View allAll Photos Tagged modulation,
Testing out the fadeable cathode wrangled by Mr J Barkby. This device is the first step in trying to construct a more complex tool.
MODULATION OF THE BALANCE IN THE MATRIX / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.
During the full moon on March 19th 2011 the moon was only 221,565 miles (356,575 kilometers) away. The closest it’s been in almost 20 years. It appeared 14 percent bigger and 30% brighter than usual.
A "Super Moon".
How to shoot the moon:
1. Use a good solid Tripod, keep the center column down. Over the distance from you to the moon, any vibration is going to affect your image.
2. Use a long lens, mine is 400mm on a 1.6x crop body = 640mm
3. ISO 100. Although this is at night, the moon is very bright, use your lowest ISO to get the cleanest image.
4. Use RAW, jpg disposes of detail before you've had a chance to optimize it.
5. Set your lens to its sharpest aperature, mine is F8. Check your lens MTF (Modulation Transfer Function [resolution]) at photozone. For example see Test Report - Analysis
6. Set your shutter speed to one stop below getting the blinking overexposed warning. This is 'expose to the right'. In camera, this will look over exposed, but once we post process it, you will get the maximum detail - this is important! see "Expose to the Right"
7. Live View to focus critically at 10x magnification. You would imagine at this distance the lens would be at infinity, but you'll be be surprised.
8. Use the self timer with mirror lockup. You want the camera to be as still as possible at the point of exposure.
9. Post processing
The expose to the right technique maximises detail, but requires you fix the exposure level in Post Processing, do it manually or try the Auto fix.
Increase the contrast via curves adjustment, to darken the 'seas', and brighten the craters.
Tone if desired.
Crop.
bbb low-cost housing, kvistgård, elsinore, denmark.
architects: tegnestuen vandkunsten, 2004-2008.
before closing everything down for the summer, I thought I'd take a break from my palermo photos and show you a few snapshots from the completed first stage of the bbb housing project I have worked on for tegnestuen vandkunsten.
many of you commented on the prototype I uploaded last year, here is a chance to see the finished project. people started moving in about half a year ago if I remember correctly. the photos are from yesterday...
as I have written earlier, it is a courtyard project in which the houses are gathered nine by nine in clusters around a small, communal garden or square. the clusters are all identical but they are placed freely on a sloping site which centres naturally on a little lake.
I can't help feeling that the low-cost tag is not entirely fair. we did the original competition with a high degree of prefabrication in mind but the impact of repeated units is softened considerably by the quality of the site and the scale of the buildings...but most importantly, we never felt we were made to compromise for budget reasons. it remains a central tenet and experience of vandkunsten that key qualities of housing are independent of budget. that may be a provocative statement to all those struggling with budget restraints in social housing, but just think about how often the wrong decisions are forced on a project by thick-headed bureaucrats and ignorant clients rather than a lack of money.
what made me really happy yesterday was the way people are making the place their own. what I saw was only the beginning and as such both careful and hesitant, but it showed an impressive understanding of our intentions. I only fear there are too many restrictions on what residents are allowed to do. we love rules in denmark but the real sustainability of this project does not lie in the sturdiness of its materials but in the fundamental adaptability of its scale and method of construction. I hope changes will be allowed over time.
I also can't wait to see what people will make of their communal squares. they were finished simply with a lawn and a couple of young apple trees but the possibilities for making unique and personal spaces out of them are many and the process of doing so should generate a real sense of community...not that it seems to be lacking. from our client we have heard stories of how people are helping each other moving in - always a challenge, but particularly so in a project where you have to do part of the finishing work yourself.
when you arrive at a place as a stranger, the sense of community often proves itself as a kind of natural surveillance. this place is full of kids (as we had hoped) and people were discreetly keeping an eye on me and my camera as I toured the place, a sign of the individual responsibility they feel. you cannot force that on anyone but you can support it in the design: here, in the way all kitchens open onto the communal garden; in the way the covered access becomes a niche in that space while at the same time framing a view of the private garden and the landscape beyond.
all modest means, describing a modulation of social spaces from public to private.
our own discussion at home right now is whether we should move there ourselves. it would be so much better for our daughter but it would add 40 kilometers to our daily commute - both ways - a problem as old a suburbia itself.
Waving colour cycling LEDs and a pop of a white Lenser P7 with a plastic glass over the end of the lens. The glass has a hole cut through the end.
No post processing or anything like that.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
From the Future Ventures’ 🚀 Space Collection. Photos by technoarchaeologist Curious Marc, who is getting my heroic Apollo artifacts working again! Stay tuned, so to speak.
This unit takes the phase-modulated signal and FM TV signal, combines them, modulates them, and amplifies them before sending them to the main amplifier. It also has the receiver circuitry. It also has interesting ranging circuitry: NASA sent a pseudo-random ranging sequence to the spacecraft and this box amplified and returned the signal. On the ground, they measured how long the signal took (by correlating the returned signal with the sent signal), which gave them an accurate distance to the spacecraft. Since this box includes amplification, it can be used without the main amplifier, and they could do that on Apollo if the main amplifier failed.
From Spaceaholic: "Apollo Command Module Unified S-Band Transponder (manufactured by Motorola, Inc., Military Electronics Division, Scottsdale, Ariz.). The Unified S-Band Transponder was the only method of exchanging voice communications, tracking, biomedical, and ranging, transmission of pulse code modulated (PCM) data and television, and reception of uplinked data from Mission Control once the Apollo Command Module was outside a range of 1500 nautical miles and line of sight from Manned Space Flight Network (MSFN) ground stations strung around the Earth (within that range, VHF was available). The term "Unified" is applicable because the communications system combined the functions of (signal) acquisition, telemetry, command, voice, television and tracking on one radio link. This design resulted in fewer antennas/electronics assemblies (and thus decreased complexity and weight) on both the spacecraft and the ground station segments of the MSFN. The Unified S-Band Equipment (USBE) onboard the Apollo Command Module, Lunar Module, Lunar Rover were absolutely critical to the successful execution of the Apollo program; and reliability was assured through the implementation of full redundant, heavily tested design.
The Electronic assembly hosts a redundant architecture consisting of two phase-locked transponders and one frequency modulated transmitter housed in single, gasket-sealed, machined aluminum case, 9.5 by 6 by 21 inches. The unit weighs 32 pounds, operated from 400 Hertz power, with RF output of 300 milliwatts, with a fixed transmit frequency of 2287.5 Megahertz (MHZ) / receive frequency 2106.4 MHZ.
The S-band transponder is a double-superheterodyne phase-lock loop receiver that accepted a phase-modulated radio frequency signal containing the updata and up-voice subcarriers, and a pseudo-random noise code when ranging was desired. This signal is supplied to the receiver via the triplexer integral to the S-band power amplifier equipment and presented to three separate detectors: the narrow- band loop phase detector, the narrow-band coherent amplitude detector, and the wide-band phase detector. In the wide-band phase detector, the intermediate frequency is detected, and the 70-kiloHertz up-data and kilohertz up-voice subcarriers are extracted, amplified, and routed to the up-data and up-voice discriminators in the premodulation processor.
When operating in a ranging mode, the pseudo-random noise ranging signal is detected, filtered, and routed to the S-band transmitter as a signal input to the phase modulator. In the loop- phase detector, the intermediate frequency signal is filtered and detected by comparing it with the loop reference frequency. The resulting dc output is used to control the frequency of the voltage-controlled oscillator. The output of the voltage controlled oscillator is used as the reference frequency for receiver circuits as well as for the transmitter. The coherent amplitude detector provided the automatic gain control for receiver sensitivity control. In addition, it detected the amplitude modulation of the carrier introduced by the high-gain antenna system. This detected output was returned to the antenna control system to point the high- gain antenna to the ground station. When the antenna pointed at the ground station, the amplitude modulation was minimized. An additional function of the detector was to select the auxiliary oscillator to provide a stable carrier for the transmitter, whenever the receiver lost lock. The S-band transponders could transmit a phase- modulated signal with the initial transmitter frequency obtained from one of two sources: the voltage controlled oscillator in the phase-locked disband receiver or the auxiliary oscillator in the transmitter. Selection of the excitation was controlled by a coherent amplitude detector.
The S-band equipment also contains a separate FM transmitter which permitted scientific, television, or playback data to be sent simultaneously to the ground while voice, real-time data, and ranging were being sent via the transponder."
For the first time, relying on state-of-the-art LED spotlights, the Trocadero facade of the Tower will light up in color, movement and modulation offering a magical and awesome show.
source : tour-eiffel.fr
90 Mins. of Techno selected and mixed live @ Music For The Soul Halloween Party
ENJOY ♥
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▼ Tracklist:
[0:00]Violent - Rage For Order
[5:00]Basis Change - Cease
[9:00]Basis Change - Taygeta
[12:00]Marton Project - Planet Of Hope
[15:00]Anders Hellberg - Concomitant Modulation
[16:18]The Alchemical Theory - Esoteric
[22:56]One Release - Hela's Mjolnir
[27:00]T78 - Fisto
[31:07]ROBPM - Blue Mystic
[36:00]RobJanssen - Interface (T78 Remix)
[38:40]ROBPM - Take Control
[42:30]T78 - Nezquik
[46:00]Balthazar & JackRock - Rave Story
[49:00]MOTVS - Awakened
[53:48]Mac N Dan - Belmont Stomp
[56:00]MOTVS - Cannon In G#
[1:00:00]MOTVS - Boww Woww
[1:03:00]RobJanssen - Voodoo
[1:09:00]Dok & Martin - Feeling of Glory (T78 Remix)
[1:13:16]The-Prophecy - Jam Master
[1:16:20]Bruce Zalcer - Are We Dreaming
[1:22:53]T78 - Child of the Universe
#DIRTYANGEL #Techno
iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.
Camera Info:
Canon 5D Mk3 | Canon EF14 f/2.8L ii | ISO - Bracketing 100-400 | f 8.0 | focal length 14mm | 5 image | 7 exposures each tile - Magic Lantern
| HDR / DRI
| Nodal Ninja 4 Pano Head
I have been doing calligraphy since the end of inktober.
This famous sentence is one I remember having to write when I took drafting in the 7th grade. It is probably the most famous pangram in the English language and perfect for this exercise.
Most of the calligraphy resources I have found online are doing something different, with different kinds of materials, so I have been having to guess my way through this. Here is a diagram where I tried to visually represent my strokes and their order.
I was not following any actual ductus here (most of those are not that consistent with each other anyway.) but just feeling my way through this alphabet (Edward Johnston's foundational hand, 1909.) based on what felt comfortable with the brush.
Maybe by posting here, someone who is familiar with lettering can make suggestions.
paper: hp printer paper multipurpose 20lbs.
ink: Dr. Martin's ("synchromatic transparent water color") light grey.
brush: Creative Inspirations watercol brush #4 round.
(notations made with .5 pentel mechanical pencil.)
[…] Den ganzen Nachmittag verbrachte ich in der Buchhandlung. Dort gab es nicht etwa Bücher. Seit fast einem halben Jahrhundert wurden keine mehr gedruckt. Und ich hatte mich so sehr darauf gefreut nach den Mikrofilmen, aus denen die Bibliothek des „Prometheus“ bestand. Pustekuchen. Keiner konnte mehr in Regalen stöbern, schwere Bände in der Hand wiegen, ihr Volumen richtig auskosten, das den Umfang des Lesevergnügens voraussagte. Die Buchhandlung erinnerte an ein elektronisches Labor. Bücher waren kleine Kristalle mit gespeichertem Inhalt. Lesen konnte man sie mit Hilfe eines Optons. Der sah einem Buch sogar ähnlich, allerdings mit nur einer einzigen Seite zwischen den Einbanddeckeln. Berührte man dieses eine Blatt, so erschienen hintereinander die Textseiten in ihrer Reihenfolge. Aber es wurde – wie mir der Roboterverkäufer sagte - von den Optonen wenig Gebrauch gemacht. Das Publikum zog die Lektonen vor – sie lasen laut vor, und man konnte sie auf eine beliebige Stimmart, Tempo und Modulation einstellen. […]
aus „Rückkehr von den Sternen“ (1961) von Stanislaw Lem
www.youtube.com/watch?v=KmzFDEu2RoA
________________________
[…]The whole afternoon I spent in the bookstore. There were no books at all. For almost half a century, none have been printed. Using the microfilms from which the library of "Prometheus" existed, I was looking forward to real books. Fiddlesticks. No one could rummage on shelves, weigh heavy volumes in his hand, properly appreciate their volume, which predicted the extent of the reading pleasure. The bookstore seemed to be an electronic laboratory. Books were small crystals with stored contents. One could read them with the help of an opton. It even looked like a book, but with only one page between the covers. When one touched this one page, the pages of the text appeared in sequence. But, as the robotic seller told me, the optons were little used. The people prefer to use lectons - they read aloud, and they could be adjusted to any kind of voice, tempo, and modulation.[…]
from „Return from the Stars“ (1961) by Stanislaw Lem
Stellar racer turned pirate. The ZYS uses rapid-cycle hyperspace modulation to trap enemy ships in artificial turbulence before launching grapnels and reeling them in.
Taken at "I Light Marina Bay" Light Festival
iSwarm is a swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.
Germany, Hamburg, Harbour City, Magellan Terraces, a square covering about 5,000 square metres, similar to an amphitheatre & providing a fine view of the Traditional-Ship Harbour in the Harbour City. This square is an inviting place to linger & is also used for cultural events.
For almost one & a half century, since 1866, the Harbour at the “Sandtorwall” was used as a port for ships with all kinds of imports from around the world. With the increasing size of cargo ships & later the container giants, the ware house area was not able to handle the freighters any longer. The whole area started than to be changed, maintaining the historic structure & buildings, into today’s harbour city, housing offices, apartments, gastronomy, shops etc., the re-modulation of the harbour city will still go on for many years, including the never ending story of the philharmonic concert hall.
👉 One World one Dream,
...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
10 million visits in my photostream with countless motivating comments
"Darkened not completely dark let us walk in the darkened field
trees in the field outlined against that which is less dark
under the trees are bushes with orange berries dark green leaves
not poetry’s mixing of yellow light blue sky darker than that
darkness of the leaves a modulation of the accumulated darkness
orange of the berries another modulation spreading out toward us
it is like the reverberation of a bell rung three times
like the call of a voice the call of a voice that is not there.
We will not look up how they got their name in a book of names
we will not trace the name’s root conjecture its first murmuring
the root of the berries their leaves is succoured by darkness
darkness like a large block of stone hauled on a wooden sled
like stone formed and reformed by a dark sea rolling in turmoil."
--John Taggart
“Orange Berries Dark Green Leaves” from Is Music: Selected Poems. Copyright © 2010 by John Taggart. Reprinted by permission of Copper Canyon Press.
Source: Is Music: Selected Poems (Copper Canyon Press, 2010)
Visiting Alford Museum I was delighted to find this genuine Dalek from the BBC Television Show "Dr Who", it was displayed among other materials from the 70s etc, hence a quick video to archive the scene.
I've followed the Dr Who series from my school days ( a long time ago) hence absolute joy to view this item.
The Daleks - (DAH-leks) are a fictional extraterrestrial race of mutants principally portrayed in the British science fiction television programme Doctor Who. The Daleks were conceived by science-fiction writer Terry Nation and first appeared in the 1963 Doctor Who serial The Daleks, in the shells designed by Raymond Cusick.
Drawing inspirations from the real-life example of the Nazis, the Daleks are merciless and pitiless cyborg aliens, demanding total conformity, bent on conquest of the universe and the extermination of what they see as inferior races.
Their catchphrase, "Exterminate!", is a well-recognised reference in British popular culture.
Within the programme's narrative, the Daleks were engineered by the scientist Davros during the final years of a thousand-year war between his people, the Kaleds, and their enemies the Thals.
With some Kaleds already badly mutated and damaged by nuclear war, Davros genetically modified the Kaleds and integrated them with a tank-like, robotic shell, removing their every emotion apart from hate. His creations soon came to view themselves as the supreme race in the universe, intent on purging the universe of all non-Dalek life. Collectively they are the greatest enemies of Doctor Who's protagonist, the Time Lord known as The Doctor.
Later in the programme's run, the Daleks acquired time travel technology and engaged the Time Lords in a brutal Time War affecting most of the universe, with battles taking place across all of history.
They are among the show's most popular villains and their various returns to the series over the years have typically been widely reported in the television press.
Creation
The Daleks were created by writer Terry Nation and designed by BBC designer Raymond Cusick.
They were introduced in December 1963 in the second Doctor Who serial, colloquially known as The Daleks.
They became an immediate and huge hit with viewers, featuring in many subsequent serials and two 1960s motion pictures.
They have become as synonymous with Doctor Who as the Doctor himself, and their behaviour and catchphrases are now part of British popular culture. "Hiding behind the sofa whenever the Daleks appear" has been cited as an element of British cultural identity;and a 2008 survey indicated that nine out of ten British children were able to identify a Dalek correctly.
In 1999 a Dalek photographed by Lord Snowdon appeared on a postage stamp celebrating British popular culture.
In 2010, readers of science-fiction magazine SFX voted the Dalek as the all-time greatest monster, beating competition including Japanese movie monster Godzilla and J. R. R. Tolkien's Gollum, of The Lord of the Rings.
Entry into popular culture
As early as one year after first appearing on Doctor Who, the Daleks had become popular enough to be recognized even by non-viewers. In December 1964 editorial cartoonist Leslie Gilbert Illingworth published a cartoon in the Daily Mail captioned "THE DEGAULLEK", caricaturing French President Charles de Gaulle arriving at a NATO meeting as a Dalek with de Gaulle's prominent nose.
The word "Dalek" has entered major dictionaries, including the Oxford English Dictionary, which defines "Dalek" as "a type of robot appearing in 'Dr. Who' [sic], a B.B.C. Television science-fiction programme; hence used allusively."
But English-speakers sometimes use the term metaphorically to describe people, usually authority figures, who act like robots unable to break from their programming. For example, John Birt, the Director-General of the BBC from 1992 to 2000, was publicly called a "croak-voiced Dalek" by playwright Dennis Potter in the MacTaggart Lecture at the 1993 Edinburgh Television Festival.
Physical characteristics
Externally, Daleks resemble human-sized pepper pots with a single mechanical eyestalk mounted on a rotating dome, a gun mount containing an energy weapon ("gunstick" or "death ray") resembling an egg whisk, and a telescopic manipulator arm usually tipped by an appendage resembling a sink plunger. Daleks have been known to use their plungers to interface with technology, crush a man's skull by suction,[measure the intelligence of a subject, and extract information from a man's mind.[
Dalek casings are made of a bonded polycarbide material dubbed "dalekanium" by a member of the human resistance in The Dalek Invasion of Earth and by the Cult of Skaro in "Daleks in Manhattan".
The lower half of a Dalek's shell is covered with hemispherical protrusions, or "Dalek bumps", which are shown in the episode "Dalek" to be spheres embedded in the casing.[11] Both the BBC-licensed Dalek Book (1964) and The Doctor Who Technical Manual (1983) describe these items as being part of a sensory array,[ whilst in the 2005 series episode "Dalek", they are integral to a Dalek's self-destruct mechanism.
Their armour has a forcefield that evaporates most bullets and resists most types of energy weapons. The forcefield seems to be concentrated around the Dalek's midsection (where the mutant is located), as normally ineffective firepower can be concentrated on the eyestalk to blind a Dalek. Daleks have a very limited visual field, with no peripheral sight at all, and are relatively easy to hide from in fairly exposed places. Their own energy weapons are capable of destroying them.
Their weapons fire a beam that has electrical tendencies, is capable of propagating through water, and may be a form of plasma or electrolaser.
The eyepiece is a Dalek's most vulnerable spot; impairing its vision often leads to a blind, panicked firing of its weapon while exclaiming "My vision is impaired; I cannot see!" Russell T Davies subverted the catchphrase in his 2008 episode "The Stolen Earth", in which a Dalek vaporises a paintball that has blocked its vision while proclaiming "My vision is not impaired!"
Kaled mutants are octopus-like; many are coloured green, such as this one from "Resurrection of the Daleks".
The creature inside the mechanical casing is soft and repulsive in appearance and vicious in temperament. The first-ever glimpse of a Dalek mutant, in The Daleks, was a claw peeking out from under a Thal cloak after it had been removed from its casing.
The mutants' actual appearance has varied, but often adheres to the Doctor's description of the species in Remembrance of the Daleks as "little green blobs in bonded polycarbide armour".
In Resurrection of the Daleks a Dalek creature, separated from its casing, attacks and severely injures a human soldier; in Remembrance of the Daleks, there are two Dalek factions (Imperial and Renegade) and the creatures inside have a different appearance in each case, one resembling the amorphous creature from Resurrection, the other the crab-like creature from the original Dalek serial.
As the creature inside is rarely seen on screen, a common misconception exists that Daleks are wholly mechanical robots.
In the new series Daleks are retconned to be mollusc-like in appearance, with small tentacles, one or two eyes, and an exposed brain.
Daleks' voices are electronic; when out of its casing the mutant is only able to squeak. Once the mutant is removed, the casing itself can be entered and operated by humanoids; for example, in The Daleks, Ian Chesterton (William Russell) enters a Dalek shell to masquerade as a guard as part of an escape plan.
In a dark basement, a white Dalek (see previous description) appears to levitate up a small staircase of approximately seven stairs. The body of the Dalek is white, with shiny gold vertical slats and gold balls on its lower half. There is an orange-yellow glow at the Dalek's base.
For many years it was assumed that, due to their design and gliding motion, Daleks were unable to climb stairs, and that this was a simple way of escaping them. A well-known cartoon from Punch pictured a group of Daleks at the foot of a flight of stairs with the caption, "Well, this certainly buggers our plan to conquer the Universe".
In a scene from the serial Destiny of the Daleks, the Doctor and companions escape from Dalek pursuers by climbing into a ceiling duct. The Fourth Doctor calls down, "If you're supposed to be the superior race of the universe, why don't you try climbing after us?"
The Daleks generally make up for their lack of mobility with overwhelming firepower; a joke among Doctor Who fans goes, "Real Daleks don't climb stairs; they level the building."
Dalek mobility has improved over the history of the series: in their first appearance, The Daleks, they were capable of movement only on the conductive metal floors of their city; in The Dalek Invasion of Earth a Dalek emerges from the waters of the River Thames, indicating that they not only had become freely mobile, but are amphibious;Planet of the Daleks showed that they could ascend a vertical shaft by means of an external anti-gravity mat placed on the floor; Revelation of the Daleks showed Davros in his life-support chair and one of his Daleks hovering and Remembrance of the Daleks depicted them as capable of hovering up a flight of stairs.
Despite this, journalists covering the series frequently refer to the Daleks' supposed inability to climb stairs; characters escaping up a flight of stairs in the 2005 episode "Dalek" made the same joke, and were shocked when the Dalek began to hover up the stairs after uttering the phrase "ELEVATE", in a similar manner to their normal phrase "EXTERMINATE".
The new series depicts the Daleks as fully capable of flight, even space flight.
Prop details
The non-humanoid shape of the Dalek did much to enhance the creatures' sense of menace[citation needed]. A lack of familiar reference points differentiated them from the traditional "bug-eyed monster" of science fiction, which Doctor Who creator Sydney Newman had wanted the show to avoid.
The unsettling Dalek form, coupled with their alien voices, made many believe that the props were wholly mechanical and operated by remote control.
The Daleks were actually controlled from inside by short operators who had to manipulate their eyestalks, domes, and arms, as well as flashing the lights on their heads in sync with the actors supplying their voices. The Dalek cases were built in two pieces; an operator would step into the lower section, and then the top would be secured. The operators looked out between the cylindrical louvres just beneath the dome, which were lined with mesh to conceal their faces.
In addition to being hot and cramped the Dalek casings also muffled external sounds, making it difficult for operators to hear the director's commands or studio dialogue. John Scott Martin, a Dalek operator from the original series, said that Dalek operation was a challenge: "You had to have about six hands: one to do the eyestalk, one to do the lights, one for the gun, another for the smoke canister underneath, yet another for the sink plunger. If you were related to an octopus then it helped."
For Doctor Who's 21st-century revival the Dalek casings retain the same overall shape and dimensional proportions of previous Daleks, although many details have been re-designed to give the Dalek a heavier and more solid look.
Changes include a larger, more pointed base; a glowing eyepiece; an all-over metallic-brass finish (specified by Davies); thicker, nailed strips on the "neck" section; a housing for the eyestalk pivot; and significantly larger dome lights.
The new prop made its on-screen debut in the 2005 episode "Dalek". These Dalek casings use a short operator inside the housing while the 'head' and eyestalk are operated via remote control. A third person, Nicholas Briggs, supplies the voice in their various appearances.
In the 2010 season a new, larger model appeared in several colours representing different parts of the Dalek command hierarchy.
Movement
Terry Nation's original plan was for the Daleks to glide across the floor. Early versions of the Daleks rolled on nylon castors, propelled by the operator's feet. Although castors were adequate for the Daleks' debut serial, which was shot entirely at the BBC's Lime Grove Studios, for The Dalek Invasion of Earth Terry Nation wanted the Daleks to be filmed on the streets of London. To enable the Daleks to travel smoothly on location, designer Spencer Chapman built the new Dalek shells around miniature tricycles with sturdier wheels, which were hidden by enlarged fenders fitted below the original base.
The uneven flagstones of Central London caused the Daleks to rattle as they moved and it was not possible to remove this noise from the final soundtrack. A small parabolic dish was added to the rear of the prop's casing to explain why these Daleks, unlike the ones in their first serial, were not dependent on static electricity drawn up from the floors of the Dalek city for their motive power.
Later versions of the prop had more efficient wheels and were once again simply propelled by the seated operators' feet, but they remained so heavy that when going up ramps they often had to be pushed by stagehands out of camera shot. The difficulty of operating all the prop's parts at once contributed to the occasionally jerky Dalek movements.
This problem has largely been eradicated with the advent of the "new series" version, as its remotely controlled dome and eyestalk allow the operator to concentrate on the smooth movement of the Dalek and its arms.
Voices
The staccato delivery, harsh tone, and rising inflection of the Dalek voice were initially developed by voice actors Peter Hawkins and David Graham, who would vary the pitch and speed of the lines according to the emotion needed. Their voices were further processed electronically by Brian Hodgson at the BBC Radiophonic Workshop.
Although the exact sound-processing devices used have varied, the original 1963 effect used equalisation to boost the mid-range of the actor's voice, then subjected it to ring modulation with a 30 Hz sine wave. The distinctive harsh grating vocal timbre this produced has remained the pattern for all Dalek voices since (with the exception of those in the 1985 serial Revelation of the Daleks, for which director Graeme Harper deliberately used less distortion).
Besides Hawkins and Graham, notable voice actors for the Daleks have included Roy Skelton, who first voiced the Daleks in the 1967 story The Evil of the Daleks and went on to provide voices for five additional Dalek serials including Planet of the Daleks, and for the one-off anniversary special The Five Doctors. Michael Wisher, the actor who originated the role of Dalek creator Davros in Genesis of the Daleks, provided Dalek voices for that same story, as well as for Frontier in Space, Planet of the Daleks, and Death to the Daleks. Other Dalek voice actors include Royce Mills (three stories),Brian Miller (two stories), and Oliver Gilbert and Peter Messaline (one story).
John Leeson, who performed the voice of K9 in several Doctor Who stories, and Davros actors Terry Molloy and David Gooderson also contributed supporting voices for various Dalek serials.
Since 2005, the Dalek voice in the television series has been provided by Nicholas Briggs, speaking into a microphone connected to a voice modulator.
Briggs had previously provided Dalek and other alien voices for Big Finish Productions audio plays, and continues to do so. In a 2006 BBC Radio interview, Briggs said that when the BBC asked him to do the voice for the new television series, they instructed him to bring his own analogue ring modulator that he had used in the audio plays. The BBC's sound department had changed to a digital platform and could not adequately create the distinctive Dalek sound with their modern equipment. Briggs went as far as to bring the voice modulator to the actors' readings of the scripts.
Construction
Manufacturing the props was expensive. In scenes where many Daleks had to appear, some of them would be represented by wooden replicas (Destiny of the Daleks) or life-size photographic enlargements in the early black-and-white episodes (The Daleks, The Dalek Invasion of Earth, and The Power of the Daleks).
In stories involving armies of Daleks, the BBC effects team even turned to using commercially available toy Daleks, manufactured by Louis Marx & Co and Herts Plastic Moulders Ltd. Examples of this can be observed in the serials The Power of the Daleks, The Evil of the Daleks, and Planet of the Daleks.[48] Judicious editing techniques also gave the impression that there were more Daleks than were actually available, such as using a split screen in "The Parting of the Ways".
Four fully functioning props were commissioned for the first serial "The Daleks" in 1963, and were constructed from BBC plans by Shawcraft Engineering.
These became known in fan circles as "Mk I Daleks". Shawcraft were also commissioned to construct approximately 20 Daleks for the two Dalek movies in 1965 and 1966 (see below). Some of these movie props filtered back to the BBC and were seen in the televised serials, notably The Chase, which was aired before the first movie's debut. The remaining props not bought by the BBC were either donated to charity or given away as prizes in competitions.
The BBC's own Dalek props were reused many times, with components of the original Shawcraft "Mk I Daleks" surviving right through to their final classic series appearance in 1988.
But years of storage and repainting took their toll. By the time of the Sixth Doctor's Revelation of the Daleks new props were being manufactured out of fibreglass.
These models were lighter and more affordable to construct than their predecessors. These newer models were slightly bulkier in appearance around the mid-shoulder section, and also had a redesigned skirt section which was more vertical at the back. Other minor changes were made to the design due to these new construction methods, including altering the fender and incorporating the arm boxes, collars, and slats into a single fibreglass moulding.
These props were repainted in grey for the Seventh Doctor serial Remembrance of the Daleks and designated as "Renegade Daleks"; another redesign, painted in cream and gold, became the "Imperial Dalek" faction.
New Dalek props were built for the 21st century version of Doctor Who. The first, which appeared alone in the 2005 episode "Dalek", was built by modelmaker Mike Tucker.
Additional Dalek props based on Tucker's master were subsequently built out of fibreglass by Cardiff-based Specialist Models.
Development
Wishing to create an alien creature that did not look like a "man in a suit", Terry Nation stated in his script for the first Dalek serial that they should have no legs. He was also inspired by a performance by the Georgian National Ballet, in which dancers in long skirts appeared to glide across the stage.[56] For many of the shows, the Daleks were operated by retired ballet dancers wearing black socks while sitting inside the Dalek. Raymond Cusick (who died on 21 February 2013) was given the task of designing the Daleks when Ridley Scott, then a designer for the BBC, proved unavailable after having been initially assigned to their debut serial.
An account in Jeremy Bentham's Doctor Who—The Early Years (1986) says that after Nation wrote the script, Cusick was given only an hour to come up with the design for the Daleks, and was inspired in his initial sketches by a pepper shaker on a table. Cusick himself, however, states that he based it on a man seated in a chair, and only used the pepper shaker to demonstrate how it might move.
In 1964 Nation told a Daily Mirror reporter that the Dalek name came from a dictionary or encyclopaedia volume, the spine of which read "Dal – Lek" (or, according to another version, "Dal – Eks"). He later admitted that this book and the origin of the Dalek name was completely fictitious, and that anyone bothering to check out his story would have found him out.[61] The name had in reality simply rolled off his typewriter.
Later, Nation was pleasantly surprised to discover that in Serbo-Croatian the word "dalek" means "far", or "distant".
Nation grew up during World War II, and remembered the fear caused by German bombings. He consciously based the Daleks on the Nazis, conceiving the species as faceless, authoritarian figures dedicated to conquest and complete conformity. The allusion is most obvious in the Dalek stories penned by Nation, in particular The Dalek Invasion of Earth (1964) and Genesis of the Daleks (1975).
Prior to writing the first Dalek serial, Nation was chief scriptwriter for comedian Tony Hancock. The two had a falling out, and Nation either resigned or was fired.
When Hancock left the BBC, he worked on several series proposals, one of which was called From Plip to Plop, a comedic history of the world which would have ended with a nuclear apocalypse, the survivors being reduced to living in dustbin-like robot casings and eating radiation to stay alive. According to biographer Cliff Goodwin, when Hancock saw the Daleks, he allegedly shouted at the screen, "That bloody Nation—he's stolen my robots!"[69]
The naming of early Doctor Who stories is complex and sometimes controversial. The first Dalek serial is called, variously, The Survivors (the pre-production title), The Mutants (its official title at the time of production and broadcast, later taken by another unrelated story), Beyond the Sun (used on some production documentation), The Dead Planet (the on-screen title of the serial's first episode), or simply The Daleks.
The instant appeal of the Daleks caught the BBC off guard,and transformed Doctor Who from a Saturday tea-time children's educational programme to a must-watch national phenomenon. Children were alternately frightened and fascinated by the alien look of the monsters, and the Doctor Who production office was inundated by letters and calls asking about the creatures. Newspaper articles focused attention on the series and the Daleks, further enhancing their popularity.
Nation jointly owned the intellectual property rights to the Daleks with the BBC, and the money-making concept proved nearly impossible to sell to anyone else; he was dependent on the BBC wanting to produce stories featuring the creatures.
Several attempts to market the Daleks outside of the series were unsuccessful.Since Nation's death in 1997, his share of the rights is now administered by his former agent, Tim Hancock.
Early plans for what eventually became the 1996 Doctor Who television movie included radically redesigned Daleks whose cases unfolded like spiders' legs. The concept for these "Spider Daleks" was abandoned, but picked up again in several Doctor Who spin-offs.
When the new series was announced, many fans hoped the Daleks would return once more to the programme.
The Nation estate however demanded levels of creative control over the Daleks' appearances and scripts that were unacceptable to the BBC.[80] Eventually the Daleks were cleared to appear in the first series.
Fictional history
Main article: History of the Daleks
Dalek in-universe history has seen many retroactive changes, which have caused continuity problems. When the Daleks first appeared, they were presented as the descendants of the Dals, mutated after a brief nuclear war between the Dal and Thal races 500 years ago. This race of Daleks is destroyed when their power supply is wrecked.
However, when they reappear in The Dalek Invasion of Earth, they have conquered Earth in the 22nd century. Later stories saw them develop time travel and a space empire. In 1975, Terry Nation revised the Daleks' origins in Genesis of the Daleks, where the Dals were now called Kaleds (of which "Daleks" is an anagram), and the Dalek design was attributed to one man, the crippled Kaled chief scientist and evil genius, Davros.[84] Instead of a short nuclear exchange, the Kaled-Thal war was portrayed as a thousand-year-long war of attrition, fought with nuclear, biological and chemical weapons which caused widespread mutations among the Kaled race.
Davros experimented on living Kaled cells to find the ultimate mutated form of the Kaled species and placed the subjects in tank-like "travel machines" whose design was based on his own life-support chair.
Genesis of the Daleks marked a new era for the depiction of the species, with most of their previous history either forgotten or barely referred to again.Future stories in the original Doctor Who series, which followed a rough story arc,would also focus more on Davros, much to the dissatisfaction of some fans who felt that the Daleks should take centre stage rather than merely becoming minions of their creator.
Davros made his last televised appearance for 20 years in Remembrance of the Daleks, which depicted a civil war between two factions of Daleks. One faction, the "Imperial Daleks", were loyal to Davros, who had become their Emperor, whilst the other, the "Renegade Daleks", followed a black Supreme Dalek. By the end of the story, both factions have been wiped out and the Doctor has tricked them into destroying Skaro, though Davros escapes.
A single Dalek appeared in "Dalek", written by Robert Shearman, which was broadcast on BBC One on 30 April 2005. This Dalek appeared to be the sole Dalek survivor of the Time War which had destroyed both the Daleks and the Time Lords.
A Dalek Emperor returned at the end of the 2005 series, having rebuilt the Dalek race with genetic material harvested from human subjects. It saw itself as a god, and the new Daleks were shown worshipping it. These Daleks and their fleet were destroyed in "The Parting of the Ways".
The 2006 season finale "Army of Ghosts"/"Doomsday" featured a squad of four Dalek survivors from the old Empire, known as the Cult of Skaro, led by a black Dalek known as "Sec", that had survived the Time War by escaping into the Void between dimensions. They emerged, along with the Genesis Ark, a Time Lord prison vessel containing millions of Daleks, at Canary Wharf due to the actions of the Torchwood Institute and Cybermen from a parallel world.
This resulted in a Cyberman-Dalek clash in London, which was resolved when the Tenth Doctor caused both groups to be sucked back into the Void. The Cult survived by utilising an "emergency temporal shift" to escape.
These four Daleks - Sec, Jast, Thay and Caan - returned in the two-part story "Daleks in Manhattan"/"Evolution of the Daleks", in which whilst stranded in 1930s New York, they set up a base in the partially built Empire State Building and attempt to rebuild the Dalek race. To this end, Dalek Sec merges with a human being to become a Human/Dalek hybrid. The Cult then set about creating "Human Daleks" by "formatting" the brains of a few thousand captured humans, with the intention of producing hybrids which remain fully human in appearance but with Dalek minds.[
Dalek Sec, however, starts to become so human that he changes the DNA to make the hybrids more human. This angers the rest of the Cult, resulting in mutiny and the death of Sec, Thay and Jast as well as the wiping out of all the hybrids. This leaves Dalek Caan as the last Dalek in existence. When the Doctor makes Caan realise that he is the last of his kind, Caan uses emergency temporal shift and escapes once more.
The Daleks returned in the 2008 season's two-part finale, "The Stolen Earth"/"Journey's End", accompanied once again by their creator Davros. The story reveals that Caan's temporal shift sent him into the Time War whence he rescued Davros, in the process gaining the ability to see the future at the cost of his own sanity. Davros has created a new race using his own body's cells.
The episode depicts a Dalek invasion of Earth, which with other planets is taken to the Medusa Cascade, led by a red Supreme Dalek, who has kept Caan and Davros imprisoned in "The Vault", a section of the Dalek flagship, the Crucible. Davros and the Daleks plan to destroy reality itself with a "reality bomb" for which they need the stolen planets. The plan fails due to the interference of Donna Noble, a companion of the Doctor, and Caan himself, who has been manipulating events to destroy the Daleks after realising the severity of the atrocities they have committed.
The Daleks returned in the 2010 episode "Victory of the Daleks", the third episode of the series; Daleks who escaped the destruction of Davros' empire fell back in time and, by chance, managed to retrieve the "Progenitor".
This is a tiny apparatus which contains 'original' Dalek DNA. The activation of the Progenitor results in the creation of a "new paradigm" of Daleks. The New Paradigm Daleks deem their creators inferior and exterminate them; their creators make no resistance to this, deeming themselves inferior as well. They are organised into different roles (drone, scientist, strategists, supreme and eternal), which are identifiable with colour-coded armour instead of the identification plates under the eyestalk used by their predecessors. They escape the Doctor at the end of the episode via time travel with the intent to rebuild their Empire.
The Daleks only appeared briefly in subsequent finales "The Pandorica Opens"/"The Big Bang" (2010) and The Wedding of River Song (2011) as Steven Moffat decided to "give them a rest" and stated "There's a problem with the Daleks. They are the most famous of the Doctor's adversaries and the most frequent, which means they are the most reliably defeatable enemies in the universe."
They next appear in "Asylum of the Daleks" (2012), where the Daleks are shown to have greatly increased numbers and have a Parliament; in addition to the traditional "modern" Daleks, several designs from both the original and new series appear. All record of the Doctor is removed from their collective consciousness at the end of the episode. The Daleks then appear in the 50th Anniversary special "The Day of the Doctor", where they are seen being defeated in the Time War. In "The Time of the Doctor", the Daleks are one of the races that travel to Trenzalore and besiege it for centuries to stop the Doctor from releasing the Time Lords.
Due to converting Tasha Lem into a Dalek puppet, they regain knowledge of the Doctor. In the end, they are the only enemy left, the others having retreated or been destroyed and nearly kill the near-death Doctor before the Time Lords intervene and grant him a new regeneration cycle. The Doctor then uses his regeneration energy to obliterate the Daleks on the planet.
The Twelfth Doctor's first encounter with the Daleks is in his second full episode, "Into the Dalek" (2014), where he encounters a damaged Dalek, which he names 'Rusty', aboard a human resistance ship. Left with the Doctor's love of the universe and his hatred of the Daleks, he spares its life; it assumes a mission to destroy other Daleks. In "The Magician's Apprentice"/"The Witch's Familiar" (2015), the Doctor is summoned to Skaro where he learns Davros is alive, but dying, and has rebuilt the Dalek Empire. He escapes Davros' clutches by enlivening the decrepit Daleks of Skaro's sewers, who tear the empire apart, leaving behind the Master (Michelle Gomez), who accompanied him to Skaro. In "The Pilot" (2017), the Doctor briefly visits a battle in the Dalek-Movellan war while trying to escape a time travelling enemy.
Dalek culture
Daleks have little, if any, individual personality, ostensibly no emotions other than hatred and anger,[11] and a strict command structure in which they are conditioned to obey superiors' orders without question.
Dalek speech is characterised by repeated phrases, and by orders given to themselves and to others.
Unlike the stereotypical emotionless robots often found in science fiction, Daleks are often angry; author Kim Newman has described the Daleks as behaving "like toddlers in perpetual hissy fits", gloating when in power and flying into rage when thwarted.
They tend to be excitable and will repeat the same word or phrase over and over again in heightened emotional states, most famously "Exterminate! Exterminate!"
Daleks are extremely aggressive, and seem driven by an instinct to attack. This instinct is so strong that Daleks have been depicted fighting the urge to kill or even attacking when unarmed.
The Fifth Doctor characterises this impulse by saying, "However you respond [to Daleks] is seen as an act of provocation."
The fundamental feature of Dalek culture and psychology is an unquestioned belief in the superiority of the Dalek race,and their default directive is to destroy all non-Dalek life-forms.[
Other species are either to be exterminated immediately or enslaved and then exterminated once they are no longer useful.
The Dalek obsession with their own superiority is illustrated by the schism between the Renegade and Imperial Daleks seen in Revelation of the Daleks and Remembrance of the Daleks: the two factions each consider the other to be a perversion despite the relatively minor differences between them.
This intolerance of any "contamination" within themselves is also shown in "Dalek", The Evil of the Daleks and in the Big Finish Productions audio play The Mutant Phase.
This superiority complex is the basis of the Daleks' ruthlessness and lack of compassion.[11][93] This is shown in extreme in "Victory of the Daleks", where the new, pure Daleks destroy their creators, impure Daleks, with the latters' consent. It is nearly impossible to negotiate or reason with a Dalek, a single-mindedness that makes them dangerous and not to be underestimated.
The Eleventh Doctor (Matt Smith) is later puzzled in the "Asylum of the Daleks" as to why the Daleks don't just kill the sequestered ones that have "gone wrong". Although the Asylum is subsequently obliterated, the Prime Minister of the Daleks explains that "it is offensive to us to destroy such divine hatred", and the Doctor is sickened at the revelation that hatred is actually considered beautiful by the Daleks.
Dalek society is depicted as one of extreme scientific and technological advancement; the Third Doctor states that "it was their inventive genius that made them one of the greatest powers in the universe."
However, their reliance on logic and machinery is also a strategic weakness which they recognise, and thus use more emotion-driven species as agents to compensate for these shortcomings.
Although the Daleks are not known for their regard for due process, they have taken at least two enemies back to Skaro for a "trial", rather than killing them immediately. The first was their creator, Davros, in Revelation of the Daleks,[39] and the second was the renegade Time Lord known as the Master in the 1996 television movie.[98] The reasons for the Master's trial, and why the Doctor would be asked to retrieve the Master's remains, have never been explained on screen.
The Doctor Who Annual 2006 implies that the trial may have been due to a treaty signed between the Time Lords and the Daleks. The framing device for the I, Davros audio plays is a Dalek trial to determine if Davros should be the Daleks' leader once more.
Spin-off novels contain several tongue-in-cheek mentions of Dalek poetry, and an anecdote about an opera based upon it, which was lost to posterity when the entire cast was exterminated on the opening night. Two stanzas are given in the novel The Also People by Ben Aaronovitch.
In an alternative timeline portrayed in the Big Finish Productions audio adventure The Time of the Daleks, the Daleks show a fondness for the works of Shakespeare.
A similar idea was satirised by comedian Frankie Boyle in the BBC comedy quiz programme Mock the Week; he gave the fictional Dalek poem "Daffodils; EXTERMINATE DAFFODILS!" as an "unlikely line to hear in Doctor Who".
Because the Doctor has defeated the Daleks so often, he has become their collective arch-enemy and they have standing orders to capture or exterminate him on sight. In later fiction, the Daleks know the Doctor as "Ka Faraq Gatri" ("Bringer of Darkness" or "Destroyer of Worlds"), and "The Oncoming Storm".
Both the Ninth Doctor (Christopher Eccleston) and Rose Tyler (Billie Piper) suggest that the Doctor is one of the few beings the Daleks fear. In "Doomsday", Rose notes that while the Daleks see the extermination of five million Cybermen as "pest control", "one Doctor" visibly un-nerves them (to the point they physically recoil).[13] To his indignant surprise, in "Asylum of the Daleks", the Eleventh Doctor (Matt Smith) learns that the Daleks have designated him as "The Predator".
As the Doctor escapes the Asylum (with companions Amy and Rory), a Dalek-converted-human (Oswin Oswald) prisoner provides critical assistance, which culminates in completely deleting the Doctor from the Dalek hive-consciousness (the PathWeb), thus wiping the slate entirely blank. However, this was reversed in "The Time of the Doctor", when the Daleks regained knowledge of the Doctor through the memory of an old acquaintance of the Doctor, Tasha Lem.
Measurements
A rel is a Dalek and Kaled unit of measurement. It was usually a measurement of time, with a duration of slightly more than one second, as mentioned in "Doomsday", "Evolution of the Daleks" and "Journey's End", counting down to the ignition of the reality bomb. (One earth minute most likely equals about 50 rels.) However, in some comic books it was also used as a unit of velocity. Finally, in some cases it was used as a unit of hydroelectric energy (not to be confused with a vep, the unit used to measure artificial sunlight).
The rel was first used in the non-canonical feature film Daleks – Invasion Earth: 2150 A.D., soon after appearing in early Doctor Who comic books.
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Immaculate condition Leica IIIf (Red Dial) with optically very good USSR Industar 5cm f/3.5
This is a SOOC JPG with exception of adding metadata and cropping to 7:6 ratio.
Shot using my film recipe for Ilford HP5 Plus:
ISO: 640 (sometimes I'll do Auto 400-6400)
Dynamic Range: DR200
Film Sim: Monochrome + Y
White Balance: 3300K
White Balance Adjustment: R +5, B -3
Sharpness: -1
Highlight: +2
Shadow: +1
Noise Reduction: -2
Long Exposure Noise Reduction: ON
Color Space: Adobe RGB
Lens Modulation Optimizer: ON
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Rolex Learning Center - EPFL Lausanne
Designed by Roger Pfund
(MODULATION ENTRE HARMONIE ET MATHÉMATIQUE - 2010 Roger Pfund)
Produced by Asahi Optical Co. (later Pentax Corp.) from 2001 to 2006, body MSRP $1433 in 2001 ($1988 in 2017). The final professional-grade, flagship 35mm film SLR from Pentax, lighter and more compact than competing cameras, known for excellent handling. Considered to be one of the best Pentax film cameras ever made (along with the PZ-1P autofocus and LX manual focus models). First Pentax body of magnesium alloy, unique interface with analog dials, LCD display, slanted top panel. Automatic imprint of exposure information on the edge of the film. Databack with time/date imprinting. Purchased 3/9/17 from a camera dealer in Japan on Ebay.
Specs: 6 point autofocus; Power zoom; accepts all K-mount lenses (auto and manual focus) with full function; provides aperture-priority autoexposure with older M42 screw mount lenses (with adapter).
Electronically controlled metal vertical focal plane shutter, speeds 30 - 1/6000s; self timer; mirror lock-up; auto bracketing; multi-exposure; auto-winder 2.5 fps
Multi-segment (6) autoexposure, range 0 - 21 EV; also center-weighted and spot; ISO 6 - 6400; exposure modes P, Av, Tv, M, B; compensation +/-3 EV; exposure lock.
Program modes: Normal, Action, Depth of field and MTF (Modulation Transfer Function - camera sets the aperture to the value where the lens performs the best under the given light).
Built-in flash GN 12, 24mm coverage, Pentax through the lens (P-TTL) autoexposure with sync to 1/180s, high speed sync to 1/6000 sec, red-eye reduction. Both P-TTL and TTL sync with external Pentax flashes. Hot shoe and PC port.
Viewfinder 0.75x, 92%, exposure information indicators, pentaprism, diopter correction, exchangeable focusing screen, depth of field preview
Battery 2 x CR2; 19 customizable control functions. Size 136.5 x 95 x 64 mm, Weight 520 g
Accessories: Battery grip BG-10 (4AA batteries); AF360FGZ flash (P-TTL, wireless P-TTL, High-Speed sync, Contrast control); soft case CF-10
Kit lenses: SMC Pentax-FA 24-90mm F3.5-4.5 AL [IF] which I recently bought. Shown is a SMC Pentax-F 35-70mm F3.5-4.5 with Macro (1987), a small and light near-normal zoom.
The 2018 Ampera Faraday is an all-electric hot-hatch, and the Sport version is its turbocharged sibling, featuring a slightly larger battery pack and upgraded electric wheel motors for faster pickup. Sporting Ampera's patented GearShift performance modulation package, the Faraday can perform in an extremely economical fashion, or in a more sporty fashion; it also has several vehicle emulation modes including performance, muscle, and comfort.
©2014 Christopher Elliott, All Rights Reserved
I saw this MOC of a Lego Moog first on the Music Radar website and was so impressed by it, that I planned to build my own. But after studying all the photos I found in the internet I soon recognised that I wouldn’t manage to build it with the full functionality (working keyboard, pitch- and modulation wheels and controller knobs) like the one built by the Arvo brothers. So, my mod is simply a display piece.
You can find the original of the Arvo brothers here:
Paul Cezanne (January 19, 1839 - October 22, 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cezanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cezanne "is the father of us all" cannot be easily dismissed.
Cezanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognisable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cezanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
Paul Cezanne was a French painter, often called the father of modern art, who strove to develop an ideal synthesis of naturalistic representation, personal expression, and abstract pictorial order.
Cezanne was born in the southern French town of Aix-en-Provence, January 19, 1839, the son of a wealthy banker. His boyhood companion was Emile Zola, who later gained fame as a novelist and man of letters. As did Zola, Cezanne developed artistic interests at an early age, much to the dismay of his father. In 1862, after a number of bitter family disputes, the aspiring artist was given a small allowance and sent to study art in Paris, where Zola had already gone. From the start he was drawn to the more radical elements of the Parisian art world. He especially admired the romantic painter Eugene Delacroix and, among the younger masters, Gustave Courbet and the notorious Edouard Manet, who exhibited realist paintings that were shocking in both style and subject matter to most of their contemporaries.
Many of Cezanne's early works were painted in dark tones applied with heavy, fluid pigment, suggesting the moody, romantic expressionism of previous generations. Just as Zola pursued his interest in the realist novel, however, Cezanne also gradually developed a commitment to the representation of contemporary life, painting the world he observed without concern for thematic idealization or stylistic affectation.
The most significant influence on the work of his early maturity proved to be Camille Pissarro, an older but as yet unrecognized painter who lived with his large family in a rural area outside Paris. Pissarro not only provided the moral encouragement that the insecure Cezanne required, but he also introduced him to the new impressionist technique for rendering outdoor light.
Along with the painters Claude Monet, Auguste Renoir, and a few others, Pissarro had developed a painting style that involved working outdoors (en plein air) rapidly and on a reduced scale, employing small touches of pure color, generally without the use of preparatory sketches or linear outlines. In such a manner Pissarro and the others hoped to capture the most transient natural effects as well as their own passing emotional states as the artists stood before nature. Under Pissarro's tutelage, and within a very short time during 1872-73, Cezanne shifted from dark tones to bright hues and began to concentrate on scenes of farmland and rural villages.
Although he seemed less technically accomplished than the other impressionists, Cezanne was accepted by the group and exhibited with them in 1874 and 1877. In general the impressionists did not have much commercial success, and Cezanne's works received the harshest critical commentary. He drifted away from many of his Parisian contacts during the late 1870s and '80s and spent much of his time in his native Aix. After 1882, he did not work closely again with Pissarro. In 1886, Cezanne became embittered over what he took to be thinly disguised references to his own failures in one of Zola's novels. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father's wealth and finally, at the age of 47, became financially independent, but socially he remained quite isolated.
Cezanne's goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years-such as the Large Bathers(circa 1899-1906, Museum of Art, Philadelphia) - reveal curious distortions that seem to have been dictated by the rigor of the system of color modulation he imposed on his own representations. The succeeding generation of painters, however, eventually came to be receptive to nearly all of Cezanne's idiosyncrasies. Cezanne's heirs felt that the naturalistic painting of impressionism had become formularized, and a new and original style, however difficult it might be, was needed to return a sense of sincerity and commitment to modern art.
For many years Cezanne was known only to his old impressionist colleagues and to a few younger radical postimpressionist artists, including the Dutch painter Vincent van Gogh and the French painter Paul Gauguin. In 1895, however, Ambroise Vollard, an ambitious Paris art dealer, arranged a show of Cezanne's works and over the next few years promoted them successfully. By 1904, Cezanne was featured in a major official exhibition, and by the time of his death (in Aix on October 22, 1906) he had attained the status of a legendary figure. During his last years many younger artists traveled to Aix to observe him at work and to receive any words of wisdom he might offer. Both his style and his theory remained mysterious and cryptic; he seemed to some a naive primitive, while to others he was a sophisticated master of technical procedure. The intensity of his color, coupled with the apparent rigor of his compositional organization, signaled to most that, despite the artist's own frequent despair, he had synthesized the basic expressive and representational elements of painting in a highly original manner.
A variation of this yellow composition was used for the cover art of this musical electro trash proposition.
www.youtube.com/watch?v=lIY7ZCd19ds
The concept was an expressive minimal music with modulations created by to subtract frequencies from a loop wave of a fraction of second.
Like for colors, if you take off the other frequencies, only the yellow is visible.
MG
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
All sounds and visuals are generated and spatialised (3d for sound, 2d for visuals) according to the position and other modulation parameters of people inside the installation. Sorry, sound and video a bit crappy as it was taken with my picture camera.
British postcard in the Picturegoer Series, London, no. 1048b. Photo: Metro Goldwyn Mayer.
German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.
Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.
Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.
However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.
Sources: Wikipedia and IMDb.
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At 6 seconds a ferris wheel at night turns into madness ;-)
I seem to be unable to get the Fujifilm X-T2 to produce the tack sharp images it is supposed to be known for... I want to love this camera, but this lack of sharpness is very disappointing.
UPDATE:
I have found the cause of this problem! I *think* Fuji has the options "Long Exposure NR" and "Lens Modulation Optimizer" turned on by default (I surely can not remember setting them to on myself!). I have changed them to off and now my images are sooooooo much sharper!! You'll find these options on page 2 of the IQ menu of the Fujifilm X-T2.
UPDATE OF THE UPDATE:
Yes, Fuji turns on "Long Exposure NR" by default... Be sure to turn it off!
The 2018 Ampera Faraday is an all-electric hot-hatch, and the Sport version is its turbocharged sibling, featuring a slightly larger battery pack and upgraded electric wheel motors for faster pickup. Sporting Ampera's patented GearShift performance modulation package, the Faraday can perform in an extremely economical fashion, or in a more sporty fashion; it also has several vehicle emulation modes including performance, muscle, and comfort.
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Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/