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A day in Sydney today and a chance to revisit this wonderful work of art at Wynyard Station with new technique and gear.
This time with the OM-1 and 7-14/2.8 Pro - last visit had been with the Pentax K1 and DFA15-30/2.8 - I seem to remember even with the 15-30 this it was a squeeze fitting this in ... the 7-14 (full frame equ is 14-28) fitted it in with room to spare.
Anyhow here's a couple of new takes on it shot in HiRes these 80mp frames look great on the screen ..
Olympus OM-1 w M.Zuiko 7-14/2.8 Pro
ISO80 f/4.5 7mm -0.7ev
Single frame raw developed in DxO PhotoLab7, colour graded in Nik6 Color Efex, a light touch up in Topaz AI and finished off back in PhotoLab.
Wynyard Station, Wynyard, Sydney, NSW
Froot Loops Bloopers, Kellogg's Kids Cereal, 1/2015, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Loop
Canon EOS 50e with EF 3.5-4.5/28-105 USM II
Ilford HP5, expired 9/92, exposed and developed in 11/25
exposed like ISO 50
developed in Caffenol-C-H (with iodized salt)
I inherited some rolls of expired HP5, which I want to develop in Caffenol myself. The first roll was for testing and for that I chose a comfortable Canon EOS 50e, because it can do auto exposure bracketing. I took 3 pictures of every subject with 50/100/200 ISO, it turned out, that the truth is somewhere between 50 and 100 ISO.
Yes, another view of the perhaps most photographed item in Duisburg, Tiger & Turtle. It's a rollercoaster with neither rollers nor coasters, you'll have to move on yourself by using those stairs. That loop is closed BTW, because you're certainly not fast enough to run through it without accident.
Where else can you show your style than the Delmar Loop... impromptu style snaps. Taken with Nikon D90 and Nikkor 105 f2.0.
Here's a broadside view of the D&RGW Flanger consist as it rounds the south side of the Lava Loop (MP 291.55). The water tank is just to the left, out of view in this photo.
This image was captured during a March 2016 photo shoot organized by the Friends of the Cumbres & Toltec Scenic Railroad.
Four BNSF engines headed by 5250 with a long freight negociate the Tehachapi loop with the help of two BNSF-units (1017 + 4602) at the rear end of the train.
Walong, Tehachapi (CA).
M14323
Nach Bildern stricken, man lernt nie aus.
Diese Bilderserie von einem Loop ist mir "im Internetz" über den Weg gelaufen und ich habe seither versucht, die Anleitung zu finden.
Leider ohne Erfolg.
Also hin und her versucht und eine eigene Version entwickelt. :D
Das Bild stammt übrigens anscheinend von hier: www.etsy.com/de/listing/59726830/hand-stricken-weste-cros...
South Fork Stillaguamish River
Mountain Loop Highway is a scenic road between Granite Falls and Darrington in Washington State.
Don't laught but I wanted a bag I could wear on my wrist. But then, I can open up the loop and wear it on my shoulder. Just because. So I made one.
Video here: www.youtube.com/watch?v=L5PbZnMNoyQ
The Wicks Looper is a small hand held device that allows you the create real-time noisy loops and sound effects.
The car in the left lane was one of those that camp out at about 1 mph below the speed limit and won't move over. I was in the center lane and slowly overtaking him and somebody else was in the far right lane but had been sitting about a half car length behind me for miles - which annoys the crap out of me because we're not in the freakin' Blue Angels. I realized an AZ State Trooper had rolled up behind the lane hog but the guy still wouldn't move over. I decided to force my flying partner to back off so I could move over and let the trooper pass and then life was all good again.
Per Wikipedia:
"The Cliffs of Moher (ˈmoʊ(h)ər') are sea cliffs located at the southwestern edge of the Burren region in County Clare, Ireland.
They run for about 14 kilometres. At their southern end, they rise 120 metres (390 ft) above the Atlantic Ocean at Hag's Head, and, eight kilometres to the north, reach their maximum height of 214 metres (702 ft) just north of O'Brien's Tower, a round stone tower near the midpoint of the cliffs, built in 1835 by Sir Cornelius O'Brien.
The cliffs then continue at lower heights. The closest settlements are Liscannor (6 km south) and Doolin (7 km north).
From the cliffs, and from atop the tower, visitors can see the Aran Islands in Galway Bay, the Maumturks and Twelve Pins mountain ranges to the north in County Galway, and Loop Head to the south.
The cliffs rank amongst the most visited tourist sites in Ireland, with around 1.5 million visits per year."
DSC_0432
My first Bears game at Soldier Field was a pre-season showcase against the Denver Broncos. Unfortunately, Da Bears did not win. I did get some pictures of a stormy Chicago evening and the Loop.
78 E. Washington (Chicago Cultural Center)
"There’s a funny little spoon on view at the Cultural Center. It’s one of those souvenir items you could purchase at the Chicago World’s Fair in 1893, and it features a very fine two-sided carving of a woman at the end of its handle. The bowl of the spoon is engraved with the image of the Woman’s Building, the only one of the exposition’s many temporary neo-classical structures to have been designed by a female architect and the one that owed its existence in great part to the lady depicted on the spoon: Bertha Mathilda Honoré Palmer, a Chicago socialite, millionaire, and president of the fair’s Board of Lady Managers.
This footnote of feminist architectural history — which we definitely could complicate with a postcolonial read of an event held in celebration of the so-called discovery of the new world by Christopher Columbus, but which I’m not going to do here because it’ll get us too far off topic — is one of many told through two unrelated solo shows currently up in Chicago, must-sees for anyone who cares about feminism and how it intersects with modernist architecture, urban planning, and design. It helps, too, to have a preference for mischievous over pedantic historical revisionism. At the Cultural Center is Nelly Agassi: No Limestone, No Marble, containing that weird woman-spoon, enormous new sculptures and wall works, plus three series of witty and illuminating collages.
The Israeli-born Agassi, who settled in Chicago in 2011, has an exquisite sense of scale and drama. It’s an apt skillset when dealing with design, craft, and bodies, as she has done for the past two decades, from the room-sized dresses she performed in in the early 2000s in Tel Aviv to her 2019 show at the Graham Foundation, where she installed curtains that flowed, like golden tresses, across an entire gallery. It comes especially in handy in the Chicago Rooms, a trio of galleries on the second floor of the Cultural Center linked by narrow archways that rise nearly to the top of the 32-foot ceilings, with floor-to-ceiling windows overlooking Millennium Park. The grandeur has proved challenging to artists in the past, but not Agassi, who appears to have been electrified rather than cowed. She occupies the first room with a dozen and a half enormous white tubes of flexible ductwork, cascading out of the wall and spilling over the floor while emitting eerie rumbling sounds from within. The effect is of a frothy waterfall, a futuristic musical instrument, a monster’s sickly pale intestinal tract, or some beastly combination thereof. I felt a bit cheated to realize that the piping didn’t actually penetrate the building, exposing rather than merely evoking its inner workings and noises, but I guess that’s in keeping with being theatrical as opposed to interventionist.
The three galleries of No Limestone, No Marble — a reference to the hefty materials used to construct the Cultural Center and so many of Chicago’s most important buildings — fit together like segments of a body. At the bottom are those white guts. In the middle is the torso, an installation of enormous rounded and rectangular mirrored plexiglass that playfully rearranges the shapes of the windows that line the walls, reflecting the world outside and the art inside. At the top is the head, or rather dozens of heads large and small: cut-outs of ladies’ hairstyles from vintage fashion magazines, collaged with pictures of Tiffany lamps and other home furnishings of the era, which turn out to make excellent proxies for women’s bodies and fashions. The queen of them all, blown up to billboard size, takes as her dress an image of the Cultural Center’s famed Tiffany dome, the largest in the US and perfectly elegant when worn with a twisty up-do. Much to ponder about the strictures faced by women at the turn of the 19th century as related to the aesthetics of the time? Oh yes, not least the recent discovery, related in an adjacent wall text, that Louis Comfort Tiffany did not design everything personally but actually depended on many talented women known as the “Tiffany girls,” designers and craftspeople forced to resign once married, and forbidden to unionize. Agassi offers her lamp-lady collages in their memory." -- Lori Waxman, 1/16/2023 @ hyperallergic.com.