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The distinctive hunting technique of pied kingfishers has earned the species a few records. Not only are they the largest hovering bird, but they are also the only kingfishers with the ability to perform a figure of eight wing stroke.
They hunt by hovering 50-65 feet above the water and then diving headfirst (or rather, bill-first) into the water. Pied kingfishers demonstrate spectacular speed and agility on the hunt.
The kingfisher bird’s black and white colors and hovering ability are their most distinctive qualities. You’ll often spot the pied kingfisher live in action, hovering over bodies of water.
Vary difficult to get an image as they fly past you so fast and I was standing in a boat. Amazing birds
I figured the tree technique I came up with (using stacked lassos) might work pretty well for microscale so I gave it a treehouse :)
Here's what lies beneath my herringbone pattern.
Notice that the studs form a rotated square grid, slightly more than 2x2 apart. It's quite a good base for various patterns with mortar.
taken for macro mondays theme: light painting
A relative working in Qatar, brought us this small (about 2 inches/5cm) bottle of sand as a gift. Somehow, the bottle appears empty - I guess from some combination of the light painting technique and icm? An earlier attempt with less movement shows the sand more clearly in the first comment box below.
This technique was completely new to me. I'll try it again when I have more time. Thanks to the administrators for coming up with such an excellent variety and combination of themes!
I'm trying different paint splatter techniques. This one not so much a technique but still fun and I like it.
Can't Tell the Bottom From the Top leading to another song I haven't heard since yesterday :)
I finished a design video for the *cockpit* of my custom LEGO spaceship, Astrea. It’s at https://youtu.be/XTm9-6GDWlo.
I tried a new, digital approach/format for this video because I'm currently away from my physical models. (I plan to create some additional videos for other parts of Astrea in this format, and I'll be releasing the full digital file. Kindly stand by!)
Additional materials (photos, background, digital design) for Astrea and my other LEGO creations are at https://www.galacticplastics.com.
A solution I found for a 180 degree reversal in a 1x3 brick package. I like the symmetry and the fact that there are two studs on each side. I used this in www.flickr.com/photos/96739476@N04/14201282524/in/photost....
Three NightScape techniques for Chimney Rock, Capitol Reef Nat’l Park, Utah. You be the judge.
1) A single 25 sec exposure @ f/2.8, ISO 6400. 2) A 100 sec exposure to increase foreground detail, blended (via Photoshop layers) with the previous exposure of the sky. This is the “natural” method preferred by many, but because starlight comes from overhead and all around, it is like photographing with an overcast day (very flat, with little character). 3) A single exposure @ f/2.8, 25 sec, ISO 6400, with artificial lighting strategically placed (see my next post for more details).
#2 could have been done using low angle moonlight, but the star and moonlight exposures would have been many hours apart, and there are only 2 days a month where the angle is even somewhat correct. Mixing a twilight exposure would have been a fairly worthless option here because we are facing southeast and a northwestern twilight would have also given flat lighting.
<< See next post for a full, un-cropped view of # 3.
You can find more night photography techniques in my ebook, Milky Way NightScapes, which gives extensive details on my style of starry night landscape photography. Four chapters cover planning, scouting, forecasting star/landscape alignment, light painting, shooting techniques and post processing.
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The droplets again !
THE TECHNIQUE!
I used soft pastels and drew them on some card to get those colours I then used a pane of clear glass and cleaned it, I then placed the glass above the coloured card about 2 feet above but this can be any height really but it does have to be high enough for the subject to be out of focus, the higher it is the more detail in the reflections.
I then used a eye dropper filled with water and placed the droplets on the surface of the pane of glass and just focusing on the droplets and nothing else to get this results, go on have a go yourselves!! You can use any subject material just use your imagination!
My entry for round 1 of The Middle Earth LEGO Olympics over on MOCpages. The category was to create a build based on one of J.R.R Tolkien’s poems or songs. Here is the one I chose:
Farewell we call to hearth and hall!
Though wind may blow and rain may fall,
We must away ere break of day
Far over wood and mountain tall.
To Rivendell, where Elves yet dwell
In glades beneath the misty fell,
Through moor and waste we ride in haste,
And whither then we cannot tell.
With foes ahead, behind us dread,
Beneath the sky shall be our bed,
Until at last our toil be passed,
Our journey done, our errand sped.
We must away! We must away!
We ride before the break of day!
I tried to portray the 3 main themes of the song: hearth and home, travel through the wild, and Rivendell.
Perhaps of use.
Speaking of useful, if you only have a phone and struggle with photographing your stuff properly, have a look at my latest video here here.
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I wanted to play around with this road technique I had seen before, as well as doing another build in black/white/grey. Two birds :D
Not overly thrilled with the road/path, but it is significantly better than my first attempt.
Enjoy :)
Or really Day 8, but whatever.
The final technique! This one is my personal favorite. Two years ago, I came up with this technique, which allows for bricks that are 2 plates high and 2 studs wide to be spaced half a plate apart from each other. Ever since, I've been trying to come up with a way to fill those 1/2 plate gaps, and this is my best solution. :)
This technique, much like the one that inspired it, is based on clip-and-bar connections. The two key pieces are 1x2 grille tiles and minifigure neck brackets, along with some trusty 4L or 5L bars and 1x1 tiles with clip. This one is more complex than the others, so I'll explain it step by step:
1. Select a brick color (or colors). Gather up a bunch of 1x2 grille tiles and 1x2 plates in that color and connect them together to form the "bricks" in the wall.
2. Select a "mortar" color. Gather up a bunch of minifigure neck brackets and 1x2 grille tiles in this color. You'll probably want to go with light or dark bley for this one.
3. Gather up a bunch of 1x1 tile with clip pieces and rod pieces. Connect all the 1x1 tiles with clip to the studs of the minifigure neck brackets.
4. Construct a supporting structure. This just has to be something that props up all the rod pieces so you can form a backbone for the wall. However, this gets a bit tricky. In this technique, each layer of bricks is actually 22 LDU high, or in conventional terms 2 plates plus 3/4ths of a plate. This is because when you stack two 1x2 grille plates so their tops interlock, the result is 1 and 3/4 plates high. In order to get all the bars lined up properly, it's easiest to make a support structure that has horizontal 1x_ plates that are each 1/4th of a plate apart.
The easiest way I know to create 1/4th plate offsets is to place two 1x1 plates on the sides of one of these ("Plate, Modified 1 x 1 with Clip Light - Thick Ring") and then to connect those 1x1 plates to snot pieces such as 1x1 technic bricks.
5. Connect the rod pieces to the supporting structure, then connect the minifigure neck brackets with 1x1 tiles with clip to the rod pieces so that the holes of the brackets are all facing sideways. Each minifigure neck bracket should be placed 2 studs apart from the next one, and they have to be staggered as seen in the picture.
6. Finally, stack the 1x2 grille tiles of the background color uspide down into the "bricks" you prepared in the first step so the grille tiles of the background color are 1/2 of a plate farther inward than the "bricks". Then, insert these structures in between the minifigure neck brackets.
The result is a wall that, despite being comprised mostly of loose pieces, is quite sturdy. You can hold it at a 45º angle and the brackets will safely keep all the loose pieces lodged in. In addition, there are no prominent gaps!
The one issue with the technique is that the horizontal lines are 5/8ths of a plate wide, while the vertical lines are only 3/8ths of a plate wide. However, this isn't all that noticable unless you look straight at the wall – it looks balanced when viewed from an angle.
If anyone has seen this technique used before, please let me know! Also, if anyone figures out a way to make all of the mortar lines exactly half a plate wide, please do share it with me! I've been trying to solve this technical problem for a year now and would love to know if there are other solutions. :)
Check out this awesome build by Sandro Tagliaferri to see the technique in action!
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Welcome back to that weird thing I do where I choose a random week and post a new technique every day of that week!
This first one is another grass technique. It's fairly straightforward: Gather up a bunch of Rock 1x1 Crystal 5 Point pieces and attach a minifigure hand to each "point", then place the structures on a plate. Note that each crystal has to be 1 1/2 studs away from every other crystal, so the easiest way to set them up is to use 1x1 plates, 1x2 jumpers and 2x2 jumpers in such a way that each available stud is 1 1/2 studs away from the other nearest available studs. Also note that the crystals generally come in weird colors and so you have to hide the bottom half of the construction, but that's not all too difficult.
This technique is rather fragile. The hands bend back and forth at the slightest touch and it doesn't take much force for them to come off completely. However, the technique is still more sturdy than simply propping up minifigure hands on a studded surface, as I've seen builders do in the past.
More techniques soon to come! Some more useful than others. :P
Using circus techniques, pyrotechnics, and video projection to create the visualization of liberty and the joy of flying, GLOBE is an alienating, fairylike spectacle full of symbolism.
Established in 1991, Close-Act is an international street theatre company that combines various disciplines of performing arts, like dance, music and circus, with stunning visual representations.
The company performed mostly in Europe in the early years, but now present their shows and acts worldwide.*
*http://nightfestival.sg/programmes/detail/globe
I made a water tower for an upcoming build and used this technique to make it. Not sure if it's new/ of use to anyone but thought I'd post it anyway. Would work for stairs too?
Lately I find myself wanting to experiment with HDR techniques gradually less ... I try to use all other available tools in order to successfully bring a captured scene into life, to make it presentable and to tell you the truth in most cases I'm not at all disappointed by the final results ...
I use multiple layers' image processing techniques and I also use masks in order to blend more than one captures together ... The above scene frame is a working combination of two captures taken from the same place but within a ten minutes' interval from one another ... The Flamingos' shot was taken first, the clarity was fine but I was not particularly happy with the background ... The second shot was a 2s long exposure and it came later, when "alas" my approach to the scene made the flamingos' fly away ... Thank God we live at a wonderful digital era ...
This kind of processing places extra meaning to Ansel Adams's words ... "You don't take a shot ... you actually make it !!! '' ...
NIKON D90 DSLR with Nikon Nikkor 18 - 55 lens, Manual Mode, f 10, ISO 125, focal length 18 mm, manually adjusted focusing, shutter speed 1/20 s (first shot), 2 s the second one, Auto white balance, PATTERN metering mode, no flash, use of tripod in both captures ...
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During this odd time, I have a number of plans to make figures and even build, but somehow other things still get in the way.
I still wanted to post something, so enjoy this Dementor with skeleton legs. Not sure if it's been done before. Let me know what you think.
Working on refining my technique with this fun form of macro photography.
This is a 20 image stack, each frame shot at f4. Getting the lighting right on this one was tough with so many drops in so many different places. In the end it was worth the work.
Shot using a Tokina AT-X 90mm f2.5 Macro lens and the AT-X 1:1 extender.
© 2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
See blog entries at servalpe.wordpress.com
Localization:
Parque del Retiro, Madrid, (Spain).
Exif Data:
Canon EOS 450D | Sigma 10-20mm f/4-5.6 DC EX HSM + Hitech ND 0.9 filter @ 10 mm | f/11, 2.5s, ISO 100.
HDR/DRI from 3 exposures on a tripod Manfrotto 055XPROB + 322RC2 Joystick Head @ [-2 EV .. 0 .. +2 EV ]
Processing:
Lightroom for catalog > Photoshop to generate HDR file> Tonemapped with Photomatix 4 > Hue/Saturation + Color Efex Pro + Noiseware + High Pass filter Sharpening technique with Photoshop CS5.
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Oh, and I have tryed this Chevrolet. More pictures are in the Book. (Lego Tips,Tricks and Building Techniques: The Big Unofficial Lego Builders Book)
The last of today's design scraps, I designed this capital of the Corinthian order to top this common column design: www.brickshelf.com/cgi-bin/gallery.cgi?i=2693252
Some may have already seen this but I decided to upload this on my main account too, just to share. I've been thankful for a ton of behind-the-scenes pictures of other builders, so yeah…check out my second Acc. if you like it. :))
I've started to develop this technique in 2016 and improved it from time to time. New pieces made it less part intensive and more versatile. The technique allows to completely regulate every gap between the tiles/plates/ingots/clips/etc., to achieve an organic look without being to chaotic.
You can find this and quite a few other techniques on my Second Account/
Regards
Pnoi_APL asked for it.
This is the technique I used for the Skipper Kite and a soon-to-be-photographed MOC, as well.
No, the gap isn't completely closed, but it's real close, so I can't be arsed to find a better-fitting technique that compensates for that tiny slot.
I'm not sure if this has been done before or not, but here you go.
Just realized this is possible and wanted to keep it for future reference, as I have no direct need for it now. Hope others find it useful too. This should allow for reasonably decent angled stripes too because you could continue to go diagonal with multiple 2x2s, 3x3s or 4x4s in a row.
There are slight gaps, but not large enough to fill with ½ plate elements. Those gaps can be used as subtle greebling, so it's not that bad if you can make it work for you.
Note I did not have a 3x3 plate at hand but it's not required: the solution shown here is one plate higher than a single 3x3 plate would be. If you want to cover things with tiles, the extra plate height is unavoidable for 3x3 and 4x4 anyway.
You can do this with larger wedge plates too, obviously.