View allAll Photos Tagged objectivity
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
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.
When music becomes a pictorial art.
When colors create rhythm and dynamics of movement.
Disassemble something into its primordial components and combine it in an order dictated by your own inspiration. As a goal, as an inner desire.
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
camera: Linhof Technika III
objective: Rodenstock Sironar-N f5,6 150mm MC
light: 1 continuous light lamp with 50x70cm soft box +silver reflector
light meter: Sekonic L-308B
exposure: f5,6 - 1/15
film: Fomapan 100/64 9x12
film developing: Tanol 1+1+100 - 20C° - 15:12 min.
agitation: continuous first 30 sec, then 2 inversions per min.
fixer: Ilford Rapid Fixier
scanner: Epson Perfection 4990 Photo
Disassembling a Pro-Tamron 70-125mm f/2.8 zoom projection lens yielded two lens groups useful as front mounted supplemental lenses for close-up shooting. The internal "zooming" element produces very high magnification images with a very short working distance. The objective, used for this image, covers a wider field of view with a greater lens to subject distance. Here the objective was reverse mounted on a Nikon 105mm f/2.5 AI-S lens, with the camera (Nikon D40), mounted on a home-made lens testing rail adapted from a Baird Stereo Slide Bar. The stamps were mounted under glass on an articulated sliding stage allowing them to be positioned absolutely parallel with the camera back. The intent of this test was to determine the degree of "flatness of field", chromatic aberration (if any), plus evaluate lens sharpness.
With the 105mm focused at infinity, the combination gives a field width of 1.6" at a working distance of 6.75 inches. The image has received no sharpening, the only processing being a very minor adjustment to exposure and color balance. After seeing how well this element performed, I tried it mounted on the front of my anamorphic rig and it works just as well, with no vignetting that sometimes shows with "deep cell" optics fitted on my Iscorama.
DSC-2168E
Log: “Hey your not authorized to be here...” “Here’s my authorization,” Havoc said as he pointed his pistol. Shield Squad along with their platoon tore off to the east upon landing on the surface, heading to the mountains that shadowed the valley ahead. Their objective? Cut off any support to the clankers along the cliffs. Only a small defensive structure lied up there, but the high winds that funneled through the valley would make jet packs inferior. “Ascension cables sir?” The rookie had asked. Havoc responded by saying, “Our cables hitting the top of that cliff will draw their attention on us faster than a missed droidpopper at a destroyer... Boys loosen up because we’re free climbing this one.”
101 Oil Studies, No. 19
Objective: Test Winson & Newton Indian Red as initial wash color; gain experience with linseed oil.
Painted in 9 working sessions from 25 March to 30 April 2024.
Pigments (Winsor & Newton Artists' oil colour): Indian Red, terra rosa, burnt umber, Vandyke brown, yellow ochre, Naples yellow, terre verte, Winsor violet, zinc white. Mediums: Gamsol, linseed oil.
Centurion OP DLX oil primed linen, 30.4 x 22.9 cm (12 x 9 inches)
Painted during Maria Cole's drawing/painting class at the New Mexico Art League studio. The difference in the color of the two birds is the use of terre verte, left bird, to desaturated the Vandyke brown in both birds. Maria suggested using Winsor violet to darken the interior ot the bowl--very effective!
After Action Evaluation: (1) Go easy on the linseed oil. Areas here were too heavily saturated, which delayed progress and added more sheen than desired. (2) Compare to Alla Prima Study 3 (in my Oil Painting album), which also uses one of these figurines. Even though I still like the earlier paiting, what a difference thirteen months make.
"World War 3 began on the 25th of August 2080, After the corruption and Bribery claims in the UN Council were proved true. Countries started their own empires. The war was mostly in Europe, where the once great European Union were now sending death threats to each other. Now as I record this message, 8 years after war broke out I am sending my best operative to end the war. Let us all hope he succeds in his mission. God save the Queen."
British Prime Minister Eric Mansfield adressing the SAS Commanders on the 25th August 2088.
Objective one:
To eliminate Johnson, you must make your way into his fortified compound. It is located 2 miles West of Berlin and heavily fortified. After you drop, Make your way along the path system that surounds the compound. Old Pilons and Communication towers will indicate how close you are. The more the merryer. Look out for scout partols, although they consist of untrained idiots. They are no harm to you. Take them out quietly, but I will let you choose how to 'dispose' of them"
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Ok, A fresh start for me. This is the first part of a Vignette series I'm making set during the Third World War. It won't make much sense at this stage, so look out for the next parts!
Lit :)
lens: 4X AmScope objective lens with Canon FD bellow
Flash : 4 Led lights
NA: 0.25
Number of pictures : 75
Step size : 30um
stacked: Wemacro using #affinityphoto
+3
the fantastic Audrey is taking over my photo stream!!!! :D shes great to work with and as a photographer herself she does wonderfully
Fate. Simple as that. It was such a ridiculous way to die. We had already finished our objective - Checkers had killed the biker in a swift shot. Done deal. But it had all happened so suddenly.
We were transporting the WMD's away from the destruction and towards the Evac Zone, as massive portions of debris were falling from Nar Shaddaa's atmosphere. We were close, some two kilometers away. I could see the LAAT/i gunships landing. It seemed so unreal that I might have been able to make it through the system without losing a man. And then the luck turned against me, as it always did.
We were hit. No, not by hostile blaster fire. By hordes of debris and fragments from our cruisers above. They were being hit pretty hard up there, but it's obvious that the officers above our frigates could have known that they were taking lives on the surface as well. Nonetheless, that didn't matter. All that mattered was that we lost a man. Neel. He had almost been crushed by a portion of one of the engines, and it had broken his legs as well as flattened half of his body. He was dying. We all knew that he wouldn't make it back to the Executor. Poor soldier. He didn't deserve this. None of us deserved this. We couldn't do anything to help him, but at least we could stay with him for his last minutes.
"Neel?"
"Sir?"
"Say hello to Jason for me."
"Will do, sir."
With that he died. He was the last man who I had served with on Bakura.
_____
Made for Mission 4.3 in the 457th Corps.
This isn't an objectively great photo, but I like it because it tells a bit of a story of you know what you're looking at...a story that seems to beget more questions than it answers.
On a hot hazy spring day in southeastern Florida a Florida East Coast switcher goes about its duties on the north end of the compact Fort Pierce yard near MP 241.7 on the Flagler Sub mainline. 414 is a GP40-2 blt. new for the railroad in Nov. 1972 and has spent its entire life plying the rails of the Sunshine State and is seen here in a telephoto view from the Citrus Avenue overpass.
The FEC is truly anachronistic in the modern era of PSR driven mega freights mixed with intermodal, autos, and manifest. The FEC carries on the tradition of short fast trains running on strict timed schedules and seems to be quite successful doing so. While the old rule of thumb is that anything under a 500 mile haul should be left to truckers (and frankly very few Class 1s anymore seem to have any intermodal lanes even that short) the FEC thrives on much less. The entire railroad is only about 360 miles long and not only do they offer intermodal service with ramps at the roads endpoints in Jacksonville and Miami but they also have several intermodal ramps at intermediate points such as the compact one seen here. Amazingly the railroad offers five day a week pick ups on train 335 to Miami only 120 miles south and six days a week on train 230 going north about 230 miles to the ramp in Jacksonville (and connections beyond via NS or CSXT. And take a look at those trailers loaded up down there? If the FEC can meet the demands of the worlds largest retailer, Wal-Mart, they must be doing something right!
Now why can't other roads pull of this same feat? The markets exist...the trucks are on our highways. Time for railroad's to step back up, don't you agree?
Fort Pierce, Florida
Monday April 25, 2016
Old & new, combined, ... I love this stuff
All my microscope objective focus stacks (mostly above 5x) were taken with this gear & setup.
Checkout this image on how specimens are placed under the lens:
At first, I wasn't going to post this photo, because I had used such a slow shutter speed (with a long lens and no tripod) that this was the result. But a few friends saw it and said that it looked great, that the fog enhanced the image, rather than making it look a a mistake. It's good to have people around to provide an objective opinion where it counts.
Camera: Vivitar 400/SL. Lens: Vivitar 200mm. Film: Eastman 5247 motion picture stock, ASA 100 (without the No. 85 filter).
The very concept of objective truth is fading out of the world. Lies will pass into history.
George Orwell
DSC08693
A prime objective of a late-March two-day Outer Banks photography outing with Clyde (Whisle) was photographing the Milky Way, and the second morning provided a clear sky for the event. I decided the Sigma 24/1.4 Art lens was the best I had for such shooting; stopping it down to f/2 allowed both lower ISO and shorter exposure than my previous Milky Way effort with my Canon 16-35/4L, but something wider than 24mm would have been nice. (A few days later, I read that this lens is best for capturing the night sky when stopped down at least to 2.8.)
Most of my shots have the light of the first-order Fresnel lens blazing brightly, but the light's pattern (2.5 seconds on, 2.5 off, 2.5 on, then 22.5 off) enabled me to snap the shutter during the second of the flashes and complete the shot before the end of the 22.5-second dark period, thus giving the light a soft orange glow and allowing details of the lantern room to show.
Bodie Island Light is the third lighthouse tower here. The first (1848) had a poor foundation due to U.S. Treasury skimping and soon needed replacement; the second tower (1859) was blown up by Confederate troops during the Civil War to keep it from aiding the Union Navy. The current lighthouse (built 1870-72) is a brick tower with a cast iron lantern room housing a first-order Fresnel lens. Sources differ on some points, such as date of automation (1931 vs. 1954) and height of lighthouse (150, 156, 163, and 165 ft); according to www.outer-banks.com/lights/nbodie.cfm, it is 150 feet to the top of the tower, 165 feet to the top of the lantern room, and 156 feet from ground to focal plane. Bodie Island Light is still an active aid to navigation, but was transferred from the Coast Guard to the National Park Service in 2000; the 1893 double keepers' house is now a visitor center. Bodie Island Light Station was added to the National Register of Historic Places in 2003 (03000607).
Press "L" for larger image, on black.
"We found the barrels, but they're heavy as hell! It's gonna take us a while to get them up top."
I got these barrels from a guy on Instagram, gijoefan312. He does outstanding props, often using found materials. This photo is a little dark, but they're probably down in the depths of wherever, right?
Salt print.
Paper: Fabriano HP 300g aquarell paper
Size: 25x20 cm
Camera: Linhof Technika III
Objective: Schneider Symmar-S 210mm
Toner: Gold - Borax toner
The original negative was 4x5 Kodak Tri-X 320
This is my solution for remote interval shooting with the Panasomic LX3. My objective: have the LX3 shoot at 10-second intervals while mounted on the top of a 10-meter-long pole or suspended from a kite.
The LX3 lacks a wired or infrared remote capability so my approach was to add a "psuedo finger" moved by a model aircraft servo. The timing and servo management are handled by a Gent360 Servo ( www.gentles.ltd.uk/gent360/order.htm ), a tiny circuit that rotates the servo arm through a 45 degree swing every ten seconds. The circuit and servo are powered by a 4.8 VDC 2/3 AAA battery pack.
The three components are fixed to a small strip of aluminum that is mounted to the LX3 hot shoe and held in place by friction. Total weight for the intervalometer with battery is 2-1/4 oz. (64 grams). Works the charm.
I have posted examples on Flickr from my first month's work with the Lumix LX3:mounted on a handheld, 10-meter-long, carp fishing pole:
www.flickr.com/search/?q=PAP+LX3&w=26103250@N00&s...
and you can see the pole bracket here: www.flickr.com/photos/kap_cris/3185037451/
Addendum: In order to use the remote for photographs that have a decisive moment I have adapted an inexpensive wireless doorbell to serve as a "shoot now" override for the intervalometer. Press the doorbell and the camera will take three quick shots.
In the meantime, James Gentles has introduced a new product in support of this approach -- the gentled autoFINGER. This variant of the GentLED series provides an easily adjustable interval (3-30 seconds) for the servo's movement and provision for manual override through switch closure. See: www.gentles.ltd.uk/gentled/options.htm
I ran a test with the 4.8 VDC 2/3 AAA 370 mAh NiMH battery pack. It cycled the intervalometer for 25 hours or the equivalent of 9,000 exposures. The little 1/3 AAA pack should work just fine.
This isn't a particularly good photo, in fact it is probably particularly bad. But I keep coming back to it. Why? No idea. I could point out a bunch of bullshit triangles or whatever but I don't actually believe it or care. Everybody is capable of climbing up their own ass, the trick is to find a dignified way to pick yourself out.
USCGC Kimball is the 7th multi-mission National Security Cutter with a unique advantage for worldwide deployment due to our homeport in Honolulu, Hawaii. With a range of 13,000 nautical miles, the advanced technologies of our cutter are designed to support the national objectives to maintain the security of America’s maritime boundaries, engage in critical Law Enforcement operations, and provide long range search and rescue capabilities.
“Lead, Train, Save”
This cutter's namesake, Sumner Increase Kimball, was born September 2, 1834 in Lebanon, Maine. After his graduation from Bowdoin College in 1855, Kimball was admitted to the bar in 1858 and elected to the Maine House of Representatives in 1859. Kimball was appointed as the chief of the U.S. Treasury Department's Revenue Marine in 1871. He proceeded to completely overhaul the service and the assortment of lifesaving stations along the nation's coast. After the Civil War, the Revenue Marine came under intense congressional scrutiny and funding constraints. In order to address the ongoing scrutiny, Kimball championed efforts to reduce expenses and sought efficiencies by modernizing acquisitions and personnel practices that formed the backbone of the modern day Coast Guard. Kimball also put into effect a merit system to determine promotions. Kimball improved the quality of the Revenue Marine by establishing, in 1877, a school of instruction, to train new officers. It developed into today's Coast Guard Academy, which still trains the majority of the Coast Guard's officers. Since 1848, Congress only funded strictly volunteer lifesaving stations, paying for the station and its equipment but relying on the local community to provide unpaid crews when needed. Kimball convinced Congress to increase the funding of the service to provide for full-time, paid crews. New stations constructed around the coast were equipped with the finest lifesaving equipment available. In 1878, this growing network of stations was organized as a separate agency of the Treasury Department and named the U.S. Life-Saving Service. Kimball was chosen as the general superintendent of the new service. He served in that capacity until it was merged with the former Revenue Marine, now named Revenue Cutter Service, in 1915 to form the new U.S. Coast Guard. After a life of public service, Kimball passed away in Washington, D.C., on June 20, 1923.
www.pacificarea.uscg.mil/Our-Organization/Pacific-Area-Cu...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
January 7, 2010
Day 11/365
Bronica ETRSi, Ilford Delta 100
OK, so I cheated for today. Instead of shooting something new, I am merely uploading something new. I am using this image to demonstrate the difference between what the film objectively sees compared to what I subjectively see, and thus, am able to print in the darkroom. So, yes. This is a scan (with no photoshop improvements) directly compared to a print. I apologize for the lame Photoshop diptych and lettering skills...
On the left is straight scan from film with no improvement. It is dull and gray. The subject, my lovely photo friend and model, Sam, is backlit by the afternoon sun. She is sitting on a bed near the window.
On the right is my "high key" image of Sam. HK is defined by low contrast, mostly white, and little black. It is not simply "blown out" or overexposed. Witness the subtle tonality throughout the textures in the cloth of her dress and the complexion of her skin. That detail is not available in an overexposure.
So, what's the trick? Overexpose, but the rest is mine. :)
I might not use the camera I bought on eBay more than a year ago to take actual photos, but it's always fun playing around with it. This time I tried to make a photo of my Sigfig by photographing his reflections on my old manual Olympus lens.
For this photo I found that the easiest way to get some nice lightning was to do light painting. I put my camera on a tripod, turned off the lights, kept the shutter opened for a few seconds and started painting my minifig using the light of my smartphone.
(BTW you can also read about my own (mental) reflections on Stuck in Plastic: www.stuckinplastic.com/2017/02/reflections-on-a-photograp...)
Along her Brother Mirza Ali (Leader), Stelian Pavalache ( Film Maker and Photographer – Romania ), Tafat Shah, Yahya Baig, Salamat Khan and Arshad Karim.
Samina Khayal is dweller of Shimshal village, land of peerless mountaineers and well known HP's.
The project concept was made by Mirza Ali, founding President of Pakistan Youth Outreach, a youth mountaineering education, awareness and women adventure promotion program.
The project main objective was to make a documentary to promote women adventure in Pakistan, for that reason, Pakistan Youth Outreach and Satwa Guna Illusion of Forms Project (Stelian Pavalache), made a joint venture, to make the documentary about Shimshali people and first Pakistani girl to climb a 6400m, unclimbed peak in the shimshal karakorum.The peak has been renamed Samina Peak.
For the RogueOlympics on www.RogeuBricks.de I built a camera with only 101 parts, which you can find on my stream.
I liked this first 101 parts MOC so much, that I decided to build it again - but then without part limit.
The camera itself is only build with LEGO parts and, the Nintendo set tiles fitting perfectly for the screen on the backside. Also the objektive is brick build in this one.
A lovely couple met at the shelter of Grenairon (with their impressive dog not visible in this photo) . We will share a portion of the day, their destination being Le Buet and mine Le Cheval Blanc ..
Leur objectif
Un charmant couple de bivouaqueurs rencontré au refuge de Grenairon (avec leur impresionant chien alpiniste, non visible sur cette photo) . Nous partagerons une partie de la journée, leur destination étant Le Buet et le mien Le Cheval Blanc..
Tour du Ruan, Switzerland
Among the first 3 men to climb Mont Blanc.
There is
Jacques Balmat (left) at the side of Horace-Benedict de Saussure, "The Father of Alpinism", in a monument erected at Chamonix. They are looking a the Mount Blanc summit.
In 1760 Saussure visited Chamonix, and offered a reward to the first man to reach the summit of Mont Blanc, at the time unscaled. He made an unsuccessful attempt himself in 1785, by the Aiguille du Goûter route. Two Chamonix men, Dr Michel Paccard and Jacques Balmat attained the summit in 1786, by way of the Grands Mulets, and in 1787 Saussure himself made the third ascent of the mountain.
Paccard didn't have his statue.
This statue has been raised in 1986 to remember Paccard who was on the of the first two climbers.