Transportation Methods
View allAll Photos Tagged method
Les sociétés humaines, et singulièrement nos sociétés historiques, ont introduit au coeur de la relation entre humains l'opposition dramatique du "maître et de l'esclave", c'est-à-dire l'asservissement, l'exploitation, l'assujettissement de l'homme par l'homme, et elles nous posent un problème inconnu en ces termes dans le règne vivant et dans toute autre société : celui de l'émancipation au sein et à l'égard de sa propre société, y compris par et dans la transformation de cette société.
La méthode, tome 2 : La vie de la vie - Edgar Morin
Picked up another one while sifting back through the archives, one that I had always intended to post but somehow never got round to.
A straight Pano-Sabotage shot, with no photo-manipulation. Saturation was bumped up, white glare reduced and contrast enhanced. C'est toute !
Despite the many different shifts in styles and methods since I began photography in earnest 8 years ago, the common theme of the undermining of the straight line and the dominance of Euclidean absoluteness is demonstrated here. Einstein over Newton one might say.
___________________________________________________
© Richard S Warner ( Visionheart ) - 2015, 2018. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
___________________________________________________
The shooting basic method for shooting fireworks.
One is wide to standard angle lens used, long exposure shooting.
One other is middle to long zoom lens used, During long exposure into change the focus.
This time, I choosed the latter shooting method.
The milky way and road no.40 near Mitzpe Ramon - Israel
the sky made from 9 stack photos of 30sec long exposure
ISO3200
If someone can help me photoshop this photo.
I'm trying to fix the hidden part of the road.
tried some methods but it didn't work, it beyond my knowledge
By Shell Beach @ Woodcrest
You can buy this pose (with deck and ramp!) here: II Pause Poses
Or visit the mainstore in SL: II Pause Poses
This pose is now available for purchase at SL18B! 50% off!
Methods of PP techniques have been varied for each image in this Hastings series hopefully making them individually more appealing.
Seems late in the season, they might have lost their eggs to addling. Apparently if they suspect their eggs were tampered with they will lay again.
From Wikipedia "Goose egg addling is a wildlife management method of population control for Canada geese and other bird species. The process of addling involves temporarily removing fertilized eggs from the nest, testing for embryo development, killing the embryo, and placing the egg back in the nest. Returning the egg to the nest misleads the goose into believing the egg is still developing. Otherwise, the goose would begin laying again."
"Can I come home for the summer?
I could slow down for a little while
Get back to loving each other
Leave all those long and lonesome miles behind"
Really like this song... www.youtube.com/watch?v=Opw8I6UTpGo
PS: additional explanation in comment. Please do tell if you see the link.
In Radibor, nur wenige Kilometer entfernt von Bautzen, wurde zu Ehren von Kyrill und Method ein Denkmal errichtet.
Die byzantinischen Gelehrten und Priester aus Thessaloniki sind die christlichen Missionare der slawischen Völker im 9. Jahrhundert. Deswegen werden die beiden auch als “Slawenapostel” bezeichnet.
Der größte Verdienst der beiden Brüder liegt in der Betonung der slawischen Muttersprache und der kulturellen Eigenständigkeit der slawischen Völker.
Mitte des 19. Jahrhunderts gründete der Pfarrer Michał Hórnik mit seinen Gleichgesinnten den Cyrill-Methodius-Verein.
Obwohl mittlerweile erwiesen ist, dass die Sorben durch das Bistum Meißen missioniert wurden, halten sie dennoch an der Verehrung von Cyrill und Methodius fest.
Im Jahr 2.000 errichtete der Verein das Millenniumsdenkmal an seiner heutigen Stelle.
Den künstlerischen Entwurf schuf Kunstbildhauer Dobrosław Bagiński aus Lublin (Polen).
Die sich immer weiter aus dem Boden erhebenden Steinkreuze symbolisieren das Wachstum des christlichen Glaubens.
Entdeckt auf einer Fototour mit Harald.
Tonemapped with Dynamic Photo HDR, once with the Human Eye method and once with the Eye Catching method, then the two were combined in Photoshop.
Square net fishing in Phatthalung, Thailand, is a traditional method practiced in the Thale Noi wetlands. Fishermen use bamboo platforms with suspended square nets operated by a pulley and counterweight system. The nets are lowered into the water to trap fish as they swim by, relying on the fishermen’s knowledge of tides and fish behavior. The catch is collected using smaller scoop nets. This sustainable method allows smaller fish to escape, preserving ecosystems. Fishing often occurs in the early morning or evening and reflects generations of cultural tradition. The bamboo structures, especially at sunrise, have become iconic, attracting tourists and photographers. Square net fishing symbolizes the harmonious connection between people and nature, blending livelihood and heritage in this serene region.
Funny story. I needed to fly my drone amongst the mangrove roots to get this panorama capture. Elated after the final frame was shot I mistakenly flew straight up into a guide wire and crashed the drone into the river. Just 5m offshore, I quickly stripped down and dove into the water to recover the drone. Down about 4m it was cold and pitch black with no sign of the bottom. Failure. The hotel was able to find me a salvage diver who was able to recover the drone a week later using the last recorded GPS coordinates. I received the corroded drone and more importantly the still functioning micro SD card a couple of weeks after my return from the trip. Elation again upon successful import, and panorama stitch.
I always struggle with photography on bright, sunny days. So recently, I decided to address this issue which needed an adjustment in my approach. My decision was to work on focus stacking and getting the camera much closer to the foreground. These rocks were merely 10cm from the front element of the lens so I needed to take 7 shots in total to get everything as pin sharp as possible all the way through the image. Blending was still trick and there are small mistakes but I think I am pleased with the final result nonetheless. Taken on the coastline of Portknockie in Morayshire, Scotland.
Straight from Central Cats-ing? :-)
At first, I honestly thought this cat was simply a cardboard cutout and couldn't believe my luck when I saw he/she was real and not just part of the decorations, ha ha. And only on zooming in to crop, did I see 'that look' :-) I wonder if he/she is on contract to sit just like that for the next 3 weeks - being paid in yummy crunchies by the looks of it :-)
(Slight pun re 'lucky' timing, since I've personally always thought a black cat brings GOOD luck not bad.)
Griffon vultures have been used as model organisms for the study of soaring and thermoregulation. The energy costs of level flight tend to be high, prompting alternatives to flapping in larger birds. Vultures in particular utilize more efficient flying methods such as soaring. Compared to other birds, which elevate their metabolic rate to upwards of 16 times their basal metabolic rate in flight, soaring griffon vultures expend about 1.43 times their basal metabolic rate in flight. Griffon vultures are also efficient flyers in their ability to return to a resting heart rate after flight within ten minutes.
As large scavengers, griffon vultures have not been observed to seek shelter for thermoregulation. Vultures use their bald heads as a means to thermoregulate in both extreme cold and hot temperatures. Changes in posture can increase bare skin exposure from 7% to 32%. This change allows for the more than doubling of convective heat loss in still air. Griffon vultures have also been found to tolerate increased body temperatures as a response to high ambient temperatures. By allowing their internal body temperature to change independently of their metabolic rate, griffon vultures minimize their loss of water and energy in thermoregulating. One study in particular (Bahat 1995) found that these adaptations have allowed the Griffon vulture to have one of the widest thermal neutral zones of any bird.
It declined markedly throughout the 19th–20th centuries in much of Europe, North Africa and the Middle East, mainly due to direct persecution and "bycatch" from the poisoned carcasses set for livestock predators (Snow and Perrins 1998, Ferguson-Lees and Christie 2001, Orta et al. 2015). In some areas a reduction in available food supplies, arising from changes in livestock management practices, also had an impact (Ferguson-Lees and Christie 2001, Orta et al. 2015). It is very highly vulnerable to the effects of potential wind energy development (Strix 2012) and electrocution has been identified as a threat (Global Raptors Information Network 2015). Non-steroidal anti-inflammatory drugs (NSAIDs) used for veterinary purposes pose a threat to this species. One case of suspected poisoning caused by flunixin, an NSAID, was recorded in this species in 2012 in Spain (Zorrilla et al. 2015). Diclofenac, a similar NSAID, has caused severe declines in Gyps vulture species across Asia.
Oil floating on water makes for a very interesting image, I was very pleased with the result, it was my first attempt at this type of macro photography.
Although I did try many methods, and took 60 plus macro images to arrive with this one, I really enjoyed trying something different, although getting so close to water with a camera isn't without its own risks.
This image was created for the Macro Mondays group ....
The topic this week is Oil on Water.
HMM! Everyone .... Love & Peace.
not a simple grey scale conversion -
this contains 27 968 shades of grey - ( I had no idea there were so many !!)
if you are interested in the method- can read about it in theinvertedimage blog at www.theinvertedimage.com
(Thanks Victor!!)
colour processing remains hit or miss ; - ))
"Brenizer method" panorama, 30ish images with the 105mm f/1.8. See much more of this great wedding here!
Le Gornergrat Bahn était le premier train à crémaillère du monde. Aujourd'hui, ce train moderne et durable se déplace grâce à un mécanisme de rétroaction qui récupère l'énergie, garantissant des trajets sobres. Grâce à cette méthode, l'énergie pour une à deux nouvelles montées en montagne est gagnée par trois descente.
Le plus haut chemin de fer à crémaillère 3100m à ciel ouvert d’Europe circule toute l’année.
Museo Guggenheim, Bilbao, Vizcaya, País Vasco, España.
El Museo Guggenheim Bilbao (en euskera, Guggenheim Bilbao Museoa; en inglés, Guggenheim Museum Bilbao) es un museo de arte contemporáneo diseñado por el arquitecto canadiense Frank O. Gehry y localizado en la villa de Bilbao (País Vasco), España. Es uno de los museos vinculados en régimen de franquicia o colaboración con la Fundación Solomon R. Guggenheim. Fue inaugurado el 18 de octubre de 1997 por el rey Juan Carlos I de España.
Las negociaciones para la construcción del museo entre las autoridades públicas de la comunidad autónoma del País Vasco y los directivos de la Fundación Guggenheim comenzaron en febrero de 1991. El acuerdo se firmó a finales de ese año, seleccionándose el arquitecto y el emplazamiento del edificio a mediados de 1992. Desde su inauguración en 1997, el museo ha recibido una media superior al millón de visitantes anuales, causando un impacto extraordinario en la economía y la sociedad vasca, impulsando el turismo en la región y promoviendo la revitalización de múltiples espacios públicos y privados en la villa, además de mejorar la imagen de la ciudad. Todo este fenómeno, bautizado por los medios de comunicación como «efecto Guggenheim» o «efecto Bilbao», ha puesto de relieve la importancia del turismo cultural, y ha generado un efecto de emulación en otros países, con desiguales resultados.
La característica más llamativa del museo es el innovador edificio en el que se emplaza, constituido por formas curvilíneas y retorcidas, recubiertas de piedra caliza, cortinas de cristal y planchas de titanio. Cuenta con una superficie total de 24.000 m², de los cuales 10.540 m² están reservados para las exposiciones, distribuidos en 19 galerías, siendo el museo con más metros expositivos del Estado. Se ubica a orillas de la ría de Bilbao, en una zona denominada Abandoibarra, junto al puente de La Salve, que está rodeado por una torre hueca.
Tanto el edificio como su colección permanente pertenecen a las autoridades vascas. El 3 de diciembre de 2014 el patronato del Museo Guggenheim Bilbao aprobó renovar por otros 20 años la colaboración con la Fundación Solomon R. Guggenheim de Nueva York, suscrita en 1994 y cuya vigencia vencía el 31 de diciembre.
Diseñado por el gabinete de arquitectos de Frank Gehry, fue abierto al público en 1997 y alberga exposiciones de arte de obras pertenecientes a la fundación Guggenheim y exposiciones itinerantes. Muy pronto el edificio se reveló como uno de los más espectaculares edificios deconstructivistas. El diseño del museo y su construcción siguen el estilo y métodos de Frank Gehry. Como muchos de sus trabajos anteriores la estructura principal está radicalmente esculpida siguiendo contornos casi orgánicos. El museo afirma no contener una sola superficie plana en toda su estructura. Parte del edificio es cruzado por un puente elevado y el exterior está recubierto por placas de titanio y por una piedra caliza que fue muy difícil de encontrar (al final se logró encontrar en Huéscar, Granada) de un color similar a la que se utilizó para construir la Universidad de Deusto.
El edificio visto desde el río aparenta tener la forma de un barco rindiendo homenaje a la ciudad portuaria en la que se inscribe. Sus paneles brillantes se asemejan a las escamas de un pez recordándonos las influencias de formas orgánicas presentes en muchos de los trabajos de Gehry. Visto desde arriba, sin embargo, el edificio posee la forma de una flor. Para su diseño el equipo de Gehry utilizó intensamente simulaciones por ordenador de las estructuras necesarias para mantener el edificio, consiguiendo unas formas que hubieran sido imposibles de realizar unas pocas décadas antes.
Mientras que el museo domina las vistas de la zona desde el nivel del río, su aspecto desde el nivel superior de la calle es mucho más modesto por lo que no desentona con su entorno de edificios más tradicionales.
The Guggenheim Museum Bilbao (in Basque, Guggenheim Bilbao Museoa; in English, Guggenheim Museum Bilbao) is a contemporary art museum designed by Canadian architect Frank O. Gehry and located in the town of Bilbao (Basque Country), Spain. It is one of the museums linked by franchise or collaboration with the Solomon R. Guggenheim Foundation. It was inaugurated on October 18, 1997 by King Juan Carlos I of Spain.
The negotiations for the construction of the museum between the public authorities of the autonomous community of the Basque Country and the directors of the Guggenheim Foundation began in February 1991. The agreement was signed at the end of that year, selecting the architect and the location of the building mid-1992. Since its inauguration in 1997, the museum has received an average of more than a million visitors per year, causing an extraordinary impact on the Basque economy and society, boosting tourism in the region and promoting the revitalization of multiple public spaces and in the town, in addition to improving the image of the city. All this phenomenon, baptized by the media as the "Guggenheim effect" or "Bilbao effect", has highlighted the importance of cultural tourism, and has generated an effect of emulation in other countries, with uneven results.
The most striking feature of the museum is the innovative building in which it is located, made up of curvilinear and twisted shapes, covered in limestone, glass curtains and titanium plates. It has a total area of 24,000 m², of which 10,540 m² are reserved for exhibitions, distributed in 19 galleries, making it the museum with the most exhibition meters in the State. It is located on the banks of the Bilbao estuary, in an area called Abandoibarra, next to the La Salve bridge, which is surrounded by a hollow tower.
Both the building and its permanent collection belong to the Basque authorities. On December 3, 2014, the Board of Trustees of the Guggenheim Museum Bilbao approved renewing for another 20 years the collaboration with the Solomon R. Guggenheim Foundation of New York, signed in 1994 and whose validity expired on December 31.
Designed by the firm of architects of Frank Gehry, it was opened to the public in 1997 and houses art exhibitions of works belonging to the Guggenheim Foundation and traveling exhibitions. Very soon the building was revealed as one of the most spectacular deconstructivist buildings. The design of the museum and its construction follow the style and methods of Frank Gehry. Like many of his earlier works the main structure is radically sculpted following almost organic contours. The museum claims not to contain a single flat surface in its entire structure. Part of the building is crossed by an elevated bridge and the exterior is covered by titanium plates and by a limestone that was very difficult to find (in the end it was found in Huéscar, Granada) of a similar color to the one used for build the University of Deusto.
Seen from the river, the building appears to have the shape of a ship, paying homage to the port city in which it is part. Its glossy panels resemble the scales of a fish, reminding us of the organic shape influences present in much of Gehry's work. Seen from above, however, the building has the shape of a flower. Gehry's team extensively used computer simulations of the structures needed to support the building for its design, achieving shapes that would have been impossible a few decades earlier.
While the museum commands views of the area from river level, its appearance from the upper street level is much more modest, fitting in with its setting of more traditional buildings.
Another from last summer. After many years a Notocactus Leninghausii from my collection finally bloomed. A 32-image handheld focus stack in late-day light. Stacked using Helicon Focus, (method B_R4-S2). In hindsight, I will use a tripod next time — too many artifacts.
PLEASE: Do not post any comment graphics, they will be deleted. See info in my bio.
We headed down to the Tasmanian east coast last weekend - ostensibly to try out my Nikon F90X film camera. I'll show some of those shots in due course. There is one famous photographer who to this very day absolutely loathes the digital era. But then one can forgive him that prejudice, given that he turns 83 in four days time, and has made a career out of shooting film (over a million and a half photographs) and processing his work with the dye-transfer printing process.
As my title suggests I am talking about the Southern gentleman photographer from Memphis, Tennessee, William Eggleston (born 1939). I would hope Eggleston would forgive my taking this shot with a digital camera rather than my film camera. Being unable to access the processing methods used by Eggleston, I have had to make do with a digital approximation. Believe me the difference in colour is enormous. In film, processing is everything and I'm afraid our local lab is not up to the task of matching Eggleston's colour.
I hope to come back to William Eggleston at a later date, but when I saw this scene in St Mary's I knew immediately it was one of his favourite themes - the rural gas station. Eggleston's aesthetic features ordinary subject matter and the ugliness of modern life. But he does it in such a way that you feel at home looking at his pictures. One pundit has referred to him as "the greatest worst photographer in the world". www.youtube.com/watch?v=H82hTDctWDo&t=74s
William Eggleston grew up in Memphis (and I don't need to tell you how significant this city is in terms of the blues and jazz, not to mention Elvis). And there's a element of jazz-like improvisation in Eggleston's work. He is famous for being the first colour photographer to be given a one-man show at the MoMA in New York in 1976. He is also a rare bird in that he plays piano and has taught at Harvard University (not a combination you expect much from a photographer).
So this is my little tribute to a master and Southern gentleman. I highly recommend you looking at these links about his work:
"William Eggleston | TateShots" www.youtube.com/watch?v=CcJxRYb57_Y
"The Photography of William Eggleston" www.youtube.com/watch?v=ylwMIKJBxTw
"William Eggleston - the Musician" www.youtube.com/watch?v=51zDSdq1rI0
Out playing at the park with Effy and found that the Cherry Trees were blooming here in Las Cruces.
This is a panoramic stitch (known as the Brenizer method) made up of 30+ images.
Sony A7
AF Nikkor 50mm f/1.4D
Post Processing done in Lightroom 5/Photoshop CC
© 2015 Robert Stebler
Using my first ever created template in Nightcafe
actionart
movement and the action of the method of creation rather than the image its self
Diney
~
Show some ACTION ~~~~~
www.flickr.com/groups/temporaryexhibitionsartgallery/
artweek
A small Tachinid fly (ca. 8mm, Phorocera obscura, Diptera, Tachinidae) found close to a pond (Waterfront, Niel, Belgium, 16 April 2022).
Fieldstack of a live specimen, based on 71 exposures (fast method); assembled in Zerene Stacker (Pmax & Dmap). Sony A6500 + Laowa 65mm f/2.8 2x ultra macro apo; ISO-200, f/2.8, 1/1250s, -1.0 step, diffused sunlight. Cropped and turned.
Gear & method used, see: www.flickr.com/photos/andredekesel/8086137225/
By contemplating the created order, and by contemplating and ordering the moral structure of one’s own life, one would be led to the pure theoria of the fountainhead of all existence, ho on, ‘the existing one’, ‘He Who is’, this being the name of God revealed to Moses at the burning bush. Historical revelation in this light becomes God’s method of spelling out truth in the terms of the world: an arrangement of clues which, rightly seen, leads to illumination. However, this is not really comparable to the enlightenment of the gnostic: there is no ‘technology’ here, no suggestion of control over the laws of the Spirit. The end is simply contemplation, the enjoying of God for his sake alone; and Philo shares the biblical repugnance for any suggestion that God can be brought into human control. God can never be contained in human concepts. Moses ascends into a cloud and darkness beyond the scope of intellect, where God offers himself directly to the vision, without the intervention of any form or idea. Here, then, the pilgrimage of the understanding is seen not (as for the gnostic) in terms of acquisition but in terms of stripping away, the stripping of multiple and diffuse kinds of apprehension to the simplicity of a single-hearted vision –in Platonic terms, the return from the Many to the primal One.
- The Wound of Knowledge Christian Spirituality from the New Testament to St John of the Cross, ROWAN WILLIAMS