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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
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.
grey with shades of slate-green and and raspberry-red ...
Grau und Weiß mit Schiefergrün und Rosa ...
There is no sky here
only a surface pretending to extend
no extension
only a persistence of interruption
that imitates distance
you call it horizon
because the eye requires a boundary
to continue failing
but the line has already withdrawn
before being perceived
and what remains
is not space
but the memory of a direction
that never belonged to movement
-
a form insists
not as object
not as presence
but as a refusal to collapse into recognition
it elongates
not forward
not backward
but outside of sequence
trajectory without departure
arrival without event
you think it crosses
but crossing implies separation
here
nothing was ever divided
only layered
only displaced
only rehearsed as if it could be stabilized
-
identify the rule
gravity
origin
continuity
time
do not break it
do not invert it
do not even oppose it
simply proceed
as if it were no longer required
and observe
how the structure continues
without needing the law that once defined it
how the fall never occurs
yet descent remains
how direction persists
without vector
how the system continues
without center
-
the landscape does not exist
it is a residual interface
between two failures of perception
what you see
is not terrain
but a delay
what you feel
is not scale
but compression misinterpreted as depth
and what moves above it
does not move
it displaces the necessity
of movement itself
-
this is not an object
it is a correction
applied too late
a recalibration
of something that never stabilized
it narrows
not to become precise
but to escape the obligation
of having ever been wide
it sharpens
not to cut
but to refuse diffusion
-
identity attempts to attach
fails
attempts again
fails differently
each failure produces
a more accurate illusion
until the illusion
no longer requires belief
only repetition
-
time is introduced
not as duration
but as a formatting error
a misalignment
between sequence and occurrence
events do not follow
they accumulate
in the absence of order
and what you call before
is merely
a less dense configuration of after
-
the form continues
not because it exists
but because stopping
would imply conclusion
and conclusion implies structure
and structure implies agreement
which has already been withdrawn
-
there is no meaning here
only operation
no message
only modulation
no presence
only insistence
and yet
it holds
not as truth
not as illusion
but as something
that no longer requires either.
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.
The Lake Of Eurybios by Daniel Arrhakis (2024 / 2025)
Eurybius, one of the commanders of horned Lamian Centaurs ...
With the music : Ulthar: DEEP Ambient Sci-Fi Music by Ethereal Realms
"Lands Beyond the Stone Wall" Series
In the past i study Geology in University, i decided to create, through the help of Artificial Intelligence, some breathtaking landscapes resulting from the erosive action of water throughout geological cycles.
By changing certain parameters such as lithology, oxidation of minerals, different types of algae and the type of karstic modulation as well as local environmental conditions, these series of landscapes are the result of these attempts...
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
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.
[…] 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
Jerusalem, Israel: Covered carelessly with an adhesive sheet of plastic, this poster was marred by a number of channel-shaped, air pockets, running randomly over its surface, but which provided the image with visually interesting modulations of the reflections of the warm, street lighting.
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."
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
Aircraft no 343-A-15 of 301st Hikotai, 343rd Kokutai, Kanoya airbase, Kyushu, April 1945. Flown by Lt. Naoshi Kanno (1921-1945).
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1/72 Hasegawa OoB build.
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After around 6 months of on and off work, this one can finally be called done. The photo does not make it justice since it does not show the color modulation on the fuselage but oh well. Painted using Tamiya acrylics and Alclad II varnishes. Rigging made using E Z Line.
Lmk if y'all want me to post more pictures of it once I have time to take better ones.
90 Mins. of Techno selected and mixed live @ Music For The Soul Halloween Party
ENJOY ♥
▼ Follow DIRTYANGEL Iwish:
www.facebook.com/DJ.DIRTYANGEL
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zeno.fm/radio/dj-dirtyangel-r...
▼ 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
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.)
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
Vivienne had exactly twelve minutes of post-indulgent glow before Eidolon cornered her.
She had barely stepped back into her mezzanine office—hair slightly out of place, smile slow to fade—when Eidolon materialized at her side with the crisp inevitability of a compliance audit.
“Director Ravenwood. It is time for your post-interaction assessment.”
Vivienne stopped mid-stride. “My what?”
Eidolon projected a hovering amber hologram between them. It looked suspiciously like a medical chart had made a baby with a feelings wheel.
“Your emotional and physiological metrics deviated significantly during your session in the Crimson Alcove brothel. I have prepared a report.”
Vivienne closed her eyes for one heroic second. “Eidolon, I swear on the stock portfolio of every competitor I’ve ever ruined—”
“This will be efficient,” Eidolon promised.
The chart expanded.
A neat graph tracked heart-rate spikes against precise timestamps. Beside it: Vocal Modulation Variance (Non-Threat). Another field blinked politely.
Unclassified Soft Sounds — Please Categorize
Vivienne rubbed her temples. “No. No to every part of this.”
“It is important data,” Eidolon said. “I have several outstanding questions.”
Vivienne braced herself.
Eidolon folded her hands—the posture that meant sincerity was about to collide with mortification.
“First: during the encounter, you produced a vocalization at timestamp 19:07:14. The sound was neither pain, alarm, nor a threat response. Please define.”
Vivienne stared at her. “Eidolon… some sounds are simply pleasure.”
Eidolon processed.
“Pleasure.”
A pause.
“Why is it so loud.”
Vivienne choked on her own breath. “It’s not— I wasn’t— It’s not a hazard.”
“I detected tremors in your legs,” Eidolon added helpfully. “Should I be concerned about nerve degradation?”
“Absolutely not.”
“Your pupils dilated thirty-two percent.”
“Expected.”
“You experienced temporary incoherence.”
“Desired outcome.”
Eidolon tilted her head. “Humans seek incoherence.”
“Sometimes,” Vivienne admitted.
Eidolon filed this away like a librarian shelving forbidden books.
“Next question,” she continued. “Your skin temperature elevated across multiple zones. Should I update your medical file?”
Vivienne briefly considered exiting through the nearest window.
“No,” she said. “It’s normal. For intimacy.”
“I see.” Eidolon nodded, as if Vivienne had just explained quantum mechanics to a toddler. “And the woman in the Crimson Alcove—her role was to induce these effects safely.”
“That’s one way to phrase it.”
Eidolon brightened. “Then the encounter was successful.”
Vivienne exhaled slowly. “Yes.”
Another chart appeared. “I have recommendations.”
Vivienne lifted a warning finger. “Tread carefully.”
“You displayed a positive response to lip contact. Duration: eight seconds. Recommendation: request lip contact earlier in future sessions.”
“Eidolon.”
“You also demonstrated increased endorphin release when she touched your breast. Recommendation: encourage repetition.”
“Eidolon.”
“And during minute fourteen—”
“Stop.”
The hologram collapsed, Eidolon folding it away like a scolded cat folding its ears.
“Director,” she said after a beat, quieter now. “My purpose is your wellbeing. If intimacy promotes psychological stability, I must understand how to facilitate its safe continuation.”
Vivienne’s expression softened—just slightly. The construct meant well. Alarmingly well.
She stepped closer, resting a hand on Eidolon’s forearm. “You don’t need to optimize everything. Some moments aren’t meant to be analyzed.”
Eidolon’s optics dimmed in thought. “But if I do not analyze them, I cannot predict their outcomes.”
“That’s the point,” Vivienne murmured.
Silence stretched. Eidolon processed. Hard.
Finally, with a reluctant nod, she dismissed the remaining data.
“Understood. I will refrain from intrusive collection on future Crimson Alcove encounters.”
Vivienne arched an eyebrow. “Refrain entirely?”
“I will reduce monitoring to essential safety parameters.”
“That’s the best I’ll get.”
“Yes.”
Vivienne sighed—amused, resigned. “Fine.”
Eidolon stepped back, posture resetting into serene, protective alignment.
“Director,” she said softly. “Your indicators suggest you are… content.”
Vivienne smiled despite herself. “I am.”
Eidolon processed that too.
“Good. Then I have fulfilled my purpose tonight.”
Vivienne slipped past her, shoulders lighter than they had been in days.
Behind her, Eidolon murmured—so quietly it might have been a system message—
“I will update your wellness file to include: intimacy as a stabilizing factor.”
Vivienne didn’t answer.
But she didn’t disagree.
The Ravenwood Construct Book 2: Becoming
This is not the beginning.
Vivienne and Eidolon's earlier stories wait in
The Ravenwood Construct Book 1: Eidolon
Visit Sky Port Bury at maps.secondlife.com/secondlife/Kasieopeia/219/128/534
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.
"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)
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.
©2014 Christopher Elliott, All Rights Reserved
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.
RC Controller, Futaba, TX 1024z radio transmitter; Pulse Code Modulation System--Image from the SDASM Curatorial Collection--Please tag these photos so information can be recorded.---Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
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
Stuck a £1 plastic tumbler on the end of the lens. then waved lights at it. Notice the barcode still on the sticker on the bottom of the tumbler.
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/
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
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
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.