View allAll Photos Tagged objectivity
Sony A7II + Nikon PB-6 Bellows + Raynox DCR-150 as a tube lens + Nikon CF Plan 10X 0.30 EPI microscope objective
Magnification: 10X
2 sec. ISO50
151 shots combined with ZERENE and Bugslabber
On October 6, 2019, we headed out for the Midway Geyser Basin to hike the Fairy Falls Trail. Our objective was to hike to the overlook which is absolutely the best view of the Grand Prismatic Spring (GP), pictures of that coming. The trail is south of the GP and leads to Fairy Falls. About 1.2 miles round trip from the Fairy Falls Trailhead. From this trail approximately 0.6 of a mile there is a spur that climbs 105 feet into the air on a series of switchbacks.
We had just entered the trail from the parking lot when we noticed a group of people taking pictures of an object up on the hill. To our surprise, it was a Grizzly Sow foraging for roots and grubs. She was pretty far away but close enough to be cognizant of her movements and behavior. I only had a 24-105mm lens on a full-frame camera, Nikon D850, at this time. It was too long after this that a Ranger showed up to close off the area until she moved out.
We returned to the parking lot after visiting the overlook only to find that she had moved south to a field directly across the river which ran next to the parking lot. Changing cameras, Nikon D500 and Sigma 150-600mm lens I was able to get a more respectable capture of her. She was pretty far away and I cropped in tight on these images. But anytime you can safely photograph a Grizzly in the wilds is a rewarding endeavor.
To see more images from this trip follow this link: www.jmgilbertphoto.com/Yellowstone-2019/
Peter Behrens
Peter Behrens (14 April 1868 – 27 February 1940) was a leading German architect, graphic and industrial designer, best known for his early pioneering AEG Turbine Hall in Berlin in 1909.
He had a long career, designing objects, typefaces, and important buildings in a range of styles from the 1900s to the 1930s.
He was a foundation member of the German Werkbund in 1907, when he also began designing for AEG, pioneered corporate design, graphic design, producing typefaces, objects, and buildings for the company.
In the next few years, he became a successful architect, a leader of the rationalist / classical German Reform Movement of the 1910s.
After WW1 he turned to Brick Expressionism, designing the remarkable Hoechst Administration Building outside Frankfurt, and from the mid-1920s increasingly to New Objectivity.
He was also an educator, heading the architecture school at Academy of Fine Arts Vienna from 1922 to 1936. As a well known architect he produced design across Germany, in other European countries, Russia and England.
Several of the leading names of European modernism worked for him when they were starting out in the 1910s, including Ludwig Mies van der Rohe, Le Corbusier and Walter Gropius.
Das Mannesmann-Hochhaus ist am Ende der Galerie zu sehen (auch Vodafone-Hochhaus nach dem zwischenzeitlichen Nutzer genannt) ist ein Verwaltungsgebäude am Mannesmannufer (Bundesstraße 1) im Düsseldorfer Stadtteil Carlstadt. Entworfen und gebaut wurde es 1956 bis 1958 von den Architekten Egon Eiermann und Paul Schneider-Esleben, nachdem diese 1954 einen Architekturwettbewerb gewonnen hatten.
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"Access; Superman. Command; Eradicate Kryptonion."
Based on the Young Justice and classic Brave and The Bold comic designs of Professor Ivo's Amazing Android, I present to you, Amazo!
The power absorbing super-foe created for science faces off against Supes over the city of Metropolis
I've really wanted to showcase Amazo for a while now. He's been built and sitting with other Legion of Doom members amongst my collection for months now, so I'm glad he gets to finally see the light of day.
Imaged using DIC technique.( Differential interference contrast )
Which uses a polarizer, analyser, and x2 quartz prisms matched to the objective used at the time.
Thanks for your comments and faves, they are truly appreciated.
Number: CT-3267
Name: Griss
Rank: ARC Commander Grade III
Primary weapon: two DC-17 Hand Pistols
Secondary weapon: combat knife
Name: Mur-Bota
Rank: Jedi General (Master)
Weapon: Purple Lightsaber
Name: Pakti
Rank: Jedi Commander (Padawan)
Weapon: Yellow Double bladed Lightsaber
The Dreadnought
...:: BEGIN LOG ::...
Before we get to the planet surface of Rho Cortack IV, we have to take some of the Separatist ships down. That way our gunships have a safe passage into the rocky planet’s athmosphere.
The Separatist Fleet was vast and diverse, with a lot of variations in battleships and cruisers. Our detachment of the 253rd was sent on to a Providence-class Dreadnought, one of their capital ships.
Something we weren’t looking forward to was the eerie hallways of the ship… They were always so silent. The only thing you could hear were the footsteps and creaky voices of a droid patrol when you came close to one of them. At least we had 2 Jedi joining us this time. As soon as we entered the ship we split up in to 2 teams. General Bota and ARC Lieutenant Wardor leading the first striketeam and Commander Pakti and ARC Commander Griss leading the second.
While General Bota and his squad went straight for the bridge, Commander Pakti and his squad went for the control rooms. There they can disable all the automatic heavy turbolaser batteries. Which makes it possible for our pilot's to focus solely on the enemy fighters.
...:: END LOG ::...
=================
I finally took the pictures and got my log ready for this build! So glad I can finally share this with you guys, I hope you enjoy it! Leave your thoughts in the comments!
Cafayate has a church, Catedral Nuestra Señora del Rosario de Cafayate (Cathedral of Our Lady of the Rosary).
The nave is not over the top extravagant.
Construction dates from 1885 with the objective to replace the old building that was falling into ruins.
Bartolomeo Schedoni (Modena, January 1578 - Parma, December 23, 1615) - The Last Supper (second edition) (1606-1611) oil on canvas 155 x 185 cm. - from the convent of Santa Maria della Neve - Galleria Nazionale Parma
È un’ulteriore versione dell’Ultima Cena, difficile da classificare prima o dopo quella di Fontevivo di cui è una soluzione alternativa, a figure intere degli Apostoli. Tutte le guide locali a partire dal primo ’700 attestano nel convento di Santa Maria della Neve la presenza di un Cenacolo unitamente a una Deposizione.
L’aspetto più interessante e fondamentale sul piano meramente artistico è la doppia soluzione adottata da Schedoni, che ci dimostra una tecnica pseudofotografica.
E' come se applicasse uno zoom a questa seconda edizione o viceversa allontanasse la precedente per inquadrare una porzione spaziale più vasta. Del resto entrambi i dipinti possono essere datati verso il 1611, anche se è difficile definire a quale dei due assegnare la primogenitura. Si può solo formulare un esame preciso delle due proposte che mantengono la stessa circolarità dei personaggi, la stessa posizione e lo stesso ritmo gestuale, solo che questa versione ci consente di entrare più profondamente nello spazio architettonico e di apprezzare le figure intere. Proprio su questo allontanamento della scena che permette una sua dilatazione, ma anche un apprezzamento ottico meno definito degli oggetti e delle fisionomie si incardina un procedimento di tipo fotografico che anziché utilizzare la lente dell’obiettivo usa le leggi ottiche naturali, ben presenti agli artisti fin dal ’400.
Qui sta la grande modernità, prescientifica, di Schedoni che risulta definire in modo più sommario anche le fisionomie e i manti che pure mantengono tonalità squillanti. È un esercizio ottico quello che ci propone, di cui non esistono altri esempi così volutamente esibiti. Un artista che normalmente adotta con frequenza il primissimo piano, ci sottopone una inedita capacità di regia, applicata alla stessa scena: caratteristica che si va ad aggiungere, anche per la sua volontà sperimentale, alle altre doti dell’artista.
This is another version of the Last Supper, difficult to classify before or after the one in Fontevivo, of which it is an alternative solution, with full figures of the Apostles. All local guides from the early 1700s onwards attest to the presence of a Last Supper together with a Deposition in the convent of Santa Maria della Neve.
The most interesting and fundamental aspect on a purely artistic level is the double solution adopted by Schedoni, which demonstrates a pseudo-photographic technique.
It is as if he applied a zoom to this second edition or, vice versa, distanced the previous one in order to frame a wider spatial portion. After all, both paintings can be dated around 1611, even if it is difficult to define to which of the two the primogeniture should be assigned. We can only formulate a precise examination of the two proposals that maintain the same circularity of the characters, the same position and the same gestural rhythm, only that this version allows us to enter more deeply into the architectural space and to appreciate the whole figures. It is precisely on this distancing of the scene that allows its dilation, but also a less defined optical appreciation of objects and physiognomies, that a photographic procedure hinges, which instead of using the lens of the objective uses the natural optical laws, well present to artists since the 1400s.
Here lies the great modernity, pre-scientific, of Schedoni that results in defining in a more summary way even the physiognomies and the coats that also maintain bright colors. It is an optical exercise that he proposes, of which there are no other examples so deliberately exhibited. An artist who normally frequently adopts the very close-up, presents us with an unprecedented ability to direct, applied to the same scene: a characteristic that is added, also due to his experimental will, to his other gifts.
Today is the eight day of a 30 day challenge. The objective is to shoot one shot per day on subject matter provided by the local camera club.
Today's subject matter is, "an item of cutlery".
Aprofitant els caps de setmana de festa a la feina, vaig anar en més d'una ocasió a pel Tren Blanc. Una d'elles va ser aquesta, on el vaig fotografiar a la sortida del baixador d'Urtx-Alp.
Aprovechando los fines de semana de fiesta en el trabajo, fui en más de una ocasión a por el Tren Blanc. Una de ellas fue esta, donde lo fotografié en la salida del bajador de Urtx-Alp.
A Netwing Beetle, g. Dictyoptera, maybe a Dictyoptera simplicipes, posed on a dried rose petal. Shot at 2x mag with a Nikon 4x BE objective on a Canon 100mm USM macro. Stack of 82 w Zerene Stacker. Single flash diffused by styrofoam and Kleenex
Apart from a whole bunch of different microscope objectives, what you see above is a test image shot at 45:1 magnification and showing a small portion of a butterfly's wing. It was shot while trying out a new solution for high magnification stacking. Butterfly wings are well suited for tests like this since they provide fine detail across the entire frame without requiring very deep stacks.
60 exposures focus stacked in Zerene Stacker (PMAX).
Objective: Nikon CF Plan 50x 0.55 ∞/- EPI ELWD
Tube lens: $9 surplus lens
Camera: Canon 5DmkII
Lighting: One Nikon SB-24 diffused through a strip of white semitransparent plastic wrapping around the end of the objective.
Background: I'm writing this summary to have something to point to when people ask for advice regarding microscope objectives for photograpy. Consider it a living document – I have a feeling it will be subject to many changes and updates.
Combining the old with the new.
My Nikon CFI Plan 10X Achromat Objective Lens on the Nikon PB-6 Bellows, with a Raynox DCR-150 Diopter Lens connected via MJKZZ Adapters.
The bellows is mounted on a MJKZZ Ultra Rail MINI V2 (with IR Remote Motion Controller), for precise Focus Stacking increments.
Lighting:
Adaptalux Studio Modular Macro Lighting System.
Flickr Explore:
Download my Photomicrography & Macro Calculator Tool:
(or from GitHub)
Martin
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Im Rosenau- und Thelottviertel in Augsburg
1928-1930 im Stil des Neuen Bauens bzw. der Neuen Sachlichkeit errichtete Wohnanlage
Architekt: Thomas Wechs (1893-1970)
Residential complex in Augsburg built 1928-1930 in the style of the New Objectivity
Architect: Thomas Wechs (1893-1970)
en.wikipedia.org/wiki/New_Objectivity
www.wissner.com/stadtlexikon-augsburg/artikel/stadtlexiko...
de.wikipedia.org/wiki/Neues_Bauen
de.wikipedia.org/wiki/Neue_Sachlichkeit_(Architektur)
Well, I guess I joined the SAS to get a little more action and respect compared to the standard military. Of course I had to train for it, They don't just let any average Joe or Dave into the most elite Task Force on Earth. My interests are of classic warfare. Much simpler wars they ahd back then. Only Atomic bombs. Nothing Nuclear like we have now."
Cpt. -CLASSIFIED- (1126) , 12th December 2079
Objective Two
You will notice less foliage around you 1126, You are drawing closer to the compound. Stay behind whatever cover you can get, There are constant Light APC patrols keeping an eye of the dirt roads leading to the compound. PMC's run these patrols, They are faithful to whoever can pay them the most. The rich European Ambassadors' pay them their wages for the PMC's 'services'. Get into the compound any way you can. Don't aleart anyone of this whole Mission is over"
"Baroque Fragmentation - Objective Taste"
8x8 Oil over Mixed Media on Lasercut Panel
© Redd Walitzki 2013
Here's the "Baroque Fragments" triptych from the "Tarts, Trollops and Tramps" Benefit show at TASTY. Its a great show, go check it out if you haven't yet!
Eggs of Pieris brassicae
Nikon 10x measuring microscope objective (telecentric)
Illumination: UV fluorescence
Converted to B&W
Subjectively Objective #1"
I'm very excited to show you a brand new conceptual series I've been shooting the past month! A nice change from my norm subject matter of travel, lifestyle, landscapes, models, and nature. Retro / old "gems" in simple environments. Subtle colors, angular uncluttered compositions.
I hope you enjoy...
#subjectivelyobjective #mattanderson #retro #fineart
Thanks for viewing. You can visit my website by clicking here: www.mattandersonphotography.com
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©2018 Matt Anderson All Rights Reserved. This image is not available for use on websites, blogs or other media without permission of the photographer. Hey, just E-mail me me if you have usage questions. Also, if you want to buy an awesome fine art print of this image.
And road signs, double exposure on film.
Nikon FM
Nikkor 50mm ƒ/2 Ai
Objective Happiness: ƒ/2.8 at 1/60sec.
Road signs: ƒ/4 at 1/500sec.
Fuji Super G Plus 100 Color film
Expired, set to ASA 50
Another of my heavy contrast photos with the briefest outline of a human form and strong shadow. I particularly like this one for a few reasons: the buildings opposite seeming to watch the mans progress; the V of the sunlight; the mans head looking down, implying worry; and the lucky catch of the whole shadow.
As it turned out, the V stood for Victory as this is taken at Estadio Santiago Bernabeu, home of Real Madrid and this evening they beat Malaga quite comfortably 3-1. I'm not a great fan of the sport but I am of this building, it is a towering edifice amidst apartments, offices, cafes and shops, quite breathtaking.
Important note:The swastika is totally objective.I just tried to be as historically accurate as possible
Definitely looks better on black:
www.flickr.com/photos/booksin/8687009558/in/photostream/l...
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
I got home last night from a 3-day trip to Maine to match up with Caleb Wentzell to shoot the final days of Pan Am before CSX takes over on June 1st. I'm normally not one for multi-day trips, and as Caleb could tell you I hemmed and hawed a lot before finally deciding to go (with my wife's blessing, of course). But, though I had shot SAPPI-3 and MD-1 in 2008 and 2009 with GP9s (and at least one trailing GP7), that was it for my Guilford/Pan Am coverage east of Wells. So, as I figured, it was now or never...
On Day 1 (Monday, May 16th), I left home in New York around 0600 and was able to catch a POAY with four, blue C40-8s at North Berwick on my way to Waterville (where our motel was). But, that wasn't new territory for me, so a "one and done" and I was back on the road headed for Waterville. Just as I came to where the former Maine Central "Upper Road" crosses under I-95 in Auburn, however, my eye caught slowly-moving boxcars, and then three, blue GP40s pulling the train. I had stumbled upon PORU, so I would for sure be making a detour before continuning to Waterville. A somewhat backlit shot of them crossing the Androscoggin River in Lewiston followed, as well as one more shot at a crossing east of there. When they got to Danville Junction, they of course sat, then sat some more. Apparently MOW was on the tracks in Leeds and needed to clear up first.
By the time they got moving again, full sun was gone, but some filtered sun still made things okay. One of my favorites from this PORU chase was here at Leeds. With open engine compartment doors and smoke pouring out of the trailing 381, to me it was a perfect picture to represent the tail end of the Guilford/Pan Am era!
ST Train PORU
Leeds, Maine
May 16, 2022
Mission objective - AFTERNOON NAP.
[Explore #249. Thank you!]
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Studio shot of a Beet Weevil ( Lixus junci ) portrait
Tech info | 150 exposures stacked, exp.time 1.3sec, ISO200, 6x magnification,
Stacking soft / Zerene Stacker
Raynox DCR-150 as a tube lens and normal connected at the back of an external diaphragm ring.
The scene lit by two IKEA Jansjö led lamp and diffused with a foam cup
5X Mitutoyo M Plan Apo NA 0.14 Infinity Corrected Long WD Objective | Raynox DCR-150 | Nikon PB-6 Bellows | Sony A7
Close-up shot of Raxxer's squad in action.
This is my entry for the public mission 20 of the 253rd Elite Legion RPG. Build time was four weeks.
The photographer Eadweard Muybridge is known for his photographs documenting subjects in motion–often against a gridded backdrop. In making* this image I inadvertently stumbled into thinking about what is for me a rather interesting variant on Muybridge's practice. That is, what if (as is the case of these two photographs) the photographs document the movement of the camera / photographer in relation to a static subject. In the case of this image we see the same subject–an underpass–from two different vantage points. The photographs were taken from a moving train. The "subject" appears to have changed, but it actually has not changed: the change is in the location of the camera / photographer. Hmm.
* Beyond taking the photographs I combined them and overlaid the grid and book page / spread in photoshop.