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Cube houses (Dutch: kubuswoningen) are a set of innovative houses built in Helmond and Rotterdam in the Netherlands, designed by architect Piet Blom and based on the concept of "living as an urban roof": high density housing with sufficient space on the ground level, since its main purpose is to optimise the space inside. Blom tilted the cube of a conventional house corner upwards, and rested it upon a hexagon-shaped pylon. His design represents a village within a city, where each house represents a tree, and all the houses together, a forest. The central idea of the cube houses around the world is mainly optimizing the space, as a house, to a better distribution of the rooms inside.
The houses in Rotterdam are located on Overblaak Street, right above the Blaak metro station. The 1977 original plan showed 55 houses, but not all of them were built.[ There are 38 small cubes and two so called 'super-cubes', all attached to each other.
As residents are disturbed so often by curious passers-by, one owner decided to open a "show cube", which is furnished as a normal house, and is making a living out of offering tours to visitors.
The living room of the "show cube" in Rotterdam
The houses contain three floors:
ground floor entrance
first floor with living room and open kitchen
second floor with two bedrooms and bathroom
top floor which is sometimes used as a small garden
The walls and windows are angled at 54.7 degrees. The total area of the apartment is around 100 square metres (1,100 sq ft), but around a quarter of the space is unusable because of the walls that are under the angled ceilings.
In 2006, a museum of chess pieces was opened under the houses.
In 2009, the larger cubes were converted by Personal Architecture into a hostel run by Dutch hostel chain Stayokay.
In 2019, the Art cube opened at Overblaak 30. The Art cube is a place where art and architecture come together. With the original living layout intact, this cube house forms the backdrop for the work of various local artists.
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Canon EOS 1000D sur Newton 200/1000
1 prise de vue à 1/400s - ISO 200.
Netteté optimisée et traitement par ondelettes pour faire ressortir les détails et le contraste des mers.
CF Jennings is a leading provider of local, national and European transport services, based in Aberdeen. Since 1971 this family-run business has worked with companies big and small, a distinctive fleet of vehicles carry out deliveries across Scotland, the rest of the UK and mainland Europe.
Operations team can arrange collections and deliveries of any shape or form, providing services such as general haulage, bulk loads, parcel collection and delivery, abnormal loads, transportation of hazardous goods, and a lot more.
CF Jennings prides itself on making quick decisions, being honest and providing a personal, quality service at very competitive prices.
Long term partnerships exist because of these qualities and newer relationships exist thanks to word-of-mouth, continuous quality feedback, and down-to-earth approach to business.
Being a smaller, family-run company has its advantages – CF Jennings are able to provide a quicker, more personal and straightforward service that often cannot be matched by others, leaving customers dissatisfied. That’s where CF Jennings comes in .
Working around-the-clock, often at very short notice, to get the job done.
DAF XF 105
Low operating costs, best driver satisfaction and high reliability: the key development criteria behind DAF’s trucks for the long haul.
The XF105 is the best proposition on the market today. Voted International Truck of the Year 2007 by an international panel of specialist journalists. It has the most spacious cab in its class, offers top comfort to the driver and high revenues per kilometre to the operator. It’s a top performer.
Designed for long distance haulage applications, the cab sets a
new standard for driver comfort. With a choice of Space Cab and Super Space Cab – both with generous interior dimensions – the XF105 offers more living, working and storage space than any other truck in its class. The result: drivers stay fit and fresh longer.
Powered for profit
The 12.9-litre PACCAR MX engine delivers excellent performance: from 410 hp up to 510 hp and high torque of between 2,000 and 2,500 Nm, with a maximum torque available between 1,000 and 1,410 rpm.
Also, with DAF SCR Technology it complies with either Euro 4 or Euro 5 exhaust gas emission standards. It is economical too, incorporating several technical advances that reduce fuel consumption. The XF105 also uses many low-maintenance components, which extends service intervals to further reduce operating costs.
High performance driveline
The driveline is carefully balanced to optimise performance under all operating conditions, and to make the most of the engine’s low fuel consumption. There is a choice of either a 16-speed manual or the latest AS-Tronic automated transmission to deliver power to the acclaimed DAF hypoid rear axle. There is also a hub-reduction axle for more demanding applications.
Choice of axle configurations
To ensure that the XF105 is ideally suited to each application it includes a choice of tractors and rigids with two-, three-, or four-axles.
XF105 has numerous styling and aerodynamic refinements. They include a restyled lower grille, which extends to the bumper and is more pronounced to channel more air and enhance performance. The lower grille also features an aluminium strip to signify compliance with the Euro 4/5 exhaust emission standards, while the upper grille is redesigned with cleaner lines. There is also a styled bumper, in which optional cat’s-eye combi-lights can now be integrated. The clear headlamps with virtually unbreakable Lexan protection can now also come as Xenon.
Wider field of vision
The four large, electrically adjustable and heated mirrors offer a much larger field of view for increased safety. The stylish aerodynamically designed mirrors are also optionally available in body colour.
Super Space Cab roof
The entirely restyled Super Space Cab roof is both pronounced and stylish. There is an integrated aerodynamic sun visor. While the optional integrated skylights, with twin 70W halogen spotlights, improve visibility and add an extra touch of style. It all adds up to a unique, powerful presence, both tough and inviting at the same time.
The PACCAR MX engine, developed and manufactured by DAF, combines excellent high performance with economical fuel consumption. It is available in 410, 460 and 510 hp versions with high torque of 2,000, 2,300 and 2,500 Nm respectively. Importantly, maximum torque is available between 1,000 and 1,410 rpm.
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First time I’ve seen this ship in months .
Havila Venus: Anchor-Handling Tug Supply Vessel, Norway
Havila Venus is one of the largest anchor-handling tug supply vessels (AHTS) in the world. It was delivered in October 2009 and the naming ceremony was held on 17 October 2009 in Fosnavag, Norway.
The vessel was built at Havyard Group's shipyard, Havyard Leirvik, and is managed and operated by Havila Shipping. The hull of the vessel was built in Turkey and was supervised by Havyard Ship Services. The electrical engineering for the vessel was provided by Havyard Powertec where as the electrical installations were carried out by Havyard Elektro.
Design and construction
The vessel design is of Havyard 845 type which is developed by Havyard Design. It was designed in accordance with the ship owner's requirements for economical operation, and at the same time environment, comfort and crew safety were also taken into account.
The vessel has a gross tonnage of 6,455t and dead weight of 3,866t. The maximum displacement of the vessel is 9,687t. Length overall of the vessel is 92m and length between perpendiculars (LPP) has been kept to 79.8m. The moulded breadth, depth to main deck and design draft are 22m, 9m and 6m respectively. The maximum midship draft is 7.53m.
"The vessel is capable of accommodating 60 people."
The hull of the vessel, which is made up of steel, has double bottom and double side. The cargo deck, which is built over an area of 750m², is capable of holding 1,500t of cargo.
The vessel's stern has been optimised to facilitate large propellers and great bollard pull. This arrangement ensures safe operation by providing good stability and buoyancy. The vessel can cruise at a speed of 18kt.
The vessel is capable of accommodating 60 people. They can be accommodated in 16 single cabins, 20 double cabins and one four men cabin.
Propulsion
The vessel is equipped with an advanced hybrid propulsion system designed and developed by Havyard Design and Havila Shipping in collaboration with Scandinavian Electric Systems. This propulsion system reduces fuel consumption of the vessel by 10% to 15% as compared to other systems. It also helps in minimising nitrogen oxide and carbon dioxide emissions.
For propulsion and to power the other equipment, the vessel is equipped with a power station which is capable of generating up to 18,000kW of electricity. The power station combined with the advanced hybrid system generates electricity to power two main propellers, three side thrusters and an azimuth thruster.
"The vessel design is of Havyard 845 type which is developed by Havyard Design."
Diesel mechanic, diesel electric and hybrid are the three operating modes under which the propulsion system of the vessel works. Hybrid mode is a combination of the first two modes.
The power requirements of an AHTS when moving from A to B are lower compared with the total power resources on board.
In case of diesel electric system, the vessel can run on one large diesel engine that supplies the power required for the propulsion through electric motors. The power requirement varies when the vessel uses Dynamic Positioning System in its operation. In order to optimise safety and fuel consumption, the power supply to the vessel is regulated by its diesel electric system.
In order to generate sufficient power to yield the required bollard pull, the main propellers of the vessel are powered directly in diesel mechanic mode. The bollard pull of the ship can be increased to up to 284t when operating under hybrid mode.
Equipment
The vessel is equipped with powerful, modern anchor-handling winches ensuring safety of the crew. The vessel's anchor recovery frame (ARF) is used to handle the anchor over the stern, towing pins and shark jaws. The vessel also has two cargo rail cranes with manipulators.
The launch and recovery system (LARS) of the vessel helps it in carrying out the operations of remotely operated vehicles (ROVs) over ship-side. When used in combination with a 250t A-frame on the stern, the LARS can allow the vessel to carry out sub-sea operations at a depth of 3,000m.
In accordance with safety of life at sea regulations, the vessel is equipped with Alusafe 770 Mob boat. It also has a TTS Marine HL9D rescue boat davit, equipped with safe anchor handling package.
Navigation and communication
The vessel is equipped with state-of-the-art navigation and communication equipment. It has two radars, FCR-2837S Furuno S-band ARPA radar and the FAR-2827 Furuno X-band ARPA radar. Other important navigation equipment include a Navipol II magnetic compass, GDS 102 skipper navigational echo sounder, VSS-111 Phonetec sound reception system and Bridge Warch Monitoring System.
The vessel's communication equipment includes a Furuno NX-700B Navtex receiver, two TRON SART Jotron radar transponders, three Jotron GMDSS approved portable VHFs, one Thrane & Thrane fleet broadband 500 telephone, two Motorola GSM telephones, six Motorola GP 380 EX Portable UHF, and two FM 8800S Furuno VHF/DSC Simplex.
MK356
Supermarine Spitfire LF MkIXc
Royal Air Force
BBMF
Spitfire Mk IXc MK356 was built at Castle Bromwich and delivered to Digby in March 1944 fitted with a Merlin 66 engine, optimised for operations at low level and below 25.000 feet. She was allocated to 443 ‘Hornet’ Squadron, Royal Canadian Air Force, which became part of 144 Canadian Wing, commanded by Wing Commander J. E. ‘Johnny’ Johnson and was based at various locations on the South Coast of England.
The aircraft flew its first operational mission from Westhampnett on 14 April 1944 as part of a ‘Rodeo’ fighter sweep over occupied France. In the weeks leading up to the Invasion of France, MK356 was involved in various fighter and fighter-bomber missions. On D-Day +1 (7 June 1944) during an invasion beach head cover patrol, her pilot, Flying Officer Gordon Ockenden, a Canadian from Alberta, attacked 4 Bf109s “on the deck”. He chased one of the Messerschmitts, opened fire and obtained strikes. His wingman, Flt Lt Hugh Russell finished it off, so they were both credited with a shared kill.
MK356 was damaged 3 times herself, including 2 belly landings and on 14 June lost a wheel on take-off; the pilot completing the mission prior to making a third belly landing. Normally the aircraft would have been repaired on site but the Squadron moved to a forward operating base in France the next day, leaving MK356 behind to be picked up and stored by a Maintenance Unit.
After the war MK356 was used as an instructional airframe, as a gate guardian at Hawkinge and Locking, and she also served as a static airframe in the film ‘The Battle of Britain’ before going on display in the museum at St Athan.
In January 1992 a complete refurbishment to flying condition was commenced and in November 1997 the aircraft flew for the first time in 53 years, subsequently moving to her present home with the BBMF. Since 2008 the aircraft has been presented as UF-Q, MJ250 of No 601 (County of London) Squadron the aircraft of Flight Lieutenant Desmond Ibbotson. She is in a silver paint scheme used during late 1944 when the Squadron carried out fighter bomber missions over the Balkans from bases in Southern Italy. Ibbotson, who shot down eleven (confirmed) enemy aircraft and survived being shot down by the enemy three times, was tragically killed in a test flight when his Spitfire crashed close to Assisi, Italy in November 1944.
SEA-CARGO EXPRESS
Befitting the diverse cargo mix entailed in trading on the Norwegian coast and in the country’s shortsea industrial traffic, a truly multipurpose character is displayed by the 5,000dwt Sea-Cargo Express, the first newbuild investment in regular liner service by a Norwegian owner for some years.
The fact that the vessel looks Norwegian through and through, not least in its combination of sideport cargo handling system, stern ramp, and heavy-duty deck crane, all within a modest scale, belies its Indian construction. Bharati Shipyard’s success in attracting the order in 2005 had been indicative of Indian shipbuilding’s concerted drive on the export market.
However, owner Sea-Cargo has had to endure a series of delays, such that it was seven years before its versatile new ship made its debut on the route linking Aberdeen with Tananger (Stavanger) and west coast ports up to Trondheim in the north. Although compatriot Nor Lines cancelled an order that had been placed at the same time with Bharati for identical tonnage, Sea-Cargo has kept faith with the Indian yard in a follow-on project entailing two 5,900dwt LNG-fuelled ro-ros, expected to be ready in 2013.
Thus, as well as being the latest embodiment and refinement of a trading vessel concept well proven in the Norwegian and North Sea traffic, the particular significance of Sea-Cargo Express is as a new international reference for Indian shipbuilding and as the template for two further Sea-Cargo vessels that will be distinguished by the adoption of a gas-engined, mechanical-drive solution.
The forward location of the superstructure optimises the usage of the hull envelope and cargo working configuration. In keeping with the particular needs of west Norwegian trade, the vessel is equipped with the means of handling palletised goods, ro-ro, lo-lo, and heavy-lift freight, and incorporates four cargo deck levels.
The TTS-supplied starboard side door and associated two cargo lifts serve the ro-ro garage and lower decks. The pallet elevator platforms are each of 10t capacity and can be used over a wide range of quay heights and in all vessel draught conditions. The load rating in the lower hold, at 10t, corresponds to that of the cargo elevators.
Ro-ro access to the main deck is via a TTS stern door/ramp, imposing in its 15m width relative to the vessel’s breadth of just under 18m. The ramp is 12m in length, with 2m flaps, and its scantlings provide for a maximum load of 100t, in keeping with the heavy load rating of the main deck at 6t/m2, allowing the handling of industrial and offshore equipment as well as dense cargoes such as forestry products. The main deck offers a 4.8m clearance, and the overall trailer or cargo stowage area of 1,320m2 provides a total 500 ro-ro lane-metres. Deck area in the lower spaces is 1,050m2 on the tweendeck and 800m2 on the tank top.
The weatherdeck is suited to project cargo and containers, whereby a maximum 118teu can be stacked in two tiers using the portside-mounted, hydraulic knuckle crane offering a 50t lift capacity on the 22m-outreach main beam. At full 35m outreach, with the arm extended, the crane can lift 25t and serve the whole of the uppermost deck. The lo-lo mode can also be applied to the underdeck spaces, since a flush, liftaway hatch is fitted just forward of the crane in the weather deck on the portside. Hatches are also fitted immediately below at main deck and tweendeck levels.
Sea-Cargo Express is powered by a single Wärtsilä 9R32 medium-speed engine of 4,500kW, enabling it to make 15kt on service schedules. The gearbox and controllable pitch propeller are from the Scana Volda range, and contributory to the efficiency of the whole is the adoption of a 1,275kVA shaft generator.
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www.recyclart.org/2013/12/toilet-roll-lampshade/
I have been collecting toilet paper rolls for 4 years with no goal (about 70 rolls, I need to run some statistic to see my daily consumption :)).
When I have wondered what can I do with that, I rapidly thought to a hip 60's lampshade. As an engineer, I need some nerd calculations and design. Obviously, I have made a geodesic sphere optimising the roll quantity I get.
Iserlohn ASW Cruiser Microscale
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
The Imperial LEGO Iserlohn Cruiser is optimised for the Anti-submarine (ASW) mission, with powerful Anti-ship and Anti-aircraft missile systems.
For anti-ship missions, the ship carries four quadruple launchers for the large and supersonic D.D.N. missile behind the Leviathan Mk-3 launchers.
Flanking the ships funnel there are two quadruple 130mm gun turrets, a very powerful anti-ship and anti-aircraft armament.
Vertical Launch Systems (VLS) are fitted forward and aft for long-range Anti-Aircraft missiles like the SLAAD 1 or the Mega-STAD missiles. Amidships, two VLS fire the “Viper” AA missile, similar to the American RAM. The VLS can also launch the lighter D.D.B. anti-ship missile (similar to the Exocet missile, but supersonic) or the Leviathan Mk 1 (warhead: one short-range 460mm torpedo) and Mk 2 (warhead: one 800mm torpedo) anti-submarine missiles. Cruise missiles, like the ENA-200 “Machado” (with a 2000kg warhead) can also be operated.
Four anti-submarine helicopters are accommodated in hangars but the Iserlohn main combat system is the Leviathan Mk-3 anti-submarine missile, whose quadruple canister launchers flank the bridge structure. The large and impressive 2000km cruise missile may be configured either to release 4 Anti-submarine torpedos over a submerged target or fitted with a large warhead to counter surface targets, with mid-course correction. Two, very large SNG-50 radars are used to guide the missiles to the target. The launchers can also operate the D.D.N. anti-ship missile (4 D.D.N.s for each Leviathan), the low afterdeck being occupied largely by an enclosed VDS, which is roofed over to full hull width by the helipad. The VDS is complemented by a large low frequency sonar at the forefoot. Short-range anti-submarine weapons comprise four rocket launchers and two quadruple banks of heavyweight 800mm torpedo tubes (reportedly able to launch a new Anti-submarine missile). Finally, these very capable ships can carry up to 40 mines.
The ship also carries six Walston Gun/missile CIWS (each with 2 90mm Gatling guns and two launchers for 30 Viper Air-to-air missiles) and four 90mm automatic short-range guns.
Four shafts are driven directly by reversible electric motors; power for them is generated by four MX-1000 gas turbines associated to two hydrogen reactors or, for ultra-quiet navigation, four vibration-isolated electric alternators.
Once again these handsome, purposeful-looking ships, with their multitude of sensors and systems created a major impression among the enemies of the LEGO Empire.
Fifty ships were completed and will be completely remodelled in the future into a new, Stealth Guided missile cruiser.
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
More images also here: www.brickshelf.com/cgi-bin/gallery.cgi?f=519823
Completed: 50
Displacement (tons):
11 000 tons standard
13 500 tons full load
Speed (kts): 35 kts.
Dimensions (m):
182 meters long
21.1 meters beam
7,2meters draught
Propulsion:
4 MX-1000 gas turbines – 132 000 (shp)
4 vibration-isolated electric alternators
Endurance: Unlimited;
Crew: 260
Armament:
AA Missiles: 4 VLS (two for Mega-STAD/SLAAD 1 AA missiles and two for Viper AA missiles);
Anti-ship: 4 quadruple launchers for D.D.N. missiles (16 missiles);
Guns: Two quadruple 130mm gun turrets; Six Walston CIWS (2x90mm Gatling guns and 2x30 Viper AA missiles each); Four 90mm automatic AA guns;
Antisubmarine: Four quadruple launchers for the Leviathan Mk-3 missile (32 missiles); two quadruple 800mm torpedo tubes (16 torpedos).
40 mines
Aircraft:
4 anti-submarine helicopters
Hope you like it!
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
Please fav or comment!
Eínon
renamed for reason of optimising. from now on i shall be calling all my pictures 'big boobs'
original title - half baked
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this image had to be processed differently to optimise the 3D effect
cross eyed 3D does not mean you have to cross your eyes to look like a clown to be able to view it..in fact just a little will do. all of us 'cross our eyes' when we look at something close. we do not notice it but our eyes have to do that in order to focus. Belief me, with some practice it is not daunting at all :)
give this a try with some practice along the way...
1. sit about 3 to 4 feet away from your screen
2. look at the left image
3. now, fully extend your arm and point your left index finger (your nail on the centre part of the image)
4. focus on your nail (don't be distracted now)
5. slowly..move your nail towards your eyes (keep focus on your nail)
6. you will start to notice the 'pair of images' converge (don't be distracted!)
7. continue to move your finger towards your eyes (focussed on your nail)
8. at some point (in the background) the convergence will be enough for you to figure out some level of success
9. your nail/finger start to appear as a 'double vision' while at the same time, you (without focussing on the image) notice the 3D forming
10. if it does not, try moving your finger forward and backwards from +- 6 inches. in in the progress it helps your eyes adjust focus on your finger and get a better 'lock-in' to the 3D forming in the background while you keep focussed on your finger.
11. keep your eyes steady and move your fingers down and away.
by now, after a few practices, you should be quite close if not there already!
cross eye 3D stereo has the advantage of not requiring any special viewing equipment to enjoy an enjoyable 3D rendered image.
good luck!
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The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
This was a beautiful example of the C-Sonnar wide open at its closest focusing distance, using an f/2.8 optimised lens.
Los Angeles, California
Note: I am working from an uncalibrated monitor, quick and dirty.
A shot from last year, but edited using Capture One, which is optimised for Fuji cameras. A change from Lightroom.
Iserlohn ASW Cruiser Microscale
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
The Imperial LEGO Iserlohn Cruiser is optimised for the Anti-submarine (ASW) mission, with powerful Anti-ship and Anti-aircraft missile systems.
For anti-ship missions, the ship carries four quadruple launchers for the large and supersonic D.D.N. missile behind the Leviathan Mk-3 launchers.
Flanking the ships funnel there are two quadruple 130mm gun turrets, a very powerful anti-ship and anti-aircraft armament.
Vertical Launch Systems (VLS) are fitted forward and aft for long-range Anti-Aircraft missiles like the SLAAD 1 or the Mega-STAD missiles. Amidships, two VLS fire the “Viper” AA missile, similar to the American RAM. The VLS can also launch the lighter D.D.B. anti-ship missile (similar to the Exocet missile, but supersonic) or the Leviathan Mk 1 (warhead: one short-range 460mm torpedo) and Mk 2 (warhead: one 800mm torpedo) anti-submarine missiles. Cruise missiles, like the ENA-200 “Machado” (with a 2000kg warhead) can also be operated.
Four anti-submarine helicopters are accommodated in hangars but the Iserlohn main combat system is the Leviathan Mk-3 anti-submarine missile, whose quadruple canister launchers flank the bridge structure. The large and impressive 2000km cruise missile may be configured either to release 4 Anti-submarine torpedos over a submerged target or fitted with a large warhead to counter surface targets, with mid-course correction. Two, very large SNG-50 radars are used to guide the missiles to the target. The launchers can also operate the D.D.N. anti-ship missile (4 D.D.N.s for each Leviathan), the low afterdeck being occupied largely by an enclosed VDS, which is roofed over to full hull width by the helipad. The VDS is complemented by a large low frequency sonar at the forefoot. Short-range anti-submarine weapons comprise four rocket launchers and two quadruple banks of heavyweight 800mm torpedo tubes (reportedly able to launch a new Anti-submarine missile). Finally, these very capable ships can carry up to 40 mines.
The ship also carries six Walston Gun/missile CIWS (each with 2 90mm Gatling guns and two launchers for 30 Viper Air-to-air missiles) and four 90mm automatic short-range guns.
Four shafts are driven directly by reversible electric motors; power for them is generated by four MX-1000 gas turbines associated to two hydrogen reactors or, for ultra-quiet navigation, four vibration-isolated electric alternators.
Once again these handsome, purposeful-looking ships, with their multitude of sensors and systems created a major impression among the enemies of the LEGO Empire.
Fifty ships were completed and will be completely remodelled in the future into a new, Stealth Guided missile cruiser.
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
More images also here: www.brickshelf.com/cgi-bin/gallery.cgi?f=519823
Completed: 50
Displacement (tons):
11 000 tons standard
13 500 tons full load
Speed (kts): 35 kts.
Dimensions (m):
182 meters long
21.1 meters beam
7,2meters draught
Propulsion:
4 MX-1000 gas turbines – 132 000 (shp)
4 vibration-isolated electric alternators
Endurance: Unlimited;
Crew: 260
Armament:
AA Missiles: 4 VLS (two for Mega-STAD/SLAAD 1 AA missiles and two for Viper AA missiles);
Anti-ship: 4 quadruple launchers for D.D.N. missiles (16 missiles);
Guns: Two quadruple 130mm gun turrets; Six Walston CIWS (2x90mm Gatling guns and 2x30 Viper AA missiles each); Four 90mm automatic AA guns;
Antisubmarine: Four quadruple launchers for the Leviathan Mk-3 missile (32 missiles); two quadruple 800mm torpedo tubes (16 torpedos).
40 mines
Aircraft:
4 anti-submarine helicopters
Hope you like it!
Please watch this and many other fantastic creations here: www.flickr.com/photos/einon/
Please fav or comment!
Eínon
This photo was taken on Kodak Portra 160 film (my favourite film!) using a Pentax *ist, fitted with a Pentax DA XS 40mm f2.8 lens. Now this is a Pentax DA lens, which means it is optimised for digital cameras with an APS-C sensor (specifically the Pentax K-01).
And in a purely technical sense it doesn't work that well on a full frame film body: there is some light vingetting, especially wide open, and the sharpness in the corners is pretty dreadful in the corners... but I really like the character this lens gives on a full frame film body... I'm guess that it would work nicely on the Pentax K-1 too.
Because it has no aperture ring it really needs to be used on a body that allow aperture to be controlled from the camera, and the *ist falls into this classification. Together they make a really tiny (almost pocketable!) combination with a really nice focal length.
A 40mm f2.8 lens might not scream 'bokeh!!', but on full frame you can actually get some lovely bokeh effects with this lens.
Here we have a slightly not optimised view from the Forthside Footbridge in Stirling showing some of the works going on in and around the Train Station and the footpaths nearby. There was quite a lot going on at the time with a lot of areas dug up and fenced off, so getting to the footbridge's stairs and lifts is not as easy as it normally would be. But here's your challenge for the day: can you spot the bus hiding in the photo???? Do not read past here until you've tried as it'll be too much of a giveaway of what to look for!
Found it?? If yes then congrats! If not, I'd recommend you focus on the left half of the photo. If you look in the correct spot you'll find McGill's Midland Bluebird heritage livery ADL Enviro400 66 XKW (Fleet Number 8960 - J 8960 with Glasgow - Originally registered SN59 AWX) on the early stages of a run on route 59 to Callander via Doune.
Date Taken: February 14th, 2023
Device Used: Motorola Moto G100
Date Uploaded: May 14th, 2023
Upload Number: 219
© ZZ9's Transport Photography (ZZ9 Productions). All Rights Reserved. Modification, redistribution, reuploading and the like is prohibited without prior written permission from myself.
A small test I've made a couple of days ago between the Rodenstock APO-Rodagon-D 75 mm lens I own: the f4 version optimised for 1X magnification and the f4.5 version optimised for 2X magnification.
The f4 version was normally mounted on Nikon PB-6 bellows and the f4.5 version was reverse mounted.
Sensor type was APS-C.
The magnification of the final image was around 2X, chosen aperture was 5.6 and ISO 100.
Both files were proccessed in the same way, no cropping or sharpening was applied. The final results are pretty close regarding composition and colors, the 1X image has a slightly warmer white balance.
The subject is a small Tachinid [?] fly, around 4-5 mm, which kindly cooperated for 2 stacks.
My impressions about the lenses:
- APO-Rodagon-D 75 f4 lens is sharper is the middle of the frame but its resolution decreases to the edges
- APO-Rodagon-D 75 f4.5 2X lens is a little bit softer overall but with equal resolution all around the frame
- the APO-Rodagon-D 75 f4 1X exhibits a clearly higher longitudinal chromatic aberrations compared to its 2X sibling, probably because it is used way off its recommended magnification range (0.8-1.2X); this could be troublesome when focus stacking
- the APO-Rodagon-D 75 f4.5 2X has a much higher working distance at 2X than the 1X version, a joy to work with!
- altough I expected that the 2x version would win since it's optimised for the magnification the test was made with, the final results are pretty close
- a similar test should be made on a FF sensor where results would greatly differ, I'm quite sure about it
This is not a scientific test in any way so interpret the results as you wish. :)
See the images in the comment section.
Chassis n° YA9VZ3S00F0169036
Les Grandes Marques du Monde au Grand Palais 2020
Bonhams
Parijs - Paris
Frankrijk - France
February 2020
Estimated : € 600.000 - 900.000
Unsold
"The Mostro, of which five are built, was born in 2015 to celebrate the Maserati centenary and to honour one of the most iconic race cars in the history of the brand: the Maserati 450 S Coupe Zagato Monster, designed in 1957..." – Zagato.
Over the course of an illustrious career spanning 11 decades, the famous Italian coachbuilder Carrozzeria Zagato has become synonymous with audacity in automotive styling. Indeed, Zagato has become the 'go-to' styling house for manufacturers intent of stealing the show at the most prestigious international automotive salons, producing a succession of breathtaking prototypes, concept cars and limited-edition models for the likes of Alfa Romeo, Aston Martin, Ferrari, Maserati and Lamborghini.
One of the oldest and most respected of automotive design firms, Zagato was founded in Milan in 1919 by Ugo Zagato, who used techniques learned in the wartime aeronautics industry to create a series of lightweight competition cars. Alfa Romeo immediately realised the potential of Zagato's designs and thus commenced a fruitful collaboration that lasts to this day. Legendary racing models such as Alfa's 1500, 1750 Gran Sport and 2300 8C were followed by luxurious coupés and roadsters on FIAT and Lancia chassis.
During the 2000s, its so-called 'Neo-classical' period, Zagato created a succession of bespoke designs for distinguished clients and gentlemen drivers, working on special projects for Aston Martin, Bentley, Ferrari, Maserati, Spyker, Diatto and Alfa Romeo. The company is now nearing the end of its 'Iconic' decade, which has seen it concentrate on projects inspired by the most iconic models of automotive history. One of the most sensational of these hyper-exclusive creations is the Mostro, which was unveiled to a suitably awe-struck audience at the prestigious Concorso d'Eleganza Villa d'Este in 2015.
Celebrating the centenary of Maserati, the Mostro was inspired by one of the most iconic racing cars in the Trident marque's history: the Zagato-bodied 450 S Coupé known as il Mostro (the Monster). Designed by Zagato in collaboration with the famous British aerodynamicist, Frank Costin, the Monster had been commissioned by Stirling Moss specifically to contest the 1957 Le Mans 24-Hour Race.
Il Mostro was, until the 1990s, the most powerful front-engined racing car ever built. At the 1957 Le Mans race, in a field dominated by light, open-bodied barchettas, it was the only sports car with closed bodywork capable of competing for overall victory. The Monster's elegantly streamlined low-drag body was designed with maximum aerodynamic efficiency in mind to take advantage of the long Hunaudières straight at Circuit de la Sarthe. Sadly, the car was forced to retire after 32 laps when the axle broke.
Just as the original Mostro was built for racing and subsequently converted into a road car, so the modern-day Mostro has been created primarily for track use using racing technology, while also being useable on the road. The chassis is of carbon fibre 'MonoCell' construction, supplemented by a mid-structure of steel tubes forming the cockpit and a sub-frame supporting the fuel tank, exhaust system, rear suspension and gearbox. Made in Italy, the bodywork is entirely carbon fibre.
Set back in the chassis, the 4.2-litre Maserati V8 engine has dry-sump lubrication and is equipped with a programmable engine management system. Power (undisclosed but estimated to be in the region of 460bhp) reaches the ground via a semi-automatic, six-speed rear transaxle, an arrangement that optimises front/rear weight distribution. Suspension is by double wishbones front and rear with pushrod actuation of the springs/dampers. The alloy wheels are 19" in diameter and there are large disc brakes all round.
In creating the new Mostro, the designers at Zagato Atelier decided not to copy the original body, but rather implement the same instinctive approach to volume; thus the final design is not nostalgic, but iconic. The proportions of the new Mostro are similar to those of Zagato's 450 S Coupé of 1957: a lengthy bonnet section housing the engine, which is centrally positioned for optimal weight distribution, complemented by a compact cabin with integral rounded tail. Other noteworthy features include fixed glass side windows; doors opening forwards and upwards; and a large rear fixed-wing. Only five examples of the Mostro were made, all of which had been assigned to selected Zagato connoisseurs before deliveries commenced.
One of the five built, this example was bought new from Zagato by the current vendor (at a reputed cost of around €1m) and has covered fewer than 1,000 kilometres since it left the factory. The car has never been registered but it can be homologated by Messrs Gillet in Belgium (some are already registered in Japan and Switzerland), though should the purchaser wish to proceed it will be at their own expense.
'A possibly once-in-a-lifetime opportunity' is a somewhat overused phrase in the world of collectors' motor cars, but most definitely not in the case of this utterly gorgeous Zagato Mostro.
IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
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As finished (10 October 2022).
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www.munus.com/tempo-liberato?ln=2
Tempo Liberato
Perugia, Civic Museum of Palazzo della Penna - 10 November / 16 December 2018
The City of Perugia and Munus, the museum service provider company that’s working on a project for optimising and enhancing the value of the Civic Museum in Palazzo della Penna, of the Chapel of San Severo and of the Templar Complex of San Bevignate, are pleased to present Tempo Liberato. Curated by GMGProgettoCultura and Francesca Romana Pinzari and set up in the Civic Museum of Palazzo della Penna, this exhibition features 23 contemporary artists who employ paintings, sculptures, photographs and live performances to discuss the concept of Time and the relationship between the frenetic rhythms that dominate today’s globalised society, obsessed as it is with continuous productivity, and the free time that individuals find themselves increasingly having to sacrifice.
Our personal time – the time we have for meditating, the time we can call our own, so “free” – has become one of the most precious although least-prized commodities of our era. Yet despite often being considered to be a luxury, it is intangible and non-cumulative: we yearn for it, but cannot own it; we spend it, but cannot earn it.
Today’s constantly increasing technology has given us tools for slashing in half and sometimes practically eliminating the time it takes to produce things, yet those same devices have paradoxically only served the purpose of increasing, not decreasing, the personal time we devote to our work.
In short, time is not free any more, but the slave of our social superstructures, so that even in the air we breathe we can perceive an increasingly widespread need to take back control of the natural rhythms that govern mankind’s life.
Art is the place where time is set free of the mechanisms of consumption and usability, of calculations and of predestination, and can express itself in the principles of its cyclic nature, in the potential dichotomies of contingent and transcendent, of natural and arithmetic, of space and work.
Hence the title Tempo Liberato, a play on the Italian word combination between “Free Time” and “Time Set Free” that stresses how artists, architects and town planners both past and present manage to create places with the ability to enrich the social time we spend in meditative, evolutionary spaces, bringing together spirit and matter. And the fact is that artistic cities have long proved to be particularly suitable locations for achieving that magical coincidence between man, space and time.
The city of Perugia has always taken care to leave eloquent narrative traces of its evolution over the years, keeping faith with the gentle harmony of the landscape that surrounds it.
An early example is the Fontana Maggiore, or Great Fountain, with its depictions of agricultural tasks alternating with signs of the zodiac, followed by the seven liberal arts and Philosophy.
Then there’s Pope Gregory XIII, who decided to reform the Julian calendar and replace it with the Gregorian one. To do it, he called in Father Egnazio Danti, a mathematician and astronomer from Perugia who turned his hand directly to redesigning the way we measure the times of the world in which we live.
Perugia is the virtuous example of a city that has hosted enlightened industries like Perugina and the Luisa Spagnoli fashion group, which have paid attention to considering their employees’ needs, taking care not only of the time they devote to production, but also their private time; building recreational facilities and giving everyone a chance to spend pleasant time with their families, in a context at no great removed from their workplace.
Nowadays, Time generates fear and wounds, caught up in a bruising frenzy, wrapping fragments of moments up into isolated little parcels that shift us even further away from holistic understanding.
The artists in this show express themselves in their own highly personal idioms, making a gift of their working time, which we see as a creative, ritual act, a generating presence that balances contingency with transcendence, a conscious awareness of the correspondence between space and time, a moment of choice that is extended and held, an act of care and of memory.
Art reinforces the mythical idea of Time, simultaneously young and old, fast and slow, the impudent offspring of Earth and Sky, proud and stubborn in its inexorable forward march.
"An aerodynamically optimised vehicle concept developed by a dedicated team to demonstrate as many innovative solutions to the problems of creating a low-drag vehicle around a fully functional and uncompromised four-seater package."
This photo was taken on Kodak Portra 160 film (my favourite film!) using a Pentax *ist, fitted with a Pentax DA XS 40mm f2.8 lens. Now this is a Pentax DA lens, which means it is optimised for digital cameras with an APS-C sensor (specifically the Pentax K-01).
And in a purely technical sense it doesn't work that well on a full frame film body: there is some light vingetting, especially wide open, and the sharpness in the corners is pretty dreadful in the corners... but I really like the character this lens gives on a full frame film body... I'm guess that it would work nicely on the Pentax K-1 too.
Because it has no aperture ring it really needs to be used on a body that allow aperture to be controlled from the camera, and the *ist falls into this classification. Together they make a really tiny (almost pocketable!) combination with a really nice focal length.
A 40mm f2.8 lens might not scream 'bokeh!!', but on full frame you can actually get some lovely bokeh effects with this lens.
This photo was taken on Kodak Portra 160 film (my favourite film!) using a Pentax *ist, fitted with a Pentax DA XS 40mm f2.8 lens. Now this is a Pentax DA lens, which means it is optimised for digital cameras with an APS-C sensor (specifically the Pentax K-01).
And in a purely technical sense it doesn't work that well on a full frame film body: there is some light vingetting, especially wide open, and the sharpness in the corners is pretty dreadful in the corners... but I really like the character this lens gives on a full frame film body... I'm guess that it would work nicely on the Pentax K-1 too.
Because it has no aperture ring it really needs to be used on a body that allow aperture to be controlled from the camera, and the *ist falls into this classification. Together they make a really tiny (almost pocketable!) combination with a really nice focal length.
A 40mm f2.8 lens might not scream 'bokeh!!', but on full frame you can actually get some lovely bokeh effects with this lens.
Maybe this is a little much satin in one place for some to cope with.
I think he has disappeared it been a while since we last set eyes on eachother, maybe he was just a figment of my imagination? All I know is that he said, "I am going out. I might be some time"
I know it's a little early for my flirty Friday post but it must be Friday somewhere
McLaren has revealed the first model in its Sports Series, the new 570S Coupé. A pure McLaren, featuring class-leading levels of performance, coupled with optimised handling characteristics and driving dynamics, the 570S Coupé marks the first time McLaren has offered its pioneering and race-derived technologies in the sports car segment. The new Sports Series shares its DNA with the Super Series and Ultimate Series, and the three-tier McLaren range will be shown together for the first time at the 115th New York International Auto Show on 1st April 2015.
The new 570S Coupé is a classic sports car with a mid-mounted engine, rear-wheel drive layout and a carbon fibre chassis. The M838TE twin-turbo V8 engine produces 570PS (562bhp) and 600Nm (442lb ft), with 30 percent of components bespoke to the Sports Series. Power is delivered through a seven-speed SSG transmission and transmitted to the road via Pirelli P-Zero™ Corsa tyres, and this power is brought under control with standard-fit carbon ceramic brakes. The Sports Series has its own newly developed suspension system along with ‘Normal’, ‘Sport’ and ‘Track’ handling settings.
Testing D750 NEF files with Capture NX-D to optimise processing. Good for NR but need to get the NR 2013 settings just right. Images need a lot of sharpening and it's definitely easier to apply the final polish in CNX-2.
The Ford Falcon was a new introduction to the Ford lineup in 1960. The car was conceived as a cost-optimised compact car that still delivered the qualities and quantities that the US customer saw a critical in a family automobile.
As such, the car was considerably smaller than the full-size cars on sale during the Falcon's development. Even the engine, a 2.2 litre inline six, was considered to be small, as was the engine performance.
The Falcon was a success, and as such, provided the profitable funding for the basic model to be evolved into things it was not originally conceived to be. One of those things was to be the Ford Mustang - the first 'Pony car', but along the way, the basic building blocks to deliver Mustang were provided in the form of the compact, 4.3 litre V8 engine, as fitted to the 1963 Falcon Sprint.
The Sprint was a success, its small size and low weight led to spirited performance. The Sprint was available as both a hardtop coupe and a convertible model.
Size and performance set the template for what was to come. The second generation Falcon, launched in 1964 grew a little bit bigger, and a little bit faster, courtesy of the larger 4.7 L V8 engine, and was the basis for Ford's next big product hit, the Mustang.
This Lego Miniland-scale Ford 1963 Falcon Sprint hardtop Coupe has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.
The Challenge theme chosen is number 28 - 'The Animal Kingdom' - for any vehicle that is animal themed or named.
The EF Tempest IDS (interdiction/strike) is the ground attack version. Optimised for low-level ground attack and close support operations, the IDS version sports increased fuel capacity and a more extensive air-to-surface sensor package, including FLIR and a laser designator for independent targeting of laser-guided air-to-surface munitions.
With the combined power of two EJ290SP engines, the IDS Mk.II has a higher top-speed and carrying capability than the previous single-engine version.
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Yuanyang Rice Terraces, located on the southern slopes of Ailao Mountain in Yuanyang County (part of Honghe Hani Autonomous Prefecture) and located in the south of Yunnan Province of China has been a masterpiece of the ingenuity of the Hani people for generations. Southern Ailao Mountain, with this typical tiered landscape, is famed for its unique frontier scenery.
The Hani people's ancestors came to this steep mountain area 2,500 years ago. In their struggle against the difficult terrain they successfully established the terraces, where they grew rice in order to make a living. The technology of developing fertile land on rugged mountain slopes didn't spread all over China and Southeast Asia until 14th century. The creativity of the Hani people turned this mountain area into one of artistic beauty.
The Honghe Hani rice terraces are an exceptional reflection of a resilient land management system that optimises social and environmental resources, demonstrates an extraordinary harmony between people and their environment in spiritual, ecological and visual terms, and is based on a spiritual respect for nature and respect for both the individual and the community, through a system of dual interdependence known as the ‘Man-God Unity social system’.
Messing around with colour schemes, this one is semi-buildable.
Also optimised down from 1428 to 1400 parts, should improve sturdiness in a few places.
Pure femme bliss……I do love this set, hope you do too! Happy fab Fun Friday Flickerettes!!! Peace and love, always!💋💕🌈😘
Audacia is 225 m long, which in terms of size places her between Allseas’ DP pipelay vessels Lorelay and Solitaire. She is optimised for the execution of small to large diameter pipelay projects of any length in all water depths.
The concept for Audacia was developed entirely in-house by Allseas. Her ship-shape allows for a high transit speed and gives her excellent workability, while a large pipe storage capacity makes her less dependent on offshore supply.
Operating on full dynamic positioning, with a stinger positioned at her bow, Audacia offers the safest pipelay method in congested areas where anchors could endanger the integrity of existing pipelines. Pipeline start-ups and lay-downs are executed in very quick time ensuring any disruption to other activities near platforms is minimised.
Audacia conversion 2006 - 2007
In June 2005 Allseas announced that it would be building a new 225 m long DP pipelay vessel, to be named Audacia. Two months later, the Panamax type bulk carrier "Geeview" was procured.
The "Geeview" finally arrived at the Keppel Verolme shipyard, Rozenburg, in December 2005 and work to convert her into a pipelay vessel commenced in January 2006. Audacia left Keppel Verolme for sea trials in the North Sea in late September 2007 and successfully completed her maiden pipelay project in early December 2007.
Length overall (excl. stinger)
225 m (738 ft)
Length between perpendiculars
217 m (712 ft)
Maximum speed
16 knots
Accommodation
270 persons
Installed power
35,100 kW
Dynamic positioning system
NMD Class 3 / LR DP (AAA), type Kongsberg SDP 11 and SDP 22, fully redundant systems
Cranes / lifting equipment
Pipe transfer crane:
30 t (66 kips) at 33 m (108 ft)
Special purpose crane:
150 t (331 kips) at 16 m (66 ft)
PLET/PLEM installation frame:
550 t (1,213 kips) dual wire
Stinger handling crane:
25 t (55 kips), tandem hoist
Working stations
7 (single joint) welding, 1 NDT and
3 coating stations
Tensioner capacity
3 x 175 t (1,158 kips) at 30 m/min
(98 ft/min)
Pipe diameters
From 2" to 60" O.D.
MK356
Supermarine Spitfire LF MkIXc
Royal Air Force
BBMF
Spitfire Mk IXc MK356 was built at Castle Bromwich and delivered to Digby in March 1944 fitted with a Merlin 66 engine, optimised for operations at low level and below 25.000 feet. She was allocated to 443 ‘Hornet’ Squadron, Royal Canadian Air Force, which became part of 144 Canadian Wing, commanded by Wing Commander J. E. ‘Johnny’ Johnson and was based at various locations on the South Coast of England.
The aircraft flew its first operational mission from Westhampnett on 14 April 1944 as part of a ‘Rodeo’ fighter sweep over occupied France. In the weeks leading up to the Invasion of France, MK356 was involved in various fighter and fighter-bomber missions. On D-Day +1 (7 June 1944) during an invasion beach head cover patrol, her pilot, Flying Officer Gordon Ockenden, a Canadian from Alberta, attacked 4 Bf109s “on the deck”. He chased one of the Messerschmitts, opened fire and obtained strikes. His wingman, Flt Lt Hugh Russell finished it off, so they were both credited with a shared kill.
MK356 was damaged 3 times herself, including 2 belly landings and on 14 June lost a wheel on take-off; the pilot completing the mission prior to making a third belly landing. Normally the aircraft would have been repaired on site but the Squadron moved to a forward operating base in France the next day, leaving MK356 behind to be picked up and stored by a Maintenance Unit.
After the war MK356 was used as an instructional airframe, as a gate guardian at Hawkinge and Locking, and she also served as a static airframe in the film ‘The Battle of Britain’ before going on display in the museum at St Athan.
In January 1992 a complete refurbishment to flying condition was commenced and in November 1997 the aircraft flew for the first time in 53 years, subsequently moving to her present home with the BBMF. Since 2008 the aircraft has been presented as UF-Q, MJ250 of No 601 (County of London) Squadron the aircraft of Flight Lieutenant Desmond Ibbotson. She is in a silver paint scheme used during late 1944 when the Squadron carried out fighter bomber missions over the Balkans from bases in Southern Italy. Ibbotson, who shot down eleven (confirmed) enemy aircraft and survived being shot down by the enemy three times, was tragically killed in a test flight when his Spitfire crashed close to Assisi, Italy in November 1944.
One of my favourite parks here in Derby, Markeaton Park. Here's a little corner often overlooked. The masonry is Victorian. There were railings either side but during WW1 it was thought a good morale booster for all ironworks to be 'donated' for the war effort. Utter bollocks.
The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
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Event: Large Format Pinhole Tests
Location: Blakemere, Cheshire
Camera: Wista 45VX
Lens(s): 0.35mm Pinhole f/256 (90mm optimised)
Film: Fomapan Foma 100
Shot ISO: 100
Light Meter: Weston Master II
Movements: None
Bellows: 150mm
Exposure: 55s @ f/256
Lighting: Natural Sunny
Mounting: Tripod - Manfrotto
Firing: Felt lens cover
Developer: Ilford Ilfotec-HC (1+31) 5.5 mins
Scanner: Epson V800
Post: Adobe Lightroom & Photoshop (dust removal)