View allAll Photos Tagged marlines
2012, Feb. 6
Killeen, Texas
My Canon EOS 60D arrived this afternoon at about 2:30 p.m. (purchased Feb. 2 from Amazon).
I used the ailing 400D to take these product shots, with a Sigma 50mm f/2.8 lens and a LumoPro LP160 flash fired off-camera via a Cactus V4 wireless flash trigger.
I blogged in December (here) about why I decided to buy a new camera and how I made my decision.
Copyright © 2012 by Wil C. Fry. All Rights Reserved.
Please do not post group icons, "awards" or unrelated image files.
Please do not use/repost this image without my permission.
2013, April 14 - Killeen, Texas
While in Oklahoma recently, my Dad handed over a couple of old photography-related items. Here's one of them, a Minolta Hi-Matic 11 camera with no manual controls (except focus).
And yes, that's a Social Security number (SSN) engraved on the metal casing. When I search for the number, two sites (here and here) show that it belonged to Elmer J. Findley who died in 2007 at the age of 86; his last residence was Wewoka, Okla.
© Copyright 2013 by Wil C. Fry. All rights reserved.
Please do not use this image without my permission.
Please do not place unrelated images in comments.
Same as previous photo, with only levels-adjustment.
With temps very cool at 70°F (about 11 a.m. CDT), I pulled the kids to the playground in the wagon. We played about 45 minutes.
* LumoPro LP180 at left, 1/32 power, 105mm zoom, through blue cutting mat
* Yongnuo YN560-II at right, 1/64 power, 105mm zoom, through red cutting mat
* LumoPro LP160 at back, 1/64 power, 24mm zoom, through LumiQuest Softbox III
I don't think I've ever photographed a sunrise before, since I'm mainly an evening/night person. Even if I have, I know I've never photographed a sunrise over the water.
The previous evening, I planned to get outside as soon as possible in the morning. I was out by 05:30 CST or so, and it's a good thing too. It required a good 30 minutes before my lens quit fogging over from the 100% humidity. And not just the front of the lens, but the back of it. And my viewfinder. And my LCD screen.
But I got my sunrise image(s) over Corpus Christi Bay.
06:03 CST
UPDATE: I did find a previous sunrise photo, from 2005, in my photostream. That was just a month after I joined Flickr and it wasn't shot over water. Check it out.
Applying parceling ( either cloth friction tape or tarred light weight canvas, linen, or burlap to the wire after it has been slushed with a bare wire dressing (slush) which is a mix of 70% pine tar / 20% raw linseed oil / 10% Marvel Mystery Oil or similar oil. This mixture will always remain tacky and should not have any driers added to it.
For blacking down the final product, the mixture is a bit different:
For natural marline
70% Stockholm tar or pine tar
20% Boiled linseed oil
10% Varnish
And a splash of Japan driers
For Synthetic Marline & seine twine service:
70% Stockholm tar or pine tar
15% Boiled linseed oil
15% Black enamel paint
Add a good swig of Japan driers.
Note: For the synthetic marline, some people use just straight black paint. This will work as long as you have a good slushing of the wire dressing described in the first paragraph.
Ironically, I took this with my cell phone.
(I was on foot. I assumed the sign referred only to those in motor vehicles, though it didn't specify.)
That's me (left) with friends Brian Miller and Annette Campbell, on the west edge of the Central Bible College campus, Nov. 3, 1991. The door to the left was the campus bookstore, on the ground floor of John W. Welch Hall (my dorm).
(Clearing stuff off my desk and photographing some of it as I go.)
My Dad took the original photo on film; I reproduced it with my Canon 60D.
I've had this cake twice now -- made by my Mom -- and it's simply the best cake I've ever tasted. (I remove the candy balls first.)
Taken during our two-day whirlwind trip to Oklahoma for my Dad's 70th birthday. This one is actually from the birthday party.
I wasn't really happy with my last attempt to balance a flash with a sunset background, so I tried again today. Again, we only had a few seconds to try it.
Camera: 1/200, ISO250, f/9, 28mm
Flash: Yongnuo YN560-II, 1/8 power, 70mm, clamped to eave of house
This sculpture is reportedly by Rob Lorenson, and is called Textured Gear, though I didn't see a plaque anywhere nearby to tell me this. Basically I had to find another Flickr photo with that information and then search Google for a little more about the guy (which isn't much).
Taken during my second "walkabout" of the day in Providence, R.I., while my wife and children were at the Providence Children's Museum. This one was entirely on the east side of Providence River.
Friendly's is something you don't see where I live. According to Wikipedia (here), there are 380 Friendly's locations, almost entirely in East Coast states (exception: Ohio), and mostly in the original, founding states of the U.S.
This one is on Newport Ave. in Pawtucket, R.I., near Beverage Hill Ave.
I was particularly struck by the "come try our lobster roll" marquee, since lobster roll is something I don't think I'd enjoy and have never associated it with ice cream.
Assignments for the Strobist Lighting 102 course. This one is for Unit 2.2: Specular Highlight Control.
Assignment: Choose a 3-D object that is reasonably reflective and explore what you can do by manipulating a specular highlight.
(I paraphrased for brevity.)
Subject: reading glasses on book
Flash: LumoPro LP160 (left image), and LumoPro LP180 (center, right images)
Flash Position: camera right, above subject at 45° angle
Flash Zoom: 35mm
Flash Power: varied
Subject-to-Background: 12 inches
Camera-to-subject: varied (handheld)
Camera settings: ISO200*, 1/200, f/8*
(ISO100 and f/11 for center image)
Left image
LumoPro LP160, 1/32 power, thru LumiQuest SoftBox III
-about 12 inches from subject to softbox front surface
Center image
LumoPro LP180, 1/128 power, unmodified (bare)
-about 12 inches from flash fresnel lens to subject
Right image
LumoPro LP180, 1/16 power, through white diffuser umbrella
-about 12 inches from umbrella surface to subject
What I learned
For one, I was surprised to see the umbrella spines in the reflection in the third image; they were on the *other* side of the white umbrella. It's not as diffuse as I'd thought.
As expected, the softbox (left image) changed the color balance a bit.
I think, of these three, the left one is my favorite, though I'm not sure why.
As we often do, we ate Thanksgiving dinner a day early because my wife had to* work on the actual holiday.
(* "Wanted to", due to extra pay.)
We enjoyed ham, chicken, cake, stuffing, corn, green beans, sweet potatoes, roast potatoes, and dinner rolls, washed down with sparkling apple cider, egg nog, and Coca-Cola.
It should be noted that my wife was very sick but still prepped all this for us. My contribution was keeping the kids out of the oven.
Close-up of Marlene Dietrich sitting on a piano with G.I.s and wounded solders gathered around listening to her sign. Picture taken at an evacuation hospital near the front lines in Italy. Date: 5/1944. NARA REF#: 111-C-2162
It's the one day of the year that she's only eight years younger than I. All other days of the year, she's nine years younger than I.
We finally got "winter" today, a miniscule amount of freezing rain and sleet, and a countable number of snowflakes.
These icicles were hanging from a porch chair on our back porch. The longest was less than 2 inches.
1/100 seconds, ISO100, f/5.6 (focal length: 10mm)
Part of my exercise for Strobist's Lighting 102 3.3 - Balancing Flash/Ambient Indoors lesson.
Basically, I just exposed for the subject -- a Marvin The Martian cup I've had for two decades -- with the flash, and then scrolled the shutter speed one stop per photo until the room was overexposed. The point of the exercise it to teach that with flash photography there are two exposures in every photo -- one for the flash and one for ambient light.
Flash: LumoPro LP180, 1/16 power, shot through cardboard DIY softbox, just a few inches out of frame
Lens: Sigma 10-20mm f/4-5.6 EX DC HSM
Ambient: Daylight, coming through three windows behind me and to camera right, two more windows in the kitchen at camera left, and two more windows in the bedroom that's barely visible through the doorway at upper left.
BLACK WATCH photographed at Tilbury Docks on the 13 Sept 1981
Built 1966 in Germany by Flender Werft at Lubeck-Siems [Yard No. 560] for Fred Olsen
IMO: 6609834
GRT: 9499 / DWT: 2995
Dimensions: Length (oa) 141.6 metres x Beam 20.3 metres
2008 Broken up at Alang
Name Changes
1966-1986 : Operated as BLACK WATCH Sept to May / JUPITER May to Sept by Fred Olsen & Co & Det Bergenske D/S, Oslo
1986: JUPITER, registered owner Norway Line A/s, Bergen
1990: CROWN M, registered owner Cadet Shipping Ltd, Valletta
1992: CROWN M, registered owner Loryma Nav Ltd, Limassol
2000: BYBLOS, registered owner Philpot Shipping Ltd, Limassol
2005: CROWN, registered owner Marlines SA, Moroni
2006: CROWN A, registered owner Marlines SA, Moroni
Assignments for the Strobist Lighting 102 course. This one is for Unit 2.2: Specular Highlight Control.
Assignment: Choose a 3-D object that is reasonably reflective and explore what you can do by manipulating a specular highlight.
(I paraphrased for brevity.)
Subject: Antique tape measure
Flash: LumoPro LP180 through white umbrella
Flash Position: camera right, above subject at 45° angle
Flash Zoom: 35mm
Flash Power: 1/16
Subject-to-Background: 12 inches
Camera-to-subject: six or eight inches
Camera settings: ISO200, 1/200, f/8
What I learned
When lighting a highly reflective surface, you're actually lighting whatever will be reflected into the lens. In this case, the white surface at bottom and the grayish-white background were reflected into the lens.
The specular highlights at upper right and around the inset circle are the only evidences of my light source itself.
For a blog entry I'm writing about global warming.
“The time has come ... for destroying those who destroy the earth.”
Interesting stuff.
Since buying white flexible cutting mats two years ago for use in my DIY light shed, I've realized that those cutting mats have been the best value of any photography-related item I've ever purchased. I use them for backgrounds and reflectors, and of course as part of my light shed for product photography.
So I picked up a few more this week, of varying colors.
This is a "Chop Chop" set of four (red, blue, green, yellow) translucent mats ($6.99 at Bed Bath & Beyond) that I've already used as flash gels. They're 11.5"x15".
My Yongnuo YN560-II arrived today, mostly funded with Christmas money. (Simple one-pin hot foot)
Lens: Sigma 50mm f/2.8 EX DG Macro
Light: LumoPro LP160, fired via Cactus V4 wireless flash trigger, bounced off white ceiling
My wife has had this in her purse for four and a half years. Fortunately, she was never bothered by anyone for breastfeeding in public. But others are, and that's sad.
Assignment for the Strobist Lighting 102 course. This one is for 3.2 Balance: Flash/Sun Crosslighting.
Subject: Marline
Light1: LumoPro LP180, LumoPro LP160, Yongnuo YN560-II
(all 1/8 power, all 70mm, all at camera right)
Light2: Afternoon sun (camera left)
Camera settings: ISO100, 1/200, f/14
Since buying white flexible cutting mats two years ago for use in my DIY light shed, I've realized that those cutting mats have been the best value of any photography-related item I've ever purchased. I use them for backgrounds and reflectors, and of course as part of my light shed for product photography.
So I picked up a few more this week, of varying colors.
This is a "Chop Chop" set of four (red, blue, green, yellow) translucent mats ($6.99 at Bed Bath & Beyond) that I've already used as flash gels. They're 11.5"x15".
Assignment for the Strobist Lighting 102 course. This one is for 3.2 Balance: Flash/Sun Crosslighting.
Subject: Marline
Light1: LumoPro LP180, LumoPro LP160, Yongnuo YN560-II
(all 1/8 power, all 70mm, all at camera right)
Light2: Afternoon sun (camera left)
Camera settings: ISO100, 1/200, f/13
With three flashes about six feet away, I finally overpowered the sun, but not by much. You can still see the sun on Marline's face at upper left.
Assignment for the Strobist Lighting 102 course. This one is for 3.2 Balance: Flash/Sun Crosslighting.
Subject: Marline & Rebecca
Light1: LumoPro LP180, LumoPro LP160
(both 1/4 power, both 70mm, both at camera right)
Light2: Afternoon sun (camera left)
Camera settings: ISO100, 1/200, f/13
Here's where I discovered that one flash wasn't firing.
1/13 seconds, ISO100, f/5.6 (focal length: 10mm)
Part of my exercise for Strobist's Lighting 102 3.3 - Balancing Flash/Ambient Indoors lesson.
Basically, I just exposed for the subject -- a Marvin The Martian cup I've had for two decades -- with the flash, and then scrolled the shutter speed one stop per photo until the room was overexposed. The point of the exercise it to teach that with flash photography there are two exposures in every photo -- one for the flash and one for ambient light.
Flash: LumoPro LP180, 1/16 power, shot through cardboard DIY softbox, just a few inches out of frame
Lens: Sigma 10-20mm f/4-5.6 EX DC HSM
Ambient: Daylight, coming through three windows behind me and to camera right, two more windows in the kitchen at camera left, and two more windows in the bedroom that's barely visible through the doorway at upper left.
Assignment for the Strobist Lighting 102 course. This one is for 3.2 Balance: Flash/Sun Crosslighting.
Subject: Marline
Light1: LumoPro LP180, LumoPro LP160, Yongnuo YN560-II
(all 1/4 power, all 70mm)
Light2: Afternoon sun (camera left)
Camera settings: ISO100, 1/200, f/13
Marline's starting to get frustrated with how long it took me to get set up.
Grand Marnier Liqueur: Orange & Cognac
I'd never heard of this until June 19, when one of my wife's uncles offered me a sip in Seekonk, Massachusetts. He warned me that it was expensive (it was). But it's really good.
I was about to write a blog entry about my disappointment in Barack Obama (despite still being glad he defeated McCain and Romney), when I saw this Rolling Stone magazine at the supermarket, with "In Defense of Obama" on the front cover, an op-ed by economist Paul Krugman. I decided to read it before penning my own uninformed opinions.
Krugman's article is online here.
Testing Guide Numbers of three of my flashes, using the curtains in my office (bedroom number 3).
In all cases, the flash heads are 5 feet (60 inches, 152.4cm) from the curtains, and are zoomed to 105mm.
With the Yongnuo YN560-II (left) set a full stop lower than the LumoPro LP180, the output appears nearly equal. If anything, the YN560-II is still slightly brighter (its guide number says it's 1.7 stops brighter).
flash comparison
Incubo Design:
Web store:
marketplace.secondlife.com/stores/52240
Inworld store:
maps.secondlife.com/secondlife/Marvel Retreat/96/46/3003
Credits:
MNU Marline by TheFennek Resident
Since buying white flexible cutting mats two years ago for use in my DIY light shed, I've realized that those cutting mats have been the best value of any photography-related item I've ever purchased. I use them for backgrounds and reflectors, and of course as part of my light shed for product photography.
So I picked up a few more this week, of varying colors.
This is a Chefmate set of four ($5.19 at Target), two 12"x15" and two 7.5"x11.5". One of each size is white/translucent and one of each size is black/opaque. I plan to use the black ones as flags/cutters, and the translucent ones as diffusers or reflectors.