View allAll Photos Tagged phaser
With Amtrak's newest locomotives gradually increasing their presence on long-distance routes east of the Mississippi, the southbound Palmetto No. 89 is sporting a new appearance between Washington and Savannah as she approaches the Selma station led by five-month-old AMTK ALC-42 No. 327.
Sideshow Collectibles Cobra Officer surveys the ruins of a Joe compound looking to pick off any survivors.
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Well I gave up on trying to fake concete with styrofoam and just used the real thing, although the aggregate is a little big for the scale...and he's a bit too close to the background back anyway, it's good to finally have it done.
As the sun rises over Sinus Iridum, the mountain Laplace casts a beautiful shadow onto the maria floor, plus the mountains along the edge of Sinus Iridum are illuminated. Plato is seen to the top right. This is one of my favourite Moon phases!
Taken from Oxfordshire, UK on 8th October 2019. Taken with a William Optics 70mm refractor and ZWO ASI120MC camera with Powermate 5x Barlow. Mounted on an EQ5 Pro mount on a permanent pier, tracking at lunar speed.
2,000 frame video shot, the best 45% was stacked with Autostakkert! 3, processed in Lightroom, Fast Stone Image Viewer and Focus Magic. I was imaging between 20:30 – 21:20 BST. The seeing was not great and the Moon was quite low in the sky, but I’m always amazed at what this little camera can achieve on such a small refractor!
Just like the original props, the ATL strips down into its three component parts: the P2 phaser body, the P1 hand phaser, and the pistol grip power pack. The grip is held to the body with an electrical twist plug used on lamp cords in the mid 20th century. The p1 is attached via friction fit and a springloaded metal tab in the back.
NOTE: the ATL replicas were a private project and not made for sale. None are available.
This image was created using photographs at various phases of the moon over three nights on: Saturday March 8th/Saturday March 15th and Sunday March 16th 2014 off Chessington Avenue in Bexleyheath, Kent, England.
The smallest moon was a Waxing Gibbous moon and the largest a full moon. All frames were shot with a Nikkor AF-S TC20EIII Teleconverter.
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Nikon D800 380mm/210mm/390mm 1/20s-1/125s f/11.0 iso200/iso100 RAW (14-bit)
Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Nikkor AF-S Teleconverter TC-20E III 2.0x. Nikon MB-D12 battery grip. Two Nikon EN-EL 15 batteries. Nikon GP-1 GPS unit. Nikon MC-DC2 remote shutter release cable. Nikon DK-17M Magnifying Eyepiece. Hoodman HGEC soft eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14. Jessops Tripod bag. Optech Tripod Strap. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag
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LATITUDE: N 51d 28m 28.50s
LONGITUDE: E 0d 8m 10.00s
ALTITUDE: 51.0m
RAW (TIFF) FILE: 103.00MB each RAW file
PROCESSED FILE: 13.63MB
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Processing power:
HP Pavillion Desktop with AMD A10-5700 APU PROCESSOR. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. VERBATIM USB 2.0 1TB Desktop Hard drive. NIKON VIEWNX2 Version 2.90 64bit. ADOBE PHOTOSHOP ELEMENTS 8 Version 8.0 64bit
Two different sound installations. Perlin Studios and Dana Karwas use motion tracking technology embedded into hacked Moleskine bags to create soundscapes in motion.
Phillip Stearns plays with the different soundbits generated by Moleskine objects.
Interview with Phillip: bit.ly/phillipstearns
@ Moleskine Portraits, Exit Art, NYC. January 30th, 2012
"Is it done?"
"Yep the..."
"OH MAN, THANK..."
"I was going to say that the outline was done, we still have to color it and do the shading!"
"NO YOU DON'T!"
"Yes I do"
Cousin says: "Sissy!"
Borderline crazy before, borderline dead later! But it was worthy!!!
The MAN:
Photographer: Alan Weeks.
View of Los Angeles County Metropolitan Transportation Authority Expo Line construction looking West from National Boulevard, May 15, 2013.
U.S. Air Force basic training trainee Jose Vasquez-Vera goes through the Leadership Reaction Course June 9, 2020, at Joint Base San Antonio-Chapman Annex, Texas. Vasquez-Vera is part of the Air Force version of the Defense Language Institute English Language Center (DLIELC) Army Echo Company program. In March 2020, the 37th Training Wing began a beta test for an Air Force version of the program which has been in existence since 1975. In partnership with Air Force Recruiting Service, this beta test is now in the execution phase. The goal is to show that an English language barrier is not a roadblock for eligible recruits interested in joining the United States Air Force. This is all credited to the unique language training capability DLIELC will provide them prior to the start of Basic Military Training (BMT) at JBSA-Lackland. Upon arrival, healthcare professionals monitored the trainees alongside their BMT counterparts during a 14-day restriction of movement (ROM) period used to prevent potential spread of the virus. (U.S. Air Force photo by Sarayuth Pinthong)
Photographer: Jake Hicks Photography (www.jakehicksphotographyco.uk)
Makeup Artist: Rachael Kent (rachaelkent.com/)
Products: Illamasqua, Mac Cosmetics, Stila Cosmetics
Phaser from Star Trek TOS. Base replica from Wand Co., modifications by Steve Dymszo (SD Studios). Improvements include emitter nozzle and casting of grip from a Master Replicas phaser (more accurate than Wand's). "Tenturn" power setting knob replaced with modern metal DigiKey tenturn with silkscreened markings. More accurate "extra crispy" on phaser one sight plate masks the sound holes. Accurate power meter label added. repainted to more closely resemble how the props appear on television. Black and White phaser made to look like the props used in the first eight episodes of the series.
️ SPQR - Phase I ️
▶️ Watch the Model Film in 4K on YouTube:
▶️ Intro to SPQR Project:
Support this unprecedented project on Patreon:
www.patreon.com/RoccoButtliere
Parts: 104,000+ (~1,700 unique)
Scale: 1:650
Dimensions: 57in x 289in (143cm x 231cm)
Research Time: 2,000+ hours since 2019
Design Time: 1,000+ hours in 200 days
Build Time: 600+ hours in 90 days
Photography: EClarke Photo 📷
© MMXXIII - Rocco Buttliere, LLC
Handmade replica of the early "black and white" phaser prop used in the first eight episodes of Star Trek.
NOTE: the ATL replicas were a private project and not made for sale. None are available.
DVERSION phaser concept 3D drawing
Your comments are welcome
Check out full-size image
Idea : Tamer Mash
Concept design / modelling : Yura Smolyakov
Click through the next few pictures quickly because you will see the Museum's mast open & in action!!!
Amtrak train No. 5, the westbound California Zephyr, arrives at Martinez led by Phase III heritage P40DC No. 822 and P42DC No. 3.
This close-up of an enhydrous selenite wand shows the classic rounded air bubble that denotes the water trapped within. Such inclusions consisting solid/liquid, solid/gas or liquid/gas combinations are known as two-phase inclusions.
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
I recently made eBook versions of all my Phase 7 collections. You can read more about it in my blog: www.alec-longstreth.com/blog/606/
Or, go check out the eBooks! stores.lulu.com/longstreth
Super Blood Wolf Moon; or, The Dragon Moon Phase I (Full)
A little repetitious, but it gets tough choosing favorites. A few are out of focus for effect. A tripod would have helped for starters.
Phase 2 Retail Ground Breaking Ceremony at Skyland Town Center at 2834 Alabama Avenue, SE, Washington DC on Monday morning, 21 June 2021 by Elvert Barnes Photography
Vincent Gray, Ward 7 D.C. Councilmember
www.facebook.com/VinceGrayWard7
Learn about this event at wcsmith.com/mayor-bowser-joins-wc-smith-for-ribbon-cuttin...
Visit SKYLAND TOWN CENTER at www.skylandtowncenter.com/
Elvert Barnes JUNE 2021 docu-project at elvertxbarnes.com/june-2021
November 23, 2021 - New York City - Governor Kathy Hochul today joined elected officials and leaders from the Metropolitan Transportation Authority to tour the site of the Second Avenue Subway expansion that would extend the Second Avenue line to 125th St in East Harlem. The Infrastructure Investment and Jobs Act signed by President Joe Biden provides $23 billion in new grant opportunities for transit expansion, a historic level of funding that doubles the amount of grants available for major projects like Phase 2 of the Second Avenue Subway. The MTA has submitted a grant request to the U.S. Department of Transportation for Phase 2 of the expansion that will include the construction of three new subway stations, at 106th St, 116th St, and 125th St in East Harlem. (Kevin P. Coughlin / Office of the Governor)
These are the photos from the Julien's auction, of the original phaser rifle prop seen in the second pilot episode, "Where No Man Has Gone Before."
Photographer: Valery Shpak
Instagram: @valeryshpakphotography
weddings, family photos, corporate portraits, commercials and real estate aerial drone and digital photos and video
New York, Miami, Europe, Worldwide.
Two different sound installations. Perlin Studios and Dana Karwas use motion tracking technology embedded into hacked Moleskine bags to create soundscapes in motion.
Phillip Stearns plays with the different soundbits generated by Moleskine objects.
Interview with Phillip: bit.ly/phillipstearns
@ Moleskine Portraits, Exit Art, NYC. January 30th, 2012