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We had a hefty snowstorm in two iterations a week ago. This series was taken in the second day of snowfall. About the only time I see these is when there's a fair amount of snow on the ground.
Newest iteration of Adrian's 26" Campeur. Most recent additions are the Hammered Fenders (650b fits excellently around the 26x1.5" tires) and cantilever brake mounted Campeur Rear Rack. The tangs will be cut down to lower the rack to the fender, but I won't worry about it for now. It's a comfortable, well proportioned, and sensible machine that fits her well.
New iteration for Raven SSTO, Single Stage to Orbit. This isn't the heavy, Discovery. But the smaller one. For example, SpaceX's dragon capsule is 378 Cu Ft, Payload bay of Raven is 1078 Cu Ft. www.ioaircraft.com/hypersonic/raven.php
Iteration 10, almost clean sheet. U-TBCC propulsion, 6000F thermal resistance, 3D printed graphene airframe, Note the elimination of "blunt nose". Turn around time under 24 hours total from landing to ready for next flight. No external boosters.
Forward Thruster Bay, other then conventional orbital thrusters, also includes a reverse thruster which decelerates the aircraft pre re-entry into atmosphere from 16,500+ mph ground speed to apx 12,000 mph ground speed. Engines re-ignite once in atmosphere so it can fly to it's landing destination, ie not glide.
#ssto #singlestagetorobit #space #newspace #afrl #afwerx #usaf #darpa #onr #arl #boeing #lockheedmartin #raytheon #northropgrumman #aerojet #dynetics #esa #bae #afosr #hypersonics #hypersonic #scramjet #reactionengines #sabre #starship #falcon9 #dragoncapsule #innovation #graphene #hydrogen #spacex #ula #virginorbit #rocketlab #artemis #orion #sls #nasa #snc #sierranevadecorporation #dreamchaser #astra #sdo #sda #spaceforce #dod #icao #dassault #bombardier #gulfstream #cessna #bigalow
An iteration of the previous video with more repetition going on. Created for this week's theme of Repetition on Facebook's Moncton Photography group.
GULF OF THAILAND (June 17, 2018) USS Mustin (DDG 89), HTMS Naresuan (FFG 421), HTMS Taksin (FFG 422) and HTMS Bangpakong (FFG 456) assemble in formation during exercise Cooperation Afloat Readiness and Training (CARAT) Thailand 2018. The CARAT exercise series, in its 24th iteration, highlights the skill and will of regional partners to cooperatively work together towards the common goal of ensuring a secure and stable maritime environment. (U.S. Navy photo by Mass Communication Specialist 3rd Class Christopher A. Veloicaza)
The Holden Commodore (VK) is a mid-size car that was produced by the Australian subsidiary of General Motors, Holden, from 1984 to 1986. It was the first iteration of the first generation of this Australian made model and introduced the luxury variant, Holden Calais (VK) sedan.
Overview
The VK series was the first Commodore to have plastic (polypropylene) bumpers and introduced rear quarter windows for a six-window design (styled by Holden, but similar in appearance to the Opel Senator) as opposed to the four-window design on previous Commodore models. Apart from the bumpers and "glasshouse", other changes for the VK Commodore included a front grille redesign and revamped dashboard instrumentation that included a full digital (vacuum fluorescent display) arrangement for the new luxury version, the Calais.
The exterior of the VK Commodore was also updated with a more modern and aggressive appearance. This included a new grill design very different from previous models, with three bold strips rather than a metallic grill, the now plastic front and rear bumpers/skirts replacing the obsolete metal guards, and a new rear tail light assembly, whereby they now spread from one side to another with a black panel in between. This all added up to a more prominent, sharper look for the 1980s. Changes were also made to the interior whereupon the panel of instruments were now square-shaped rather than the more conventional circular layout. In total, 135,705 VK Commodores were built.
Models
The VK range introduced new names for the specification levels, with Executive now a stand-alone nameplate alongside the base model SL. The Commodore Executive was basically a Commodore SL appointed with automatic transmission and power steering, and was aimed at capturing the fleet market, a market that Holden had lost its share in when the smaller bodied Commodore originally replaced the Kingswood. Also introduced was the Commodore Berlina (replacing the SL/X) and the Holden Calais (replacing the Commodore SL/E). The station wagon body style was available in SL, Executive or Berlina variants only, however the limited edition Vacationer name plate was also continued over for a period from the VH Commodore. Other variants produced were the Commodore SS sedan which featured its own specification – courtesy of HDT – high-performance 4.9-litre V8, and the limited edition – available only through affiliated HDT Holden dealers – LM 5000, SS Group 3, SS Group A (502 made) and Calais Director sedans.
Engines
Engine choices (not necessarily available on all cars in the VK range) were two versions of a 5.0-litre 308 cui Holden V8 engine (replaced by the 4.9-litre 304 cui V8 when Group A rules entered Australian motorsport in 1985) and two versions of a 3.3-litre inline 'black' Straight-6 engine (essentially a refined 'blue' I6 with slight increases in power and efficiency), the latter of which was available with either a carburetor or fuel injection. The 3.3 EST carburetor engine was standard equipment for most VK Commodores, with the 3.3 EFI injection engine nominated as standard equipment for the Calais sedan.
The 2.85-litre six-cylinder and the 4.2-litre V8, mainstays of the previous Commodore ranges were dropped, hence unavailable to the VK, however Holden's 1.9L Starfire 4-cylinder unit was offered on New Zealand market VK models.
SS Group A
The Commodore SS Group A was heavily modified by Holden's official performance tuner, originally the Holden Dealer Team. The SS Group A existed primarily as a homologation special, created specifically so a racing optimised version of the Commodore could be utilised for Group A touring car motor racing. The regulations set down by the international governing body FISA for Group A motor racing specified that a minimum of 500 cars were to be built to a certain specification prior to said vehicle being allowed to compete. Group A regulations governed many touring car series at the 1980s and 1990s including series in Australia, New Zealand, Great Britain, Japan, Italy, Germany and the European Touring Car Championship as well as the one-off 1987 World Touring Car Championship as well as significant races like the Bathurst 1000, Spa 24 Hours and the RAC Tourist Trophy. The SS Group A model run ran from 1985 until 1992. The four models have since become highly collectible amongst Holden and performance enthusiasts.
Unique amongst all products produced by both the Holden Dealer Team and Holden Special Vehicles, these cars were referred to as Holdens, rather than as HDTs or HSVs.
As the first model to be produced (1985 – February 1986) represented Holden's increasing efforts in Group A racing. Available only in blue associated with the corporate colours of the Holden Dealer Team's principle sponsor Mobil, which gave rise to the cars nickname, the "Blue Meanie". Production began in early 1985, but part supply problems saw the HDT fail to build the required number of 500 and it missed the 1 August deadline for it to be eligible for racing that year. Production still continued and the VK SS Group A was available for motor racing from 1 January 1986. 502 cars were available only through Holden Dealer Team-affiliated Holden dealerships.
Visually the VK Group A SS had the addition of a rear spoiler, larger front air dam and a more aggressive front grill over the standard VK Commodore. Other changes included a double row timing chain (eliminating the car's inherent weakness of 1985, a single row chain), as well as stronger conrods and suspension mountings.
Power for the road going Group A SS with its 4.9 litre engine was rated at 196 kW (263 hp) at 5,200 rpm, with a top speed of 215 km/h (134 mph). Transmission options were M21 4-Speed manual, or T5 5-Speed (optional). The car was assembled at Dandenong, Victoria (Holden) and modified at Port Melbourne, Victoria (HDT).
[Text from Wikipedia]
en.wikipedia.org/wiki/Holden_Commodore_%28VK%29
This miniland-scale Lego Holden VK Commodore SS Group-A 'Blue Meanie' has been created for Flickr LUGNuts' 91st Build Challenge, - "Anger Management", - all about cars with some link to being angry.
Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The first Kiev rangefinder camera officially came out Arsenal Zavod in 1948, and until 1986 it was made in UkSSR without interruption. This is its very last iteration: the so called Kiev 4am. Some say it is not a worthy successor of the 1930s contax, but I say this is bullshit. The design of the thing is just all right: a couple of minor changes here and there, some of them great improvements, some of them not, but essentially it is a good camera... if you get a good one. I really think that Russian and Ukrainian evilbay scammers have dealt more to damage the reputation of the Kiev than any stereotypical vodka-ridden assembly worker there in Arsenal Zavod could do.
Before anyone tries to tire me with stereotypes about factory work and quality control in the Soviet Union, i would like everyone to visit Henry Scherer's website. Mr. Scherer is one of, if not the most, reputed Contax repairmen in the world, and a sage in Contax lore. He himself states that the workers actually assembling the cameras were among the worst paid in the Zeiss conglomerate and that they were hard-pushed to work very fast. He also states that nothing like a serious factory quality control existed before the Japanese really got in business. Seems that the camera in need of repair right out of the box was a common sight back in the 30s.
Anyway, I feel more comfortable shooting my 4am than my Contax II: my 4am is a newer camera, with less use over the years than my Contax II, feels the same in my hands than the real thing, and I like more the speeds dial in the 4am than the original one. Not to speak of the rewind krank or the hotshoe. In all my life, I have tried less than 10 Contax II samples (including its successors Kiev II and 4), and the rangefinders in the 4am samples were, by far, the most contrasty and clear.
This oddball cult movie, released on the Daewoo label in its second iteration, was released in 1985 but filmed much earlier, around 1979 to 1981. It got most of its box office pull from being Madonna's debut film appearance. Very rare tape.
Mitsubishi's fourth iteration of the Galant Σ/Eterna Σ debuted many new innovations for Mitsubishi. Their new 'Sirius' engine was offered in turbocharged form for performance enthusiasts in some markets. For economy, an 'Astron' 4D55, the first turbodiesel engine in a Japanese passenger car, was also offered. Unusually, the fourth Galant was never offered with a naturally aspirated diesel engine. The 2.3L Turbo D was first shown at the 1980 Paris Motor Show. A new electronic fuel injection system was introduced on some versions of the gasoline Astron engine. The car was sold as the Mitsubishi Galant in most export markets, although in both Australia and New Zealand it was known as the Mitsubishi Sigma.
For the second generation in a row Mitsubishi could claim to be building an award-winning car, as this was chosen as Car of the Year in New Zealand in 1981. The cars sold there were again locally assembled with 1.6 and two-litre engines, and a choice of transmissions and trim. As elsewhere, the wagon versions carried over the old body style with a new nose and interior.
The fourth generation sedan and coupé were both slightly larger than the third generation cars. Additional emphasis was given to ergonomics, aerodynamics, and safety. Shoulder room, leg room, and head space were all increased, and the trunk was slightly enlarged for more luggage capacity. The interior was made quieter with additional carpeting and other acoustic dampening materials and a double-thickness front bulkhead. The wagon version was also changed, although from the firewall back the vehicle remained the same as the previous version. Production of the wagon version continued in Australia until 1987 when it was replaced by the new Magna.
From 1982 to 1983, some of the Australian Sigmas, which had the carried-over 2.0 or 2.6-litre locally made inline-four engine, were exported to the United Kingdom with the Lonsdale badge, in en effort at circumventing the voluntary import quota restrictions adopted by Japanese manufacturers. However the car was unsuccessful, and for 1983 and 1984 it carried Mitsubishi Sigma badges in the UK before imports were finally discontinued.
The two door coupé was also redesigned for 1980 and was sold through 1983. While continuing with the Galant Λ/Eterna Λ label for the domestic Japanese market, the fourth generation was known as the Mitsubishi Scorpion in Australia, and the Dodge Challenger and Plymouth Sapporo in the United States.
The knights on the left were my first attempt... at the time I thought they were ropey but passable (deluded). They are clearly ****.
The knights on the right are my second attempt... I think its safe to say the second are a lot better! Still improvements to make.... third version might look proper. Quite pleased with the progression over just a couple of days.
I've deliberately made the ones on the right look very cheerful!
This is the last iteration of Cadillac's venerable Coupe DeVille, shown with the optional Cabriolet Roof. 1991 - '93.
en.wikipedia.org/wiki/Cadillac_coupe_de_ville#1985.E2.80....
Edgewater, Chicago, Illinois.
Sunday, May 17, 2015.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
Le chaos n'est pas un état informe, ou un mélange confus et inerte, mais plutôt le lieu d'un devenir plastique et dynamique. (...) La philosophie, la science et l'art tirent des plans sur le chaos, ce sont les trois chaoïdes. La philosophie sur son plan d'immanence d'idées et de concepts, la science sur son plan de consistance de variables et de fonctifs, et l'art sur son plan de composition d'affects et de percepts. (...)
The chaos is not a shapeless state, or a confused and inert mixing, but rather the place of a plastic and dynamic becoming. (...) Philosophy, science and art are drawing plans on the chaos, they are the three chaoïds. Philosophy on its plane of immanence of ideas and concepts, science on its plane of consistency of variables and functives, and art on its plane of composition of affects and percepts. (...)
( Gilles Deleuze - 1991 - "Qu'est-ce que la philosophie ?")
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
The latest iteration of my basic palette in a Winsor & Newton metal box. The green paints seldom get used, but I like to have them handy.
These are tube paints squirted into full sized pans from Daniel Smith. Indian Yellow and Scarlet Lake are from Winsor & Newton. Hansa Yellow Medium, Cobalt Blue, Ultramarine Turquoise, Green Gold, Sap Green, Perylene Green, and Shadow Violet are from Daniel Smith. Raw Sienna, Burnt Sienna, Burnt Umber, Alizarin Crimson, and Ultramarine Blue are American Journey colors from Cheap Joe's.
The latest iteration on the Boring Company masterplan to resolve soul deadening traffic.
We started at the car elevator and came out at the Boring work yard with the Monty Python tower made of tunneled bricks. And also reviewed the various tunnel projects, starting in Vegas.
Did you know that a tunnel is just about the best terrestrial place to be in an earthquake? Like a hurricane at sea, the waves are a surface effect, and the depths move in bulk. More on that for the curious, below.
My momentarily public video got reposted various places and generated an Electrek story.
Boring is a great example of the disruptive playbook we look for - the four largest tunnel construction companies in the U.S. were founded in the 1800s! Like the automotive and aerospace sectors, they haven’t faced a disruptive new entrant in their management’s collective lifetime. Construction is one of the industries we are focusing on at Future Ventures.
Seeing that I forgot to post this here, I am now updating Rescue 1 to its current iteration. Rescue 1 has received their latest rig, a 2021 Seagrave Marauder II/SVI heavy rescue! This rig replaces the 2017 Spartan Gladiator. Like the previous generation of rescues, this apparatus has a partial walk-in compartment that stores the wet/dry suits, ALS equipment, and forcible entry tools. Also, a custom slide out increases interior space for command purposes. Unlike the prior rigs, the side door to the walk-in compartment was eliminated as the crew primarily enters through the cab. This allowed design engineers to add storage solutions for high frequency tools. Another new change for the rig was to move the air compressor to the top of the rig to free up space in the compartments.
Rescue 1 is staffed by 6 men and responds to calls in the northern half of the city, while Rescue 2 handles the southern half. Rescue 1 also cross-staffs Rescue Platform 1. The compartments hold a wide variety of tools for various rescue applications including confined space rescue, high angle rescue, trench rescue, vehicle extrication, underwater/swift water rescue, and hazmat.
Technical specs:
2021 Seagrave Marauder II/SVI Heavy Rescue
455-hp Detroit Diesel Series 60 engine
Allison EVS 4000 automatic transmission
25,000-lb. hydraulic rear winch
12,000-lb. front Ramsey winch
20-kW Onan hydraulic PTO-driven generator
185-cfm Vanair PTO-driven air compressor
Federal Signal lighting
HiViz BG2 brow light
B&M Super Chief Siren
Motorola Spectra Siren
Grover Air horns
Credits:
David H for the functional compartments
Abeed M for the decals
#QualityImpersonatedHashtagDuplicated
#OftenImitatedNeverDuplicated #lego
This image was created with FractalWorks, a free, high performance fractal renderer for Macintosh computers. You can download fractalworks and try it yourself at the FractalWorks download site.
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Jerusalem band / torus computed from the deformations and copies of eight Jerusalem cylinders.
103 424 vertices.
155 136 triangles.
Latest iteration of my 29er bikepacking rig. New for this trip were the additions of a large Revelate front pocket and feedbag.
This was also the first time I carried a pack so that I could bring a fishing rig (and extra water). That rather sucked as I was completely drenched in sweat the whole time I wore it. I'm talking freakish sweating. Love the pack for singletrack trips, but not for touring. I'll also look into more packable trout fishing rigs for this sort of trip.
All the bags worked really well. I'll likely swap the harness for the sweetroll, as this was an older harness with reverse buckles (prone to sagging).
I somehow enjoy reflecting about my equipment once in a while, one could call it already a tradition as this is already my third iteration. Looking back, once more much has changed. Hence, I would highlight two main aspects: 1) Equipment meeting the requirements 2) quality of the pictures.
1) Equipment and requirements
Over the time I have realized that requirements can change much more often than I would have imagined and hoped for. Back in 2006 when I joined Pentax, apart from affordability the size & volume was a major reason. The more I became settled, less important became both aspects. Intrigued by the much proclaimed "full frame" look I bought a much larger system (Canon 5D & lenses), only to realize that this was too much for my use case and my photography would not improve accordingly. Fully back to Pentax, I restructured my lenses.
In 2013 I finally got my driving license for motorcycles, revamping my preferences. Portability became more important yet again. In preparation of a south east Asian holiday and reflecting the experience from China, I spontaneously bought into the Micro Four Thirds System with an E-PL3, 14-42 II and the 45mm. The holiday plans did not work out, but the results I gained impressed me. Moreover, I've found the EVF to be very useful. Adjusting the exposure to match my expectations is much easier, shooting black and white is amazing, and so is the Single AF e.g. combined with face detection. Soon a 20mm F1.7, 12-50mm, OMD EM5 and 40-150mm followed.
In result, my Pentax did not get much sunlight. Hesitating to sell anything, I gave myself more time. But every time I picked up the Pentax, it was too large, too heavy and I was disappointed by the OVF. The MFT equipment just meets my requirements even better. Quality-wise I did not lose much, but gained a lot of portability, usability and quality.
2) Quality of my pictures
Looking back I am much more satisfied with the results from last year. What is the reason? Pretty simple: I did shoot much more. Whenever I go for a walk, visit friends, go for a ride with my bike - I have a lightweight, capable camera with me. I can even use two cameras as I did in Istanbul without feeling burdened by the weight. Though I sometimes feel sorry for my remaining Pentax stuff, I am so happy currently. Sure, there is still some GAS. For Pro Zooms such as the 12-40mm, the Panasonic 15mm F1.7, the Sony or Fuji system. But in the end, I would hardly gain anything apart from weight again. Why?
I have started to print again. A pretty simple A4 Canon printer (MG7550) gives me a lot of great moments because I can print whenever I want in a very decent quality using Canon ink and paper. No strings (cables) attached due to wifi/NFC. Brilliant! In terms of post processing I have now signed Adobe's creative cloud. Again, in terms of usability a huge gain: I am on regular business trips and can post process my pictures on the iPad, synchronize and take it from there when I am at home.
So what is the bottom line?
A: Know your preferences and the limitations of the equipment you use. M43 has limited DOF and noise performance, but that currently does not bother me. The IBIS and a small flash (Metz 24 AF) cover the noise performance, the Panasonic Summilux 25mm and Olympus 45mm give me the DOF I need.
B: Next conclusion: output medium. Printing A4 and A3, some of the limitations just disappear - literally. Noise is much less of an issue. Same accounts for most of the web sizes for pictures.
Thanks for reading, best regards and great light for everyone!
Marcel
Previous Versions:
PS:
Kit lens & adapted Samyang 85mm are missing...
Next iteration of the shorts--reduced the crotsh a bit too much to fit a Barbie properly, but they fit the Dynamite Girls torso just fine! And the remaining large piece of the strawberry print was just large enough to make the hat...
Date: August 2015
Medium: Digital Photomontage
Dimensions: 20" x 48"
© 2015 Tony DeVarco and Mayako Nakamura
Here is an image of Iteration I and Iteration II-
www.flickr.com/photos/tonydevarco/16688449731/in/dateposted/
In collaboration with the work of Mayako Nakamura www.flickr.com/photos/ma85/
An interview (in English) with Mayako on her working methods- www.theactofpainting.com/interviews/interview-mayako-naka...
This is seven iterations of a P3 Penrose tiling, with radial lines in red to help you see the symmetry.
More about what I'm thinking about doing with it, and how I got the idea, at domesticat.net/2010/03/penrose-quilting The entry includes vector versions you can tinker with in Inkscape or Illustrator.
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Deformations of the Sierpinski tetrahedron.
The final iteration of version 2 of my self-MOC. Every single piece that was not black or dark blue was swapped out or painted to match, including pins/axels. Stopping here to keep my sanity (or what's left of it at least).
Credit to BioRays for head design and Alieraah for the foot design.
This is the 2nd iteration of a UCS U-Wing from Rogue One: A Star Wars Story. This time, however, it is almost completely based on Inthert's excellent design. Features retracting landing gear, swiveling wings, and sliding bay doors.
Please take your time to take a look at Inthert's excellent Lego models and step-by-step instructions here: www.flickr.com/photos/inthert/
Mitsubishi's fourth iteration of the Galant Σ/Eterna Σ debuted many new innovations for Mitsubishi. Their new 'Sirius' engine was offered in turbocharged form for performance enthusiasts in some markets. For economy, an 'Astron' 4D55, the first turbodiesel engine in a Japanese passenger car, was also offered. Unusually, the fourth Galant was never offered with a naturally aspirated diesel engine. The 2.3L Turbo D was first shown at the 1980 Paris Motor Show. A new electronic fuel injection system was introduced on some versions of the gasoline Astron engine. The car was sold as the Mitsubishi Galant in most export markets, although in both Australia and New Zealand it was known as the Mitsubishi Sigma.
For the second generation in a row Mitsubishi could claim to be building an award-winning car, as this was chosen as Car of the Year in New Zealand in 1981. The cars sold there were again locally assembled with 1.6 and two-litre engines, and a choice of transmissions and trim. As elsewhere, the wagon versions carried over the old body style with a new nose and interior.
The fourth generation sedan and coupé were both slightly larger than the third generation cars. Additional emphasis was given to ergonomics, aerodynamics, and safety. Shoulder room, leg room, and head space were all increased, and the trunk was slightly enlarged for more luggage capacity. The interior was made quieter with additional carpeting and other acoustic dampening materials and a double-thickness front bulkhead. The wagon version was also changed, although from the firewall back the vehicle remained the same as the previous version. Production of the wagon version continued in Australia until 1987 when it was replaced by the new Magna.
From 1982 to 1983, some of the Australian Sigmas, which had the carried-over 2.0 or 2.6-litre locally made inline-four engine, were exported to the United Kingdom with the Lonsdale badge, in en effort at circumventing the voluntary import quota restrictions adopted by Japanese manufacturers. However the car was unsuccessful, and for 1983 and 1984 it carried Mitsubishi Sigma badges in the UK before imports were finally discontinued.
The two door coupé was also redesigned for 1980 and was sold through 1983. While continuing with the Galant Λ/Eterna Λ label for the domestic Japanese market, the fourth generation was known as the Mitsubishi Scorpion in Australia, and the Dodge Challenger and Plymouth Sapporo in the United States.
Decisive Action 3 is the third iteration of a MOC-driven war game in which players compete for control of the world using armies, air forces, and navies build from Lego.
The game is run by a dedicated staff (Keith Goldman, Michael Rutherford and Caleb Inman) who do not play in the game, so there is no conflict of interest or bias. The rules are published, and enforcement of those rules is consistent and transparent. All players are treated equally in all aspects of the game. The rules bind all players equally.
Decisive Action 3 is a game for competitive, creative, Lego builders who like to communicate. To succeed in the game, you will have to build in diverse styles, and within highly restrictive rules. Above all, in this game you will have to build, post, review and attack. You will have to do it quickly, and you will have to it often.
Make no mistake, DA is difficult. If it were easy, the game would be called "checkers" not "Decisive Action 3." If you are thin skinned. If you can't take a punch and walk it off... this may not be the best game for you. In Decisive Action, you can count on competing in an environment of respect, but that doesn't take any of the sting out of defeat. And in this game, every player but one WILL feel that sting.
However, if you are resilient, creative, and looking to develop as a MOC builder, a strategist, and a communicator, and if you are looking to meet other like minded builders, then come and check out the action on MOCpages.
The game begins on 4/6/18 at 1:00pm PDT(Pacific Daylight Time) If you're interested in playing and you don't have a MOCpages account, I encourage you to act quickly, the account verification process can take up to two weeks.
Observe. Assess. Decide, and then commit.
Ignorance may be bliss... but indecision kills.
This is Decisive Action.
The original drawing was on paper in pencil. Before I painted it for the previous iteration of this portrait, I photographed it with the iPad and imported it to Skribl for painting, again! Link to the discussion www.flickr.com/groups/1384462@N22/discuss/721576234618481...
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From the Sierpinki tetrahedron.
My latest iteration and the one I like the best so far. Its a combination of a few different techniques with a few additional masks and layers thrown in. I actually used almost a double Luminance layer on this, one of just Ha and one with Ha+OIII then blended them for a master Luminance. Then used most of the color technique as two tries ago but with an additional layer of the last (yellow) process to get a little more of the 3D look on some of the nebula.
I think I can up the dynamic contrast a bit more in areas, but I think I am on the right track
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32 390 vertices
65 536 triangles
Date: March 2016
Medium: Digital Photomontage
Locations: Tokyo Japan and Santa Cruz, CA.
Dimension: 64" x 32"
© 2016 Tony DeVarco and Mayako Nakamura
In collaboration with the artist Mayako Nakamura www.flickr.com/photos/ma85/
Stillness is a collection of ambient photobooks, a year long series of experiments with ethereality, materiality and time. Eleven editions were published by FoAM on or near the new moons of 2015/2016 and a limited number of prints from each cycle were made. The final iteration is a collated selection of photographs from the series, with an introduction by Timothy Morton and epilogue by Maja Kuzmanovic, published in an edition of 300 by MER. Paper Kunsthalle and FoAM.
The book is available at the MER. webshop, or if you are further afield from Anagram Books or Perimeter
The latest iteration of my workspace. New (to me) iMac in the middle, it's secondary monitor on it's left. PC on the right and my laptop which was my primary machine before the iMac came a long off to the left. LED strip for keyboard lighting for burning the midnight oil.
It's a bit of a mess but that's par for the course for an IT guy ;)
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Deformation of the Jerusaleme cube.
The latest iteration of my scanning rig - 18mm MDF board and 3/8in threaded rod.
SOOOOOO much more stable and easy to use than an inverted tripod, with no vibration to speak of at all. And it's up on a bench with saves my back, and it lets my tripod get back to being a tripod.
I've changed my scanning technique too - I still take around 10 to 25 digital frames per 6x9 slide, with 50% overlap, but notice that the camera is now cross-wise to the transparency so that there aren't any frames of "just sky" for the stitching software to struggle with - it has a horrible time trying to find control points when there isn't much detail in the frame, and that seems to cause the only stitching failures I encounter.
Additionally, I have started shooting each frame as a bracketed stack to get more dynamic range and rescue a LOT of highlight and shadow detail - 4 to 6 images 2 stops apart, and then fusing each stack in Photomatix Pro, using the "soft" preset, which gives really natural results. Photomatix has a "Batch" menu, so I can set up a big merge job for several hundred images and then just go to bed!
I have also given up on stitching with Hugin - it's too manual and makes too many stitching errors. I'm now using Autopano Giga, which works great if you enforce a lens focal length on the image properties tab of > 1000mm (I use 9999mm) so it does a totally flat stitch, and render with a planar perspective. The resulting image is just a little sharper than the one from Hugin too. Autopano also has fantastic "fire and forget" workflow, which means I can go do something else while it renders the frames for several slides in one go (I put the merged HDR files for each slide in a separate sub-folder, so Autopano sees each one as a separate panorama).
Here is an example of the results - around 46 megapixels, cropped down from around 62 megapixels in this instance:
www.flickr.com/photos/119759627@N06/15174233631/sizes/o/
I'm still using my old-school Schnieder Componon enlarger lens on some cheap x-mount extender rings and a m42 mount adapter ring, however I am starting to suspect it is not resolving all the detail off the slide - I can read some of those signs with the 10x loupe, but they are blurry in the digitized image. I think I am going to have to try a modern computer-designed-aspherical-low-dispersion-multi-coated-autofocus macro lens for comparison.
Next task after that: laser-cut acrylic film holders, and an Arduino controlled stepper motor setup with a Ruby script driving a Sony a5100 with 30mm macro lens via Sony's RESTful wireless API, to make it almost fully automatic!
credit for original inspiration:
petapixel.com/2012/12/23/why-you-should-digitize-your-fil...
Arca (Iteration I)
2018
20 x 26.75 inches (508 x 680 millimeters)
Archival inkjet print on paper
© 2018 Tony DeVarco & Mayako Nakamura
Arca (Iteration II)
2018
20 x 26.75 inches (508 x 680 millimeters)
Acrylic, charcoal, pastel, pencil on archival digital print on paper
© 2018 Tony DeVarco & Mayako Nakamura
Part of the new series Bonnie DeVarco is calling "Figure | Ground" in collaboration with the Japanese Artist Mayako Nakamura.
Mayako Nakamura's Flickr site: www.flickr.com/photos/ma85/