flash camera right@45 v285,1/16pwr

Taken from the final shot position. I was pretty far away... this is at 70mm, final shot was ~ 200mm

Strobist:

On the left... SB 24 clamped to boom arm stand. Firing partially into the umbrella to get a bit more light on the front, and partially into the ceiling.

SB 28 on boom arm, shooting out into the ceiling to create a large continuous swath of light. Rotated horizontally, and zoomed out all the way.

On the right... another SB 24 on a stand... partially hitting the ceiling, partially hitting the umbrella to help light up the back of the car. Used distance (umbrella to car) angle (how much hits the umbrella) and zoom to control how much of that light hit the ceiling to light up the top of the car, vs how much light was reflected to the back of the car.

Behind the car was an SB 28, with a blue filter on it, hitting the wall.

Triggered by Cyber Syncs

taken on a rare empty 7 train

A collection of those iron jockeys that one used to use to tie horses to. I don't know the proper name for them.

December 11th Hockey game between the Stockton Thunder and the Bakersfield Condors of the East Coast Hockey League in Central California.

chinatown, yokohama;

enjoying a fine labyrinth in chinatown, after 30km ride from tokyo in winter wind, my body was getting chilled with fingers frozen, and gradually appearing the worry about another 30km to ride back home. but, soon after that, warm and delicious chinese cuisine warmed and cheering up me :-)

The Yelp Rochester Elites put the pedal to the metal at Pole Position Raceway.

The Yelp Rochester Elites put the pedal to the metal at Pole Position Raceway.

Tobrouk de la gare position allemande WN19. Cassis

DATA IS THE INFRASTRUCTURE OF THE DIGITAL AGE.

And publicly available data can now illuminate solutions to challenges like no other time in our history. There is no single entity that collects and manages more data than government. Unfortunately, many of the systems and processes that collect this data have not kept up with the demand and the potential for it.

The world-wide Open Data movement asks government entities of all sizes to make their data—a public asset—available to developers and entrepreneurs so its potential can be realized.

Go Code Colorado is taking a lead position in this movement.

The first and only statewide effort of its kind, Go Code Colorado brings together a community of entrepreneurs, business partners, and developers to make use of public data through a series of events. These events center around a challenge weekend in five cities across the state, engaging the entire state in two days of innovation around the use of public data. Teams in each of the five cities compete to build apps that use public data to help businesses make smarter decisions. Two teams from each city move on in the competition, getting help from a network of mentors—including a mentorship weekend in Boulder—as they further develop their ideas. The teams come back together again for a final event where they pitch their ideas to judges.

The three teams deemed the best are awarded a contract with the state—an invaluable first customer to a fledgling business that provides critical initial revenue.

Go Code Colorado is an initiative through the Colorado Secretary of State’s Office, which seeks to return value to Colorado businesses from business registration fees they collect. In its inaugural year, this is the value Go Code Colorado returned to our state:

COMMUNITY BUILDING AND CIVIC ENGAGEMENT

Go Code Colorado increased civic engagement in the business, entrepreneurial, and tech communities.

Business leaders volunteered their time across the event series because they desire more access to government data—they know how important this is.

Dozens of business leaders volunteered a day with Go Code Colorado organizers to define the problems they face that public data can help solve.

179 people attended the Kickoff event.

130 people and 25 teams competed in the challenge weekend across Colorado (Boulder, Denver, Ft. Collins, Colorado Springs, and Durango).

The Mentor Weekend brought together 23 mentors to meet with ten teams.

The Final event attracted 223 people.

29 businesses supported open data and Go Code Colorado through $75,000 in cash donations and $120,000 worth of in-kind donations.

Companies like Google, Esri, SendGrid, Rally Software and Gnip (now Twitter)

TECH AND BUSINESS INNOVATION

Go Code Colorado is the most concerted effort in the state to increase the volume of public data in the state’s central repository.

33 new data sets were published as a result of last year’s efforts by agencies such as Revenue, Local Affairs, and Higher Education.

At least three businesses were created around three apps that use this data.

For instance, the winning team, Beagle Score created an app that helps provide a scorecard for business site-location decisions.

Beagle Score relies on many public data sets, including:

Business Registration dataset

City Taxes

County Taxes

Crime Statistics

NREL energy statistics

Traffic counts

Nearest Intersection

Energy rates and providers

Broadband service

and more

PROCUREMENT INNOVATION

Go Code Colorado is flipping traditional government procurement on its head, creating value to Colorado businesses and society.

According to the Standish Group, 94% of large federal IT projects over the past ten years were unsuccessful. Over 50% were delayed, over budget, or didn’t meet user expectations, and 41% failed completely.

Go Code Colorado challenges developers and entrepreneurs to solve business problems using public data by awarding companies who create working apps, not those with just a promise to do so.

GOVERNMENT EFFICIENCY AND TRANSPARENCY

Go Code Colorado imagines a day when pulling a data report is a matter of a few pop up menu selections, and doesn’t require specialized knowledge, when data managers across government are able to focus on the work they do best and anyone can access the public data they collect and curate.

This is the promise of open data, and the step forward taking place with Go Code Colorado.

Lakers v Clippers 1-6-10

This is a photograph from the first running of the newly situated Irish 3/4 Marathon (formerly the Athlone 3/4) which was held in Longwood, Enfield, Co. Meath, Ireland on Sunday 9th of October 2016 at 10:00. The event is positioned perfectly in the calendar as a key training race before the Dublin City Marathon at the end of the month. This year was the first year that the event was held in Longwood, Co. Meath which is now well known for its hosting of the Longwood 10KM/5KM annual races and a host venue for East of Ireland Marathon series marathons on a bi-annual basis. The race started and finished at Longwood GAA club just outside the village of Longwood. It followed an anti-clockwise course around the beautiful picturesque countryside of south Meath. The course went through the townlands of Longwood, Castlerickard, Killyon, Hill-of-Down, Anneville and Ashfield Clonard, Blackshare, Stoneyford and back to Longwood. The river Boyne and Blackwater were crossed as was the Royal Canal and the Dublin-Sligo Railway line at Hill-of-Down. Overall this was a very different course to the previous years in Athlone. The overall elevation of the course works out at 3/4 of the total elevation of the Dublin Marathon course. What most stood out about today's race was the course and how the countryside around it looked on a beautiful almost perfect Autumn morning. The organisation of the race was first class with every detail taken care of from the start until the finish.

There is a very large set of photographs from today's race - taken at the start in Longwood village, the 25KM mark outside our home and at about 17 miles at the top of Blackshade Bridge and the highest point of elevation on the course. They are available on our Flickr photostream at the following set. www.flickr.com/photos/peterm7/albums/72157673672195732

NOTE: These are completely unofficial photographs are not connected commercially with the Irish 3/4 marathon event photography. Please check the Official Website irish3quartermarathon.ie/ for official photographs and other media.

Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets

Flash moved 45 degrees to the right

D-70 w/ SB-600 off camera using CLS

ISO200 1/500s f/6.3 flash 1/16

Typical FOH mix position setup.

clear political positioning in hamburg. also on... a bus. no sausage. but the soy sausages and the fake meat at the vegetarian fast food restaurant hin und weg was something else.

Art Positions is a part of Art Basel devoted to emerging galleries from around the world. Shipping containers are converted into public art spaces directly at the beach front and the center area houses a performance space with art by Ryan McGinness as well as skateboarding demonstrations and DJ sets.

Position of zinc

This is the first exercise in the Lighting 102 article at strobist.com, which examines the angle of light.

Using my very small setup (lone SB-600) I set to 1/64th power the whole time, with the speedlight zoomed to 24mm. Shutter was set to 1/200th (max flash sync on the D80) with an aperture of f/5.6, ISO of 200, using the built in flash as a commander (CLS).

Speedlight was about 45 degress camera left for this shot note the shadow to the right

Note position of rear panel filler and screws on corner block

didn't look behind before he pulled out though

Strobist lighting 102 varying the position and angle of light.

Single 580ex II at 1/32 power normally about 30cm from subject. Aperture varying from f8-f11.

See if you can reverse engineer the lighting.

The monument to Sir George St Paul (d1613) and his family, is a towering alabaster monument, which stands against the north chancel wall.

He was twice MP for Lincolnshire, County Sheriff and a leading magistrate. He was knighted by James I in 1607 and in 1611 became one of the first Lincolnshire gentlemen to gain the new title of hereditary baronet.

He married the then 15 year old Frances Wray and they then had their only child Mattathia, who unfortunately died at the age of 1 year and ten months.

The couple are posed in what is commonly known as, the toothache position.

دنیای دیجتیال ایران

www.irandigitalworld.com

021-66570918

021-66915404

09124800575

P168_Position_Photography_5_ فیگور ژست مدل پز عروس کودک فشن خانوادگی figure pose posing wedding fashion children photography

www.idw.ir

With the roller pin in the position shown, right at the edge of the dock, there is no need to fasten the mooring hoist assembly down to the dock.

I'm learning how to light correctly! lol :) This exercise actually really clicked with me...I'd always heard this idea described, but could never seem to recreate it. This assignment helped me do that, and I feel like I finally understand it a little better. :) Horray!

Caros great sleeping position:

Her cap not only keeps the cold away, also the sunlight to wake up too early

Poverty - 1990,

Benny Andrews

In the artwork, a somber and poignant scene is depicted. The figure, rendered in dark hues, is seen with hollow, solemn eyes, conveying a deep sense of despair and deprivation. The individual is positioned at a table, holding a cup in one hand and gesturing towards a starkly minimalist plate with minimal food in the other. The use of collage adds texture and depth to the piece, emphasizing the roughness and the harsh realities of poverty. The background is notably plain and unembellished, drawing the viewer’s focus to the central figure and their dire circumstances. The expressive and somewhat abstract style captures the emotional weight of poverty, evoking a powerful response from the observer.

________________________________

With Passion and Purpose

Gifts from the Collection of Larry D. and Brenda A. Thompson

June 7 - October 5, 2025

Locations East Building, Mezzanine — Gallery 214

See standout works by Black artists from the past century, newly gifted to the Nation.

For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.

This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.

Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.

www.nga.gov/exhibitions/passion-and-purpose

.

"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

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With Passion and Purpose: Black Collectors Complicate Western Art Culture

on artessay

Shantay Robinson

Alison Saar

Sweeping Beauty,1997

3-color woodcut on Okawara Natural Paper

overall: 193.04 × 83.82 cm (76 × 33 in.)

National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson

© Alison Saar. Courtesy of L.A. Louver, Venice, CA

In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.

The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.

The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.

Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.

Radcliffe Bailey

NY Rail (Transportation), 1993

cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper

sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)

National Gallery of Art, Gift of Larry D. and Brenda A. Thompson

2023.145.14

Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.

Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.

Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.

Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."

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Custom Built Welding Machines, Welding Rotator, Welding Column and Booms, Welding Positioners, Saw Pipes Welding Systems, Saw Pipe Handling Systems, Electroslag Welding Machine, Fixed And Portable Type Electroslag Welding Machine, india

Kenneth Cole Reaction edition. The shutter is cocked by turning a wheel into one of three locking positions. At the same time an arm with different sized holes rotates into the front of the lens to set the aperture size (depending on the locking position). The wheel returns to its original position after the shutter is released.

The #127 Ford F-150 and #331 Chevy S-10 battle for position at the first off road race of the season at Moto-X 338 in Southwick, MA. #127 went on to win both the Experimental main event and the Ironman event

Teterboro Airport, Teterboro, New Jersey: Line up and wait on runway 01: October 14, 2007

Stefanou beach is located at the position of Seitan Limania, 22km northeast of Chania and 2km east of the village Chordaki, at the east side of Akrotiri Cape. The wider area is named Seitan Limania, after the wild landscape, the steep cliffs and the strong sea streams which are considered dangerous. Here are situated three parallel narrow coves, well protected from the waves.

Crete is an island with an exquisite 1,000 kilometer-long coastline dotted with numerous coves, bays and peninsulas, which afford a multitude of soft, sandy beaches along the beautifully blue Mediterranean Sea.

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France | Haute-Savoie

France | Haute-Savoie

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