the natural outflow of excess tidal water, high waters of greater magnitude can be expected in Venice.
The particular shape of the Venetian lagoon, the subsidence which has been affecting the soil in the coastal area, and the peculiar urban configuration all magnify the impact of the high waters on city dwellers and on the buildings.
Furthermore, the northbound winds called bora and sirocco often blow directly towards the harbors that connect the lagoon to the Adriatic Sea, significantly slowing down (and, at times, completing blocking) the outflow of water from the lagoon toward the sea. When this occurs, the ebb is prevented inside the lagoon, so that the following high tide overlaps with the previous one, in a perverse self-supporting cycle.
The creation of the industrial area of Porto Marghera, which lies immediately behind Venice, amplified the effects of high waters for two reasons: first, the land upon which the area is built was created by filling large parts of the lagoon where smaller islands just above sea level previously lay. These islands, called barene, acted as natural sponges (or "expansion tanks") when high tides occurred, absorbing a significant portion of the excess water.
Second, a navigable channel was carved through the lagoon to allow oil tankers to reach the piers. This "Oil Channel" physically linked the sea to the coastal line, running through the harbor in Malamocco and crossing the lagoon for its entire width. This direct connection to the sea, which was obviously non-existent at the time of Venice's foundation, has subjected the city to more severe high tides.
Porto Marghera and its facilities are not the only human-made contributors to higher tides. Rather, the municipality of Venice has published a study that suggests the following initiatives may have had an irreversible and catastrophic impact on the city's capacity to withstand acque alte in the future:
the building of the Railroad Bridge (1841/1846) connecting Venice to the land, because its supporting pillars modify the natural motion of lagoonal water;
the diversion of the river Brenta outside the Chioggia basin, which drained the 2,63 hectares of the river's delta that functioned as expansion tanks, absorbing extra lagoonal water during high tides;
the building of offshore dammed piers (Porto di Malamocco, 1820/72; Porto di S. Nicolò, 884/97; Porto di Chioggia, 1911/33), which obviously restrict the natural movement of water;
the building of the Ponte della Libertà (1931/33), which connects Venice to the land;
the building of the Riva dei Sette Martiri (1936/41), an extension to the Riva degli Schiavoni;
the building of the artificial island Tronchetto used as a car and bus terminal (17 hectares, 1957/61):
the doubling of the Railroad Bridge (1977).
Photo captured via Minolta MD Rokkor-X 85mm F/1.7 lens. Spokane Indian Reservation. Selkirk Mountains Range. Okanogan-Colville Xeric Valleys and Foothills section within the Northern Rockies Region. Inland Northwest. Stevens County, Washington. Late October 2020.
Exposure Time: 0.8 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 5812 K * Plug-In: Fall In Mood 04 * Filter: Hoya HMC CIR-PL (⌀55mm) * Elevation: 2,520 feet above sea-level
Cameras are powerful tools. They don't just create images, they create perceptions... or even perhaps realities. Reality for us is how we see it, right? If our eyes and brains had evolved in such a way that down looked like up and vice versa (not such a far-fetched theory, really) then we would invariably think of the reality of down and up in such reversed roles.
Generally speaking, we use cameras to reflect our reality...or more specifically or perception of reality (not that they are really all that different in a fashion). But cameras can be used to introduce new perceptions, can't they? Look at the popularity of extreme wide angle lenses? Why do photographers like them so much? Because they show us a perception of a familiar world in a way we cannot normally see it in. It's exciting. I sometimes like taking it a step further. After all, there is a difference between stretching your perceptions of reality through wide angle lenses and completely re-arranging them. When you start to the see the world as re-arrangible building blocks, you start to think of the reality you so take for granted a bit differently too. See, that is what I mean by powerful tools. Cameras not only have the ability to show us the world in a different fashion, they have the ability to make us think about a different world, or even on occasion, believe in it. Crazy stuff.
Or maybe I have just had too much juice to drink.
Polaroid SX-70
Time-Zero film
Lake Superior, North Shore
Minnesota, United States
sign the petition to keep polaroid technologies available!
www.ipetitions.com/petition/LicensePolaroidTechnology/sig...
Also send your opinions about the manufacture of instant films to:
Christian Fridholm
Director of Marketing, Imaging Group, Fujifilm, U.S.A.
FUJIFILM U.S.A., Inc.
200 Summit Lake Drive, Floor 2
Valhalla, NY 10595
How to contact the folks at Ilford:
ILFORD Imaging Switzerland GmbH
Case Postale 160
CH 1723 Marly 1
Switzerland
In the rare instances an afternoon eastbound during the summer on the Central of Georgia actually has something worth shooting these days, it's pretty much a mission to find the least-backlit locations. Given the light angles available, was pretty pleased with how this scene turned out as the S&A unit ducks under old US 280 outside of Alexander City. Hard to get more Deep South feeling than the combination of the piney-woods, kudzu, and a tuxedo.
The whole NS road power roster is looking pretty shabby these days, but the poor 1065 might just be one of the dirtiest of them all.
Yesterday I completed the restoration of a 1936 Kodak Retina No. 126, so I had to test it to see how it performs. In this instance, I used a roll of Svema MZ-3 I had from last year, which is a very slow (3 ASA!), fine grained orthochromatic film. I have no idea what the original application for this film was, but I suspect its some sort of microfilm emulsion.
Shot at 3ASA and bracketed, film processed in Rodinal 1:50 for 7 minutes, which gave a very reasonable contrast curve.
After cleaning the lens groups of this camera (interior surfaces were fogged with oil film) it was a very nice clear lens, but with some scarring of the front element due to aggressive cleaning over its 83 years of life. In spite of this, it performs beautifully. This photo was made at f5.6, which is only two stops down from wide open, and yet everything is quite sharp and rendered very nicely! These early Schneider lenses were no slouches. But then this was considered a premium quality "miniature" camera in 1936, costing (approximately) $57, which would be over $1000 in 2019 currency!
Hermit monks lived on Meteora since 9th century AD and monasteries (abbeys) were built since 14th c. So, it is hardly a surprise that one can repeatedly see The Cross in many instances there, either on rock formations or on churches' rooftops. In Greek Orthodox Church, the holy symbol is extremely and excessively important; so much so, that there will be an entire series of shots on the subject.
This is a shot of two metallic Crosses on Meteora: one Cross on the rock formation “Aghiá” or “Great Saint” (its “Laemós” part) high up at a 1,562 ft (476 m) altitude and another on the rock formation “Mikrē Aghiá” or “Little Saint” at a lower, 1,174 ft (358 m) altitude. Radiation was applied to the shot in order to pictorially represent the spiritual protection and guidance offered by each Cross. Both Crosses were placed by the late Yiánnēs Daliánēs (nicknamed Stauro-Yiánnēs, from the Greek word for the Cross).
Meteora is the name of the group comprising many impressive and lofty rock formations: The height of the sandstone megaliths ranges between 1,000-2,067 ft (300-630 m). The rock masses were formed 60 million years ago, are geologically unique and listed in UNESCO world heritage sites.
The Cross has ever been important for Christians of all denominations, for instance the motto for the Duke of Buckingham: FIDEI COTICULA CRUX (The Cross Is The Touchstone of Faith).
This is the way I do it, not necessarily the best way – but it works for me. I use the Tetenal Colortec C-41 set; mix the chemicals to the specifications provided in the set you use and adapt the following to suit your needs (if, for instance, your C-41 set uses separate bleach and fix).
Oh, by the way: the image above has lots of notes, so make sure to check them out if you're interested too.
I set up all my equipment as you see it, using the kitchen sink. I load the film the way I usually do (I'll not get into that now, but 500 ml chemicals will submerge one 120/220 roll or two 135 rolls).
1. Fill the kitchen sink with water approx. 42-45 degrees C. Place the bottles on the bottom. Leave them be for approx. five minutes (this will warm the chemicals to the same temperature as the waterbath surrounding it).
2. Hold the Paterson tank in the waterbath while you wait so as to warm it up a bit, making sure no water enters the tank of course. You don't want cold plastic to cool of the chemicals too rapidly once you get going.
3. Watch the thermometer and prepare to start the process when it reaches 39 degrees C (ideal temperature is 38,5 degrees C for C-41 – at least the Tetenal I use – but there is half a degree latitude and the extra half degree makes no earthly difference.)
4. Once the thermometer hits 38,5–39 degrees C, start pouring the developer into the tank at the same time as you start your timer. It might take you fifteen seconds to pour all the developer in, but never mind that – this time is included in the overall time for development.
5. Developer stays in for 3 minutes and 15 seconds. Inverse the tank immediately four times and repeat this every 30 seconds, and do by all means submerge the tank in the water while you're resting your wrists – it'll help keep the temperature even.
6. At 3 minutes and 10 seconds, drain the developer into the measuring jug marked for the purpose (you will reuse the chemicals for at least 8 rolls, so it's sound financial advice to take good care of the chemicals: as soon as you can, use the funnel to pour them back into the bottles and seal them up again).
7. Pour the bleach fix into the tank. From now on the temperature is not as important; the bleach fix has greater latitude and you don't have to keep this at 38,5 degrees C – anywhere between 30 and 39 will do (I usually remove the bleach fix and stabilizer bottles from the waterbath as soon as I've started developing and just place them to one side; it gives me more room to manouver when I inverse the tank).
8. Inverse the tank every 30 seconds for 4 minutes (if you're on the combined timer, you should do this until it hits 7 minutes and 15 seconds).
9. Drain the bleach fix into the measuring jug marked for the purpose. Don't inhale. It's quite a foul smell and obviously not healthy.
10. Place the tank below the faucet and start the water rinse – fill the tank with running water (approx. 20 degrees C, anywhere around there will do just fine) and empty it every 30 seconds or so. Continue doing this for 3 minutes, until the combined timer reaches 10 minutes and 15 seconds (don't worry if you rinse for longer than that, but three minutes should do it).
11. Pour the stabilizer into the tank. Don't inverse – I find that this makes for more foam, which is difficult to get rid of and leaves bad stains on your negatives that shows up in scans. Just splosh the liquid around for a minute or so, making sure that the film is submerged (which it should be, as you're using the prescribed 500 ml solution for one roll of 120/220 film or two rolls of 135 film). Let it interact with the film for approx. a minute.
12. Drain the stabilizer into the measuring jug marked for the purpose. This chemical is very foul indeed, and quite possibly toxic – note to self: get a face mask and avoid the fumes.
13. Remove the screw-on pouring-top of the tank (if you have a Paterson tank, you know the part I mean) and plonk it in the sink for later rinsing.
14. Remove yourself with the tank and the film still on the loading reel to wherever you plan on hanging the film to dry.
15. Take your gloves off and remove the film from the reel. Don't worry about the foam you see (but make sure to wash your hands straight away after), and hang the film the way you normally would hang a film to dry.
16. Go back to the kitchen and rinse all your gear straight away. Put away the glass bottles with the chemicals for reuse at a later date.
17. Once you're done in the kitchen cleaning up, go back to where your film is hanging. Notice any stains on the slowly drying film? Weird splotches of a liquid type? This is the stabilizer. Here is where it gets a bit tricky, and the following is probably not the best way to deal with it. But these stains will not dry off completely, and unless you like the negatives this way I have only found one way to deal with the problem. I spray tapwater on the hanging negatives – gently, and not much – so that the stains/marks/splotches wash off. This might reduce the effect of the stabilizer – in fact I would be surprised if it didn't – but my hope is that the film has absorbed enough stabilizer in the tank and while I was cleaning up in the kitchen that the film will at least survive in decent shape for some years to come.
18. Dry, then press the negatives on a flat surface using heavy books. Scan. Flickr them.
That's more or less the whole process …
Now how many rolls of film can you squeeze out of 500 ml chemicals? The instructions for my Tetenal says approx. 6–8, but I'm on my 10th now with this batch and don't expect to need to mix a new batch quite yet. The trick is to not let the liquid go too much below 500 ml (you will lose liquid as you develop); simply make up the difference with tapwater and add a few extra seconds for developing. For roll nine I developed for 3 minutes and 20 seconds, having diluted the developer probably some 50–100 mls over the past three rolls. An added five seconds seems to work so far [*** EDIT: check the comments and see that this wasn't quite true, longer time was probably needed ***] … but your mileage may vary, and of course sooner or later the chemicals will simply refuse to yield any images. Experiment to your heart's content.