View allAll Photos Tagged interruptor
I think this is about when they spotted me clicking away on the other side of the sliding glass door....
Skiing again tomorrow - so I'll catch up with everyone tomorrow evening!!
This poor cell phone made its last call on April 1. We found it near our school. This morning, we hastily taped it to some cardboard as an engineering lesson for all. The school staff immediately covered their tushies and worried this might cause kids to deconstruct their parents' phones.
Thank you for any and all views, faves, invites to groups, comments and constructive critique. I’m not keen on: invitations to post 1 award 3; copy and paste comments (you know who you are); or links to your work. If you like my images there is a good chance I will like yours and I tend to reciprocate views as a matter of courtesy and personal interest. All my images are my own original work, under my copyright, with all rights reserved.
...Tussi is more alert now in the evening and show interest for all that moves - after a looong siesta during the looong hot day.
Here has been about 30C/86F today again...
This camera arrived via ebay in near mint condition without any signs of corrosion or paint chipping and with light tight leather bellows. But the longer shutter speeds below 1/10 second are considerably extended or interrupted and the shutter requires cleaning and lubricating.
The Zeiss Ikon Ikonta cameras have been produced since 1929 and were offered in four models (A, B, C, and D) with different negative formats (4,5 x 6, 6 x 6, 6 x 9, and 6,5 x 11 cm). The Ikonta A (521) is the second version of the A model and was produced between 1938 and 1954. Cameras with this specific lens-shutter combination were produced between 1949 and 1951. According to its serial number starting with "P", this camera was produced 1950: camera-wiki.org/wiki/Zeiss_Ikon_serial_numbers
Zeiss Ikon folders require some rethinking with regard to their handling: The shutter release button of the Ikonta A model 521 is on the left (in viewing direction), next to the film winding crank. The button to open the camera is on the right, in the typical shutter button place. The red dot signal next to the shutter release button of the Ikonta 521 model indicates that the shutter is ready to fire, whereas a red dot signal for example of my past-war Agfa folders indicates that the double exposure prevention is active and the shutter release is blocked. Furthermore, the tripod sockets of the pre-war cameras have a 3/8 inch mount (rather the current 1/4 inch mount), but adapters are available.
General remarks:
Folding cameras deliver medium format in a truly pocketable form. Their compact size makes them great travel cameras. The basic concept of folders is a flexible structure between camera body and lens so that the camera can be folded up. The bellows as the folding element makes folders compact but is also the weak point of the design by developing light leaks, especially in the folds and the corners. Folders have to be opened by pressing a button on the top plate. Powerful springs release the lens cover and push the lens into working position. As a result of the big negative size, medium format folders give far more resolution than any 35mm camera, along with very smooth images (a huge amount of detail with finer grain and better tonality). The results look very clean and sharp, with a lovely background blur when the aperture is set wide open. Compared to the clinical data of digital sensors, film emulsions deliver more imperfection and therefore appear less sterile. The texture of the grain and the tone of the color produce a certain feel or look, that digital photos lack. High-resolution scans of large negatives deliver an ideal basis for digital picture editing. But you get only between 8 and 16 shots per film roll, depending on the film format.
Using folding cameras requires some care and forces you to make some serious decisions before taking a picture. The shooting procedure is fully manual, which means that all parameters have to be set up by hand: You have to adjust the distance, the aperture, and the exposure time, allowing the time to make sure they are set up correctly. Optimal exposure requires the use of an external exposure meter, which delivers the range of aperture and exposure time combinations available for the given light and personal demands. With their archaic film advance, the uncoupled rangefinder, the front cell focusing, and the lack of an exposure meter, most medium format folding cameras are no point and shoot cameras. But slowing down by carefully adjusting and controlling the decisive photographic parameters increases the amount of satisfying pictures and revaluates each single shot.
But using vintage folding cameras can be highly problematic: Agfa Isolettes, for example, are infamous for the poor plastic material used to make the original bellows. Constant opening and closing over many decades leave tiny pinholes, particularly in the corners. Ikontas and Super Ikontas, however, come with leather bellows, which normally remain light tight for many decades, provided that the camera has been stored carefully. Besides the problems with light leaks, the lubricants used by the camera manufacturers prior to the 1970s or 1980s are another weak point. They often cause frozen or stiff focusing rings and retarding shutters, the latter resulting in strong overexposure. Dust in the shutter mechanism and fungus or haze between the lens elements are further items. For proper function, the lenses and shutters usually must be disassembled, cleaned (sometimes adjusted), and reassembled.
There are only few experts with sufficient know-how. This camera has been checked and sold by Foto-Markt, Altbach (Germany).
Some valuable tips for using vintage folding cameras have been listed here: www.petrakla.com/pages/folding-camera-tips
383 and 313, leading about 15 loaded dirt cars from Orrington passes the Maple Street fields in Brewer. A busy Brewer High baseball practice is in full swing as the 383 is blowing its horn for the crossing at Wilson St.
This young buck seemed to be avoiding the grown ups too. At this time of year they are probably in danger of aggression from the older stags.
Don't interrupt the sorrow
Darn right
In flames our prophet witches
Be polite
A room full of glasses
He says "Your notches, liberation doll"
And he chains me with that serpent
To that Ethiopian wall
Anima rising
Queen of Queens
Wash my guilt of Eden
Wash and balance me
Anima rising
Uprising in me tonight
She's a vengeful little goddess
With an ancient crown to fight
I opened the composter and this was staring back at me from under the lid, munching on something.
View it large for maximum Shelob effect.
Don't have nightmares.
I was coming into T5 transfers off my flight from LA and saw Sir Alex there with his wife and, I think, his or her dad. I apologised for interrupting them, asked for a photo, since it would make someone close to me happy.
That someone is my cousin Douglas, who found out that his Grandfather was in fact Sir Alex's science teacher back in school, and also his football coach. Sir Alex had written a letter back to Douglas when he found out, saying how much passion this relative had imparted in science, and how he had also taught him a "little something or two about football".
When I mentioned the letter to Sir Alex, he remembered straightaway and was only too happy to have a photo, and to continue the reminiscing in the elevator up to departures.
A lovely chap
The two coloured streaks come from a boat which passed through my approx. 10 min exposure. I quite like the effect, although I thought at the time that I may have ruined a 20$+ sheet of film (including processing, Australia prices)...
Reciprocity calculated using this chart, it is very accurate and a welcome source given that Fuji does not publish any recommendations above 1 minute:
mkaz.com/film-reciprocity-tables/
Amazing how 2001 expired film keeps the speed and colours this well. I would have expected a colour shift from the long exposure alone.
This is an approx. 5x7 crop of the 8x10 original transparency.
Jake stopped mid grooming because he heard some noises he was unfamiliar with, involving his imp of a little sister and a curtain.
Apologies if you’ve seen this and maybe even commented on it. There were two of the same versions as I attempted to lighten it up.
Answering a question on the RBW mailing list...
Top-down view of the current incarnation of my Saluki controls. Nitto Noodle bar, Paul Thumbies, and interruptor levers. It all fits, even with my big paws, and it's very convenient. The Thumbies are clamped up on the Noodle sleeves to save real estate.
I didn't want any black anodized parts on this bike so I removed the anodizing on the interruptor mounts and the Thumbies, polished them a little, and then clearcoated them. Clear anodizing would have been better.
Cabling is Jagwire Switch with V-type brake 90-degree brake noodles used for a neat and tight run off the Thumbies. Cable runs by Dream Cycle. I may do the same for the front brake and eliminate its cable completely.
Moran. She kind of reminds me of Winona Rider in "Girl, Interrupted" in this one.
This sugar maple leafs fall was interrupted byt the gate to the dog kennel and hung suspended , Look closely and the little creature also captured shows a colorful pattern as well.
The leaves to my maple are falling before they reach peak orangeness this year, Some are barely turning at all. Our wet weather may make for a short season when it comes to fall leaves. When I took the dogs out and saw this one had to run back in for the camera.
or:
a dream of equilibrium and balance
I made this on PC influenced by a painting from
Friedrich Vordemberge-Gildewart composition no.160, oil on canvas, 1947
He'd just killed a small Canadian goose on the ground, After seeing me he flew off and kept guard, waiting for me to go away. So I did
Blue Lake Regional Park
Was trying to look beyond what was in the central image, so decided to look more at the shadows and reflections rather than a subject in and of itself. I really like the wide angle Tri-Elmar since it gives my kind of view, as well as the Summilux since they're both very sharp lenses and do well with B&W contrast. I made an (initial) mistake of using too warm of water for my usual semi-stand development, so on the fly changed to half the time and stand-only development. Was lucky that I was able to get reasonable images at all (and might try this again in the future). Thanks to those fellow flickeranians who continue to show their images and inspire the rest of us!