View allAll Photos Tagged stability
New York : Rockefeller Center the GE Building Lee Lawrie and depicts' frieze located above the main entrance
"Wisdom and knowledge shall be the stability of the times," an excerpt from the Biblical book of Isaiah inscribed on the Plaza-side entrance of 30 Rock
Visible in Explorer 01/2014 : here : thank you all for your interest ! (Highest position: 343 on Saturday, March 8, 2014)
["Sagesse et Connaissance sont la stabilité de tes jours" New York : Rockefeller Center au crépuscule vu depuis le haut de l'GE Building]
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PHILIPPINE SEA (Sept. 1, 2020) The forward-deployed amphibious assault ship USS America (LHA 6) sails near Iwo Jima. America, flagship of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Walter Estrada)
PHILIPPINE SEA (Aug. 26, 2020) The forward-deployed amphibious assault ship USS America (LHA 6) and the amphibious dock landing ship USS Germantown (LSD 42) transit the Philippine Sea to maintain stability in the region. America, flagship of the America Amphibious Ready Group, assigned to Amphibious Squadron Eleven, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Matthew Cavenaile)
The North American T-6 Texan is a single-engine advanced trainer aircraft used during and after World War II. It was primarily used by the USAAF, US Navy (SNJ), and RAF (Harvard). The Texan had a low-wing monoplane design, used for pilot training, and featured a Pratt & Whitney R-1340 radial engine. It had a top speed of around 205 mph (330 km/h) and served as a trainer and light attack aircraft. The T-6 Texan remains popular in the civilian warbird community and is known for its stability and excellent handling.
The construction of the temple started in the 14th century, when King Saen Muang Ma planned to bury the ashes of his father there. After 10 years of building time it was left unfinished, later to be continued after the death of the king by his widow. Probably due to stability problems it took until the mid-15th century to be finished during the reign of king Tilokaraj. It was then 82 m high and had a base diameter of 54 m, at that time the largest building of all Lanna. In 1468, the Emerald Buddha was installed in the eastern niche. In 1545, the upper 30 m of the structure collapsed after an earthquake, and shortly thereafter, in 1551, the Emerald Buddha was moved to Luang Prabang. ( wiki )
The Main buding was surrounded with many Stone Elephants, but till now onlt few of them left at right side of this picture, this is my favorite side of this temple.
Highest Explore Position #183 ~ On April 1st 2009.
Update ~ Now #76 on April 2nd 2009.
Meerkat - Wingham Wildlife Park, Kent, England - Sunday March 29th 2009.
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You know what it's like...10 pints and a Kebab..and you just gotta go...lol..:)
You can visit this lil guys cousin here ~ twitter.com/Aleksandr_Orlov ~ Simplezzz....:))
There's a new TV show that started here in England last Saturday...called "A Walk on the Wild side"...which is basically lots of animals being voiced by comedians...in it, they had some Meerkats like my buddy above...only then there were about 5 in a row and they were all standing like this...with the voice over saying they were all trying to answer natures call...well, it made me laugh anyway..lol....:)))
Then the following day I went to the wildlife park in Kent...and I saw this lil guy doing the same thing...which doesn't happen often..well, when I am there anyway..so the caption wrote itself...lol...:)
Anyhoo...enough of my ramblings...I hope everybody is having a wonderful Tuesday..:)
after twelve years of some stability, if not to say some enforced immobility in North Carolina, i'm free to travel again. in fact, i'm forced to travel, as i am losing my home and must find a new one. due to global warming, which we all know doesn't exist, it's too darn hot in North Carolina. so i'm moving north, where the days often are cooler. some people claim they have snow too. i suppose i can survive snow.
but meanwhile i intend to take a little trip. or two. or three. if you would be willing to host me, put me up for a day or two in a spare bedroom, let me sleep on a couch, or even pitch a tent in your backyard, please let me know, via Flickrmail. or if you would just like to meet for a coffee, should i pass through your burg, that would be great. i am, quite literally, going to be searching for America, and Americans. hope i find you out there somewhere.
BAY OF BENGAL (Oct. 16, 2021) U.S. Navy Nimitz-class aircraft carrier USS Carl Vinson (CVN 70) conducts a fueling-at-sea with Royal Australian Navy Anzac-class frigate HMAS Ballarat (FFH 155) as part of Maritime Partnership Exercise (MPX) 2021. MPX is a multilateral maritime exercise between the Royal Australian Navy, Japan Maritime Self-Defense Force, U.K. Royal Navy, and U.S. maritime forces; focused on naval cooperation, interoperability, and regional security and stability in the Indo-Pacific and is an example of the enduring partnership between Australian, Japanese, U.K., and U.S. maritime forces who routinely operate together in the Indo-Pacific, fostering a cooperative approach toward regional security and stability. (U.S. Navy photo by Mass Communication Specialist 3rd Class Nicholas R. Carter)
WATERS NEAR THE PARACEL ISLANDS (April 28, 2020) The Arleigh-Burke class guided missile destroyer USS Barry (DDG 52) conducts underway operations. Barry is forward-deployed to the U.S. 7th Fleet area of operations in support of security and stability in the Indo-Pacific region. (U.S. Navy photo by Ens. Samuel Hardgrove)
It is believed that the first Orongo constructions were not related to the manutara cult. In fact, just before the start of the village, on the edge that looks at the lagoon, there are the remains of a small ahu or platform. Only the base at ground level of a single moai is conserved, which according to some hypothesis could be the famous Hoa Hakananai’a moai.
In front of the ahu some holes in the stones can be seen, which could have been used as an astronomical observatory to determine the position of the sun.
The first stone houses in Orongo seem to have been built around 1400 AD. from the outcrop of rocks that rises in what would now be the center of the village.
Over time and especially around the Tangata Manu ceremony, 54 houses lined up on the edge of the crater were built, forming three independent sets facing the sea. Almost all the houses were looted and destroyed during the different European expeditions and rebuilt several times in the last decades.
At the edges of the crater there are laminar basalt slabs, called keho. This was the material used to built the thick stuffed walls that reach 2 meters wide. The roof is formed by longer slabs, placed horizontally on the walls as a vault. On these they put other smaller slabs. Finally, the roof was covered with a thick filling of earth and stones on which the grass grew, giving stability to the construction and protection against the weather.
The houses have an oval floor with a variable length of between 6 to 12 meters and a maximum width of about 2 meters. The interior height is scarce, from 1 to 2 meters in the best of cases, and in most of them is not possible to stand up. Some are connected to each other by narrow corridors.
The access to the houses is located in the front that gives to the sea and its reduced size in square form, forces to enter and to leave crawling and even to creep. This was the only opening in the structure through which the light penetrated, so that the dark, difficult-to-ventilate interior was only used for sleeping.
Upon entering the village, near the edge of the cliff, there are two houses that were left unrestored intentionally, to appreciate its internal structure.
The idea of building houses with solid walls here instead of using vegetable fibers as in the traditional boat-houses (hare vaka or hare paenga) found in the rest of the island, arose from the need to protect themselves from the strong winds that whip this place.
In fact, it seems that the first housing option was the hare paenga, as evidenced by the recycled basalt blocks of old boat-houses found in some walls and especially in the openings of some of the narrow doors. However, the adverse weather, the availability of basalt slabs as raw material and the application of a simpler construction technique led to the design of a unique architectural ensemble on the island.
More photos here.
Video here, great for seeing its stability.
Cloud Strife’s Buster Sword from Final Fantasy VII. This is a 1:1 life size replica. It is 6 feet long, and over a foot wide. This is based off of its appearance in Final Fantasy VII: Remake (Part 1.) August 11th is Cloud Strife's birthday, so in honor of that I present this edit of myself in the city of Midgar with my buster sword.
Stability was a major issue with this sword, particularly due to the Materia slots (Two circular holes near where the blade connects to the hilt. In the end it is fairly sturdy. (The only position it cannot withstand is being held out flat, parallel to the ground.)
Zack Fair, as he was dying, gave Cloud his buster sword in the year [ ν ] - εγλ 0007. Cloud used the sword over the course of the next year in his mission to stop Sephiroth. In the year [ ν ] - εγλ 0008 Cloud used the sword to mark Zack’s grave until the year [ ν ] - εγλ 0010 when he refurbished the blade and moved it to the church in the slums of Sector 5.
The ruins of the Iglesia Santo Domingo. The church was built in 1678 but destroyed by fire in 1756. It has been in ruins ever since. The most famous attraction was a flat arch that stood about 35 feet of the ground and extended 49 feet across with out any support. It was used as proof of the seismic stability of the isthmus. Eventually it fell in November of 2003 and was restored.
We are living in times of great destruction of the world as we know it, earth changes, fires, floods, earthquakes.
Here alone in Australia we sit in horror at the extent of the fires rampage across the country. Unprecedented fires and weather in the history of our existence (well what is on record)
Whilst horrific - the earth we live on has always been full of cyclic changes.
Ancient cities have been discovered under the sea, we are naive to think that the world as we know it will remain the same.
What continents exist now may no longer exist. What coast line exists now is slowly being swallowed up by the ocean.
Volcanic eruptions are changing the face of the planet as are earthquakes - the list is long.
We cannot stop the force of Mother Nature. We live on a planet that has always endured such destruction.
We have pole shifts taking place - all kinds of catastrophic events happening across the Globe. We are but a spit in the ocean to the wide Galaxies that we know of. Yet we think we are precious in some way.
I cannot help but wonder why I was so drawn to create this "Black Winged Goddess" let alone give her the name of Black Winged Goddess. But I was drawn, my soul was pushing me for weeks with a "slight vision" of what I needed to create. It now makes total sense to me why I was so drawn to create The Black Winged Goddess, given the state of our world and humanity.
My soul as always when I listen guides me with powerful messages and reminds me to just 'be' to accept 'what is'.
We may not like the current state of our world but it is what it is and all we can do is stay strong within ourselves and hold the power of 'love' in our hearts despite seeing so much being played out on the planet.
Kali (Hindu) - was known as a deity of the Fearsome Demon destroying Goddess who represents death and rebirth - so her name means "Black One".
We can never truly comprehend or understand the power of mother nature - we have abused her for centuries, taken her for granted and she is a living breathing consciousness so powerful that we dare not go up against here.
In recent years we have seen the influence of the feminine energy on earth which for eons has been dominated by the male energy.
So it makes complete sense to me that we are witness to so much destruction on the planet.
We are witness to the destruction of our societies as we know it, breakdown of families, law, politics.
So much of humanity is at war with the 'system', the injustices, and the lack of balance within our society. The homeless, the abused, the forgotten souls, the mental health issues that seem to have become rampant, the rise of Corporate wealth while humanity is trapped in slavery. We have learnt nothing as a humanity over the past how many hundred years?
In order for rebirth, for new growth, a culling needs to take place - hence the energy of the Black Winged Goddess she is both the Destroyer and the Giver of New Life.
We have elected to be here at this time on the planet - despite the suffering we witness or endure - I know at a higher level it is absolutely necessary for real change to take place.
Our world is a very different place to the one we have known - and whilst we have believed we have had a safe and reasonable planet in which to live, the reality is much Evil has existed and people have been brainwashed to the point of being zombies. There has been so much suppression imposed upon humanity even to the extreme of vaccinations and fluoride to our water supply. All of these chemicals act as suppressants to our brain! It has been a deliberate agenda of the existing power on earth. Their agenda has always been to rule, control and suppress the populous.
Humanity is awakening and with this will be uproar, dis - ease, a culling if you like. It is time for humanity to step out of fear and into their true power which is within each and every one of us.
New growth, new beginnings but not before the dismantling of the old - it has to be this way.
These times we are living through were written in history.
So I have created "The Black Winged Goddess" she is available in different styles, inside a Dome with beautiful etched glass or stand alone. She will rotate or can be static.
She is available on MP in the Stand Alone version (rotating) or can be seen in world at my store.
I hope you enjoy and embrace 'The "Black Winged Goddess' and rather be in fear of her - understand she brings 'New Life" but first the old has to die for the new to be born.
How appropriate for a New Year of 2020 fast approaching.
Interestingly and unconsciously I created 4 of these Black Winged Goddesses.
The year 2020 equates to the number 4 in Numerology.
The #4 represents a Universal energy. (see below for a deeper understanding of the #4)
The # 2 - Is the most feminine and often underestimated when it comes to power and strength. She is always gentle, tactful, diplomatic, forgiving and understanding. She likes to keep peace and likes to avoid confrontation. # 2 is the survivor and extremely resilient force. Her shape looks as though she is bent back on a knee with head bowed in humility and service. However when enough pressure is applied to the # 2 energy. Some would perceive her as weak and powerless due to this servitude shape. However never underestimate the power behind #2 because she represents the power (double) #1 who is the all powerful warrior who will shake and destroy no matter what. So #2 brings the balance but never underestimate the power of 2 Energy.
The #4 Energy in more detail
The 4 is without a doubt masculine, reflecting strength and stability. His chief characteristics are dependability, productivity, punctuality and obedience. He is trustworthy, patient, conventional and a traditionalist.
Tend to be rule followers. 4 is the area of sciences, upholding the law (such as Government and the military). The #4 represents Disciplined, systematic, Dependable, Strong. Loyal
Four is the basis of all solid objects. Four points are used in constructing the simplest solid and thus four is the number symbolizing the way of construction. In many religions, four is seen as the number for earth, and representing the four elements, Air Earth, Water and Fire.
At its extreme 4's can tend to overreact to violence.
So 2020 seems to have more challenges ahead and I suspect we will be seeing more uprising across the planet (#2 energy) with totalitarianism (#4 energy) being played out like never before. Perhaps more of what the world has witnessed in Hong Kong this year.
It is as if the two energies Masculine & Feminine are battling against one another. But at the same time I cannot help but feel and acknowledge UNITY - and this is what I will remain focused upon during the year ahead. We must stand united. We are after all 'one humanity'
We are without doubt living in very challenging times.
May peace be with you!
Taxi
maps.secondlife.com/secondlife/Isle%20Of%20Currents/243/2...
Would you like to buy it?
society6.com/product/stability-and-white-aura_framed-print
All the prints, Daniel Vicario's shop
The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.
I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.
The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.
The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.
All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.
Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.
The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.
The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.
Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.
One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.
The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.
Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.
To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).
The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.
I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.
The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.
Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.
The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.
The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.
Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.
The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.
There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.
Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.
In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
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NAVAL BASE GUAM (March 16, 2018) Military Sealift Command expeditionary fast transport ship USNS Brunswick (T-EPF 6) moors in Guam in support of Pacific Partnership 2018 (PP18). PP18’s mission is to work collectively with host and partner nations to enhance regional interoperability and disaster response capabilities, increase stability and security in the region, and foster new and enduring friendships across the Indo-Pacific Region. Pacific Partnership, now in its 13th iteration, is the largest annual multinational humanitarian assistance and disaster relief preparedness mission conducted in the Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 1st Class Byron C. Linder/Released)
... en équilibre ...!!!
... my wild river reflection…!!!
... an impressionnist photo safari concentrated mainly on a daily basis (or almost) on my small piece of planet of 55 000 square feet…!!!
... a Thoreau "waldennienne" approach…!!!
... reflet de ma rivière sauvage…!!!
... un safari photo impressioniste au quotidien concentré essentiellement (ou presque) sur un petit morceau de planète de 55 000 pieds carrés…!!!
... une démarche "waldennienne" à la Thoreau …!!!
Two different views of Love & Stability by Reilly Creative.
Husband and wife duo Reilly Creative’s design has taken inspiration from Southampton’s flag, designed in 2017. It depicts an anchor and a Tudor rose. They have taken these elements and with a nod to the beautiful windows that can be found in Saint Marys Church, have turned them into a stained-glass effect design. We have called it Love, to represent the delicate rose and Stability, for the strength of an anchor.
Sponsored by Southampton Hospitals Charity
Over the summer of 2024, Southampton Hospitals Charity will be lighting up the South with a large-scale public art event that promises to captivate your senses and ignite your imagination.
There will be 40 8ft magnificent lighthouse sculptures on display through the streets and public spaces of Southampton and Cowes, each one a unique masterpiece designed by artists both local and well renowned, plus 40 mini lighthouses designed by local education groups, creating a family-friendly trail of discovery for visitors and residents to enjoy and explore.
The lighthouses will then be displayed together for a Farewell event in September 2024 which will be a chance to see all lighthouses gathered in one place, a truly unique sight. The sculptures will then go into auction to raise vital funds for Southampton Children’s Hospital.
Mangroves have ecological and economic functions which are important for the
stability and productivity of coastal ecosystems that among the most productive
ecosystems marine communities. The leaves that fall into the water and then mold
a place for food and spawning a variety of fish, shrimp, crabs, oysters and
other marine biota.
With the number of marine biota living in the mangrove area is a place where
birds are stopping by foraging for fish peck with easy in the area. Also
mangrove plants that grow well can also serve to keep the land from erod waves.
Mangrove function is highly strategic and complex, making ecological experts
provide the predicate for the mangrove forest ecosystem as a "Buffer Life
Support System".
SOUTH CHINA SEA (March 13, 2020) Amphibious assault ship USS America (LHA 6) sails alongside littoral combat ship USS Gabrielle Giffords (LCS 10). America, flagship of the America Expeditionary Strike Group, 31st Marine Expeditionary Unit team, is operating in the U.S. 7th Fleet area of operations to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist Seaman Apprentice Theodore C. Lee)
After a few years of stability, the Cardiff Bus fleet is now seeing a number of interesting changes, with the first batch out of a total of 36 electric Yutongs soon due as replacements for the remaining Transbus and Alexander Dennis Darts, and the remining Scania OmniCity artics.
The first sign of the fleet changes came earlier this year with the acquisition of a dozen Mercedes Citaros from Bus Vannin (numbered 141-52) to see off a number of the Darts and some of the 10 original shape Alexander Dennis Enviro300s. The withdrawal programme has been hastrened by the arrival of four Alexander Dennis E20D MMCs on hire from Mistral (numbered 271-4) and five Wright Solar-bodied Scania L94UBs and K230UBs (numbered 768-72) from Go South Coast's Swindon depot.
My photograph focuses on the latter and shows Scania K230UB 772 cruising down Westgate Street in the City Centre in October 2021. She is distinctive in carrying an all-over blue livery, whilst others retain blue and green.
In a geological wilderness devoid of plants and dominated by subdued earthy tones, I came across a jumble of fossilized logs. It is always a treat to see petrified wood, but these logs, particularly the end pieces, were really colorful, not from being agatized, but from a veneer of lichens. The other rock surfaces for miles around eroded at such a rate that lichens could not linger long enough to become visible.
I was attracted by the colors, but then the struggle became obvious. A lichen species is a mutualistic relationship between an alga and a fungus. On this little island of stability in a sea of erosion, suitable space had filled up. I could imagine the jostling of lichen species, each composed of a diverse team (alga and fungus), struggling with several other lichen species to colonize and defend space, with the struggle continuing for thousands of years.
The Bronto-Skylift ALP being demonstrated at the Brigade headquarters, Lambeth SE1. This combination of a hydraulic platform and ladder was so heavy that it was restricted only to certain fire stations with sufficiently strong floor loadings. The picture shows the ALP with its stability telescopic jacks deployed.
1990
Speeding on a long tail boat on the Chao Phraya River whilst the monarchy is watching. The magical reign of King Bhumibol ended on October 13, 2016. The king served as the symbol of Thai unity and stability and his departure has left a gigantic hole in the Thai political landscape. To the Thai people, the king meant everything. After his passing away the entire nation fell into a state of endless mourning and Thais were told to wear black for a year. His succesor Rama X does not enjoy the same love and respect from the public that his father commanded. He lacks moral authority and charisma; he has shown little to no enthusiasm for working with democratic institutions or being a democratic advocate and his eccentric and lavish lifestyle is legendary. Will the new king stir up a greater sense of anti-monarchy? If he trys to forge the same kind of mutually beneficial alliance with the military like his father that may very well be the case and his reign may not survive. On the other hand, if he decides to start working with the democratic government, placing the monarchical institution strictly within the constitutional framework, the chance of the monarchy becoming a viable institution is bright. Net-net, Thailand is standing at an important crossroad. Let’s hope for the best for this beautiful country and its friendly and generous people – Bangkok, Tailand.
*Working Towards a Better World
I have been thinking long and hard about why our present day psyche has changed so drastically and have come to the conclusion that we are bringing up our children to focus on the ego, rather than the community. It seems to me that we put too much emphasis on material things and not enough on the spiritual or the whole. Yes, we need to teach our children to succeed and do their best but not at any cost without caring about others. We seem to encourage greed rather than sharing, perhaps we need to concentrate more on cherishing each other, our climate and the environment. When we work as a team we produce more through the sharing of ideas and creativity.
We need to coexist better, be more understanding, less critical, more open, less closed. Together we can achieve a great deal more than alone.
I have chosen the colours black and green because of their meaning found on the Color Pro: Color Meaning website:
www.color-wheel-pro.com/color-meaning.html
"Green
Green is the color of nature. It symbolizes growth, harmony, freshness, and fertility. Green has strong emotional correspondence with safety. Dark green is also commonly associated with money.
Green
"Green has great healing power. It is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Sometimes green denotes lack of experience; for example, a 'greenhorn' is a novice. In heraldry, green indicates growth and hope. Green, as opposed to red, means safety; it is the color of free passage in road traffic.
Use green to indicate safety when advertising drugs and medical products. Green is directly related to nature, so you can use it to promote 'green' products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street.
Dark green is associated with ambition, greed, and jealousy.
Yellow-green can indicate sickness, cowardice, discord, and jealousy.
Aqua is associated with emotional healing and protection.
Olive green is the traditional color of peace".
Black
"Black is associated with power, elegance, formality, death, evil, and mystery.
Black is a mysterious color associated with fear and the unknown (black holes). It usually has a negative connotation (blacklist, black humor, 'black death'). Black denotes strength and authority; it is considered to be a very formal, elegant, and prestigious color (black tie, black Mercedes). In heraldry, black is the symbol of grief".
Black gives the feeling of perspective and depth, but a black background diminishes readability. A black suit or dress can make you look thinner. When designing for a gallery of art or photography, you can use a black or gray background to make the other colors stand out. Black contrasts well with bright colors. Combined with red or orange – other very powerful colors – black gives a very aggressive color scheme.
Interestingly I have followed a few articles written by the New York Times columnist, David Brooks, who has written recently 3 interesting articles about this subject, On April 7th he wrote an article entitled
"What Candidates Need",
www.nytimes.com/2015/04/07/opinion/david-brooks-what-cand...
then on April 11th he wrote an article entitled
"The Moral Bucket List"
www.nytimes.com/2015/04/12/opinion/sunday/david-brooks-th...
and finally today he wrote an article entitled
"When Cultures Shift"
www.nytimes.com/2015/04/17/opinion/david-brooks-when-cult...
I find that David addresses many of my concerns quite well in these articles so decided to share them with you.
Thank you for your kind visit. Have a wonderful and beautiful day! xo❤️
Would you like to buy it?
society6.com/product/stability264359_framed-print
All the prints, Daniel Vicario's shop
Ive been on hormones for over 2 years and I am starting to get a bit more stability in my thoughts and feelings about my gender expression...At first it was a constant questioing of whether I am on the right path or not...but now it is starting to feel more clear that I am....
Star Citizen Vanguard Warden
Here is my last chalk project.
This ship is much more complex than the Brutus I built, because of the huge engine modules it was very difficult to achieve stability and tilt backwards. So I couldn't build an interior. All wings are foldable and the turret can be rotated 360 degrees. You could even fold the undercarriage, but since the model is very heavy, it is a little difficult. There are three possible versions: Harbinger, Sentinel and Warden . I chose the Warden because I like it best. Since there are many differently rendered ship versions, I have built a compromise on several of these versions
I tried to make this model look as realistic as possible.
More pictures will follow.
Veliki Draški vrh is not a difficult summit and is for ski touring also a very nice one. But on this ascent we were in doubts if snow stability is safe enough for the summit ascent. In 2085 we still didn't have any standard equipment (shovel, etc.), so my friend was using skis to cut a block of snow to test it. Anyway, we turned around and still had a nice ski tour. (dia scan)
TAIWAN STRAIT (Aug. 30, 2020) The Arleigh Burke-class guided missile destroyer USS Halsey (DDG 97) conducts a routine transit through the Taiwan Strait. Halsey is forward-deployed to the U.S. 7th Fleet area of operations in support of security and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Class Andrew Langholf)
PHILIPPINE SEA (Sept. 11, 2020) A cake is presented on the mess decks of the amphibious dock landing ship USS Germantown (LSD 42) during an event held in remembrance of the 9/11 attacks 19 years ago. Germantown, part of the America Amphibious Ready Group assigned to Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners, and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor DiMartino)