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Nikon D3X, Mamiya 645 200mm f/2.8 APO
+ this anime convention keeps getting better :)
+ as always, great cosplays from everyone and lots of nice art for sale :)
Looks like she's done some serious shopping and now she has to get it all home in the rain. Taken through a wet bus window.
Nikon D3X, Mamiya 645 200mm f/2.8 APO
+ this anime convention keeps getting better :)
+ as always, great cosplays from everyone and lots of nice art for sale :)
Rock Overload
feat. Bamboo, PNE, and Kamikazee
April 16, 2010
Metrobar, West Ave.
Roxanne Nebres 2010 (c) All Rights Reserved
Goats, chickens, parents, children, motorbikes, and more.
[ For the full story visit michaelfuller.ca ]
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Come explore the world's cultural and geographic landscapes!
I've spent 9 years reaffirming my suspicion that the world is amazing – and sharing these Experiences in photo-filled stories.
Now I'm also sharing lessons to equip others like you to travel simpler, improve photography, and connect with strangers.
Please join me!
It was tough to reach to lake after 26 hours of continuous journey from Lahore to Astore.
Location: On track of Rama Lake
Photo by: Shahid
Nikon D3X, Mamiya 645 200mm f/2.8 APO
+ this anime convention keeps getting better :)
+ as always, great cosplays from everyone and lots of nice art for sale :)
Electrical system thermal scanning can reveal more than meets the eye. The wires in this thermal image are overloaded from too much current draw. A simple fix - if found in time for repair. The wires in this image are so hot the color coded phase tapes are of uniform color (brown). This is of immediate concern and expedited repair is required.
As if we weren't already overloaded with so many generous gifts coming back from Japan, this morning (yesterday morning?) when Mr. Sasaki picked us up he gave us another box that he said contained some whisky glasses. We opened it up as soon as we got home and unwrapped these two gorgeous cut crystal glasses! Well of course we had to try them out with some fine Japanese whisky after a long day and night and day of travel! Kanpai!! 🇯🇵
This is a typical scene in Malaysia. Motorcyclists have creative ways to make full use of their vehicle transportation capabilities. The owner of the motorcycle is nowhere to be seen when I shot the pic.
For centuries, Boudhanath Stupa has been an important pilgrimage site for Tibetan Buddhists.
The streets outside the temple are pure chaos!
For the story, visit: www.ursulasweeklywanders.com/travel/prayers-in-the-eyes-o...
Hubert Scheibl, 1952 Ones, 2011/2012 (Albertina - Sammlung Batliner)
Hubert Scheibl's so-called Ones take the "landscape strokes" that he typically places in the bottom area of his paintings to evoke associations of vast views and broad horizons one step further. The Ones lift off the ground and start floating. Here, Hubert Scheibl draws a single gestural broad brushstroke across the grounding. He thus leaves a time trace, a single line that viewers may follow with their eyes and that brings some deceleration amid the hectic sensory overload of today's world.
Die sogenannten Ones sind eine Weiterentwicklung der "Landschaftsstriche", die Hubert Scheibl an den unteren Rand seiner Bilder setzt und die Assoziationen von Landschaften und Weite hervorrufen. Die Ones verlieren die Bodenhaftung und schweben. Hier zieht Hubert Scheibl nur einen einzigen gestischen breiten Pinselstrich auf dem Untergrund. Er setzt damit eine Zeitspur, einen einzigen Strich, dem man mit den Augen nachspüren kann und der so zur Entschleunigung in unserer reizüberfluteten Welt beiträgt.
The Play between Realism and Vagueness
Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.
Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.
Das Spiel zwischen Realismus und Unschärfe
Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.
Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.
The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.
Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.
Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.
Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.
West Valley City, UT; this photo doesn't begin to do the complex justice. This Bing map gives you a better idea of what's going on here:
What the hell did these buildings house originally? It's now a strange mix of different businesses.
I choose not to use my Dock in OS X, and instead opt to put things I need to keep handy in the menu bar. The result: too many icons! In order from left to right:
xScope (first 5 icons)
AppleScript Menu
Airport Access
Keyboard Viewer/Character Palette
Battery Status
Clock (set to old school analogue mode)
Spotlight
What do you have in your menu bar?
I spent an entire evening about 1.5 months ago sifting through hundreds of Spain & Morocco shots. These particular images went into PS, so I could post-process a little and then upload to flickr.
Except then my browser crashed/computer froze/some kinda drama, so that was that, and all I was left with was a screenshot so I could try to remember.
Now I have to figure out how to find these again, amongst the madness of the 5,200.
Freakin' hell.
Any ones here you specifically want to see uploaded?
Overload 2013 : Nikon D3X, Mamiya 645 120mm f/4 Macro APO
+ no photoshopping, no cropping, raw file converted on Phase One Capture 7 but no adjustments
(16Sep51) This picture was taken about two blocks east of the NE corner of 63rd and Harlem.
Status: Final
Date: 16 SEP 1951
Time: 10:47
Type: Curtiss C-46D-10-CU Commando
Operator: Peninsular Air Transport
Registration: N74689
C/n / msn: 32975
First flight: 1944
Total airframe hrs: 5754
Engines: 2 Pratt & Whitney R-2800-75
Crew: Fatalities: 0 / Occupants: 4
Passengers: Fatalities: 0 / Occupants: 49
Total: Fatalities: 0 / Occupants: 53
Airplane damage: Substantial
Airplane fate: Repaired
Location: Chicago-Midway Airport, IL (MDW) (United States of America)
Phase: Initial climb (ICL)
Nature: Domestic Scheduled Passenger
Departure airport: Chicago-Midway Airport, IL (MDW/KMDW), United States of America
Destination airport: Covington Airport, KY (CVG/KCVG), United States of America
Flightnumber: 108
Narrative:
The day before the accident the aircraft was flown from Miami, Florida, to Chicago, with stops at St. Petersburg and Covington. On the leg between Covington and Chicago, malfunctioning of the left engine was experienced. This trouble manifested itself by intermittent misfiring, and was corrected by the use of full-rich mixture. At Chicago the aircraft was refueled late in the evening of the same day, September 15, and maintenance work on the left engine was performed by Butler aviation personnel on the following morning. The flight was to be over the reverse route and with the same stops as had been made on the previous day. The aircraft was cleared to take off on runway 31L. According to the weight and balance manifest, the take-off weight was the maximum allowable (45,000 pounds). However, in fact the authorized gross weight was exceeded by approximately 1,960 pounds. The C-46 became airborne at a speed of about 100 or 105 mph, and simultaneously the left engine started misfiring. The landing gear was raised. Then the left engine started backfiring. The captain placed the left mixture control in the full-rich position. The did not stop the misfiring, and he then turned off the left engine's right magneto. The engine continued to fire erratically, the captain put the magneto switch back on both magnetos, the engine then lost all power, and its propeller was feathered. The aircraft started a slight turn to the left. The aircraft climbed slowly on its right engine to an attitude estimated at from 150 to 200 feet. The aircraft continued to turn gradually to the left and altitude was being lost. Ahead the captain saw a sizable stretch of open land and decided to crash land. He cut the power on the right engine, nosed the aircraft down, quickly flared it out, and landed exceptionally hard with landing gear and flaps retracted. The severity of contact broke both engines completely free of their mounts. The aircraft rode over both engines, bounced several times and slid to a stop.
PROBABLE CAUSE: "The Board determines that the probable cause of this accident was the poor technique used by the pilot in taking off at too low an air speed to maintain single engine flight, followed by a critical loss of power from the left engine, and subsequently a partial loss of power from the right engine, conditions which were aggravated by the effects of the overload."
Sources:
» CAB
Chocolate Overload!!
Made for National Chocolate week 12th - 18th October 2009.
Chocolate sponge cake with white chocolate chips, topped with chocolate buttercream and a Thorntons chocolate and finished with some white chocolate spinkles.
Ummm