View allAll Photos Tagged technique
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Xylography or engraving is the etching technique in which wood is used as a template and allows the playback of the recorded image on paper or other suitable support. It is a very similar process with a stamp.
These hands are one of the best artists from Brazil , Dra . Yolanda Carvalho.
Like whirlpools in the ocean, spinning black holes in space create a swirling torrent around them. However, black holes do not create eddies of wind or water. Rather, they generate disks of gas and dust heated to hundreds of millions of degrees that glow in X-ray light.
Using data from NASA’s Chandra X-ray Observatory and chance alignments across billions of light years, astronomers have deployed a new technique to measure the spin of five supermassive black holes. The matter in one of these cosmic vortices is swirling around its black hole at greater than about 70% of the speed of light.
The astronomers took advantage of a natural phenomenon called a gravitational lens. With just the right alignment, the bending of space-time by a massive object, such as a large galaxy, can magnify and produce multiple images of a distant object, as predicted by Einstein.
In this latest research, astronomers used Chandra and gravitational lensing to study six quasars, each consisting of a supermassive black hole rapidly consuming matter from a surrounding accretion disk. Gravitational lensing of the light from each of these quasars by an intervening galaxy has created multiple images of each quasar, as shown by these Chandra images of four of the targets. The sharp imaging ability of Chandra is needed to separate the multiple, lensed images of each quasar.
Image credit: NASA/CXC/Univ. of Oklahoma/X. Dai et al.
The new armor piece (left) fits nicely with many types of blades from the old sets.
The masks (right) can circle around the new 6 loader. I wanted to make a motorcycle but don't have enough masks.
Created with the help of my daughter's hands. A number of people have asked how it was done, so:-
Having created a blank file, I then used my daughters hands to set up the shot. Then a small tripod with a lump of Bluetac held each card in the position I wanted. Having isolated each card from it's own photo, all the 21 cards where layered into the main shot. It took a couple of enjoyable hours.
This is the last photo I will upload of my Nightgate Inn Moc, I've saved it for last as the whole reason I chose to build this moc was so that I could try this technique I've been thinking about for a long time. The whole concept came to me strangely enough when I was watching Studio Ghibli's Princess Mononoke from the scene set in the realm of the spirit of the forrest. In this scene there is a body of stagnant completely clear water with an underwater environment. This got me thinking about how I would build something similar, so I decided that I would build an underwater environment and then cover it with trans clear bricks. Unfortunately it wasn't as successful as I had of thought, however it was a good learning experience.
What worked
- If you looked over the lake you can see the bottom of the lake
What didn't work
- It was difficult to see through the bricks, however at a certain angle it was fairly visible
- A lot of people didn't even notice what was underneath the surface
Things that could be done to improve visibility
- LED lights, this would light up the base of the lake and refract to create equal light ( tried this, it worked)
-The lake could be deepened
- Instead of trans clear 1x2s 6x6 trans clear panels could be used
This is a technique I hope to explore in the future, I hope you guys found this interesting
-Thanks Tristan
Some new data for this nebula went public yesterday, and... it's different. The observations were almost all narrowband emission lines, and there were a lot of them. Five visible, four near-infrared, two wideband near-infrared. For this image I used only the visible filters. It turned out quite colorful, and quite unlike all the Hubble imagery that came before it. [O III] really wants to dominate the image, but I toned it down quite a bit with a technique I only use rarely, which is to group filters by the similarity the reveal within the object rather than trying to merge all filters into a single image.
If you would like to see the old image of this nebula, check here: flic.kr/p/fC7DwR
I was interested to see if any more structures were revealed especially in the near-infrared data, like the double rings (it's questionable they are really rings), but it's not nearly as apparent in these data as it was back in the old NICMOS data. The double rings, if that's what they are, are most pronounced in F212N, which is a molecular hydrogen filter. None of the filters for this image reveal quite the same structure that the F212N filter did.
The nebula expanded quite a bit in the two decades since the previous HST observations were taken. In terms of this image, the maximum movement amounted to around 8 pixels at WFC3/UVIS resolution (100% zoom of this image). All of the stars moved around, too. The new image is slightly higher resolution, but not much.
Explaining the processing further, I took the F673N, F487N, & F343N filters to make a 3-color image. I chose these because none of them was overwhelmingly brighter in any area than the other, but they all do still reveal delicate color separation. Next, I combined the F656N and F502N filters into a 2-color image. The signal for these two filters was much more intense, and they worked nicely together to reveal the fainter structures of the nebula, especially those faint shells emanating gently outward from the nebula in nearly circular formation. The 2-color combination is not especially colorful though, so I used it as a luminosity layer. Stars are always funky in narrowband imagery, so I removed all the stars from the 3-color image, leaving the 2-color luminosity layer to show them.
Data from the following proposal were used to create this image:
Luminosity:
WFC3/UVIS F656N + WFC3/UVIS F502N
Color:
Red: WFC3/UVIS F673N
Green: WFC3/UVIS F487N
Blue: WFC3/UVIS F343N
North is up.
Some ideas using the 27928. Rotated 45 degrees and fitted into a 6x6 frame.
Read more on New Elementary.
After viewing Shari's technique video last night I couldn'wait to try it out, and this is the result. I inked the Classic Fabric Design with Soft Pool shadow ink, and the friends definition with Latte chalk ink, kissed, and this is what happened! This is so neat, I will definately do more kissing in the future! LOL!
This is my first decent double exposure. I make this for a contest on PHLearn.com, and I won!
(There was only permited dodge, burn, and crop) Tomorrow I hope I can edit some cliffs photographs :)
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Esta es mi primera doble exposición decente. La hice para un concurso en PHLearn.com, ¡y gané!
Sólo estaban permitidas las ediciones que se pudiesen hacer en cuarto oscuro (subexponer, sobreexponer, y recortar)
Mañana espero poder editar algunas fotos de los acantilados :)
“Training for trainers on Inspection techniques and soft skills to detect and deter undeclared work”
October 16-18, 2018 - Kharkiv, Ukraine
/ Тренінг для тренерів «Навчання технікам інспекційних відвідувань для виявлення і подолання незадекларованої праці та технікам ефективних комунікацій»
16-18 жовтня 2018, Харків, Україна
Lacul Morii-Bucharest city-Carl Zeiss Flecktogon 35mm F2,4
*Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
* I have seen a large part of the most popular or devoted photographers' photographs over time and of course I can say that most of them have speculated on different situations, angles of photography, shadows, different brightness, feelings, human tragedies, all kinds of paradoxical situations that of course make them noticed. I do not want to bring any name into question for the simple reason that each photographic artist has a unique value. However, I regard the photographic art as a simple spectator that is difficult to be convince most of the times. I contemplate the creation of God and every time I photograph I do not forget how grateful we should be for all the beauty that our Creator gave it to us! People who forget this do nothing but hate themselves and the world they live in and photography is nothing but a mirror of this beautiful or crooked world.(Horia Stanicel)
*Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
*Am văzut o mare parte a fotografiilor celor mai populari sau consacrați artiști fotografi de-a lungul timpului și desigur pot spune că majoritatea dintre ei au speculat diversele situații,unghiuri de fotografiere, umbre, luminozitati diferite,sentimente,tragedii umane chiar,tot felul de situații paradoxale care desigur să-i facă remarcați.Nu vreau să aduc vreun nume în discuție pentru simplul motiv că fiecare artist fotograf are o valoare unică. Totuși eu privesc arta fotografică ca un simplu spectator greu de convins de cele mai multe ori.Eu contemplu creația lui Dumnezeu și de fiecare dată când fotografiez nu uit cât de recunoscători ar trebui să fim pentru toată frumusețea pe care Creatorul nostru ne-a daruit-o! Oamenii care uită aceasta nu fac decât să se urâțească pe ei înșiși dar și lumea în care trăiesc iar fotografia nu este decât o oglindă a acestei lumi frumoase sau urâțite.
(Horia Stanicel)
instagram is full of #mosaicsonmonday, beautiful mathematical, artistic works by lego builders. my latest build contains a mosaic, using a fabric weave technique i designed last november, but never finished. went back to it this year. this weave i used is based on santa's official tartan, created for members of the ‘clan claus society’ (ccs), registered at the scottish register of tartans.
it's not beautiful but it is mathematical and though parts intensive, was fun to recreate then incorporate into the build for #BuildToGive...
the full, complete set
2022-12-26-IMG_0451ff
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Ne9kMt
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Submerged - photograph Jacob sutton Technique Pastel #underwater #blue #portrait #bubbles #peaceful #details #pastel #painter #water #model #beauty #Talnts #technique #theartcommunity #art #creativity #calm
by @paularothart on Instagram.
Finished what I think are two of the most complicated sections in this design. The roof peak and the balcony had so many details on angled surfaces it took all my tricks to figure out how to fit it all in.
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Message me on details for a Custom Lego Design or to create instructions for your MOCs
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Keep Dreaming in Bricks!
#lego #legos #legophotography #legominifigures #legostagram #afol #legofan #legomoc #legophoto #legomania #instalego #moc #playwellbricks #legoideas #legoart #legotechniques #legomasterbuilder #legomasters #legofan #legoaddict #legolovers #legofun #legocreation #legolife #legopicture #Legogeek #legobrick
I began experimenting around with lanterns earlier, and Thought I'd share the results. The one in the middle right is pretty basic and common and the one on the right I saw somewhere else (hopefully they don't mind), but I decided to include them anyway. Hope you like them!
can be refined, but this is the current technique. most is plates and tiles, but for the diagonal track use 2 x 1 x 2 slope bricks on their sides.
Different techniques that I have thought up for the door with a hole. The example 1, 3, 4 and 6 are valid for any door design also.
Multi-span bridges are structures of two or more arches supported on piers. They were constructed throughout the medieval period for the use of pedestrians and packhorse or vehicular traffic, crossing rivers or streams, often replacing or supplementing earlier fords.
During the early medieval period timber was used, but from the 12th century stone (and later brick) bridges became more common, with the piers sometimes supported by a timber raft. Most stone or brick bridges were constructed with pointed arches, although semicircular and segmental examples are also known. A common medieval feature is the presence of stone ashlar ribs underneath the arch. The bridge abutments and revetting of the river banks also form part of the bridge. Where medieval bridges have been altered in later centuries, original features are sometimes concealed behind later stonework, including remains of earlier timber bridges. The roadway was often originally cobbled or gravelled. The building and maintenance of bridges was frequently carried out by the church and by guilds, although landowners were also required to maintain bridges. From the mid-13th century the right to collect tolls, known as pontage, was granted to many bridges, usually for repairs; for this purpose many urban bridges had houses or chapels on them, and some were fortified with a defensive gateway. Medieval multi-span bridges must have been numerous throughout England, but most have been rebuilt or replaced and less than 200 examples are now known to survive. As a rare monument type largely unaltered, surviving examples and examples that retain significant medieval and post-medieval fabric are considered to be of national importance.
Despite some later alterations and repair work, Aylesford Bridge is a well preserved medieval multi-span bridge. It is a good example of its type and will retain evidence relating to medieval bridge construction and masonry techniques. Deposits buried underneath the bridge will preserve valuable artefactual, ecofactual and environmental evidence, providing information about the human and natural history of the site prior to the construction of the bridge.
History
See Details.
Details
This record was the subject of a minor enhancement on 15 December 2014. The record has been generated from an "old county number" (OCN) scheduling record. These are monuments that were not reviewed under the Monuments Protection Programme and are some of our oldest designation records.
The monument includes a medieval multi-span bridge situated over the River Medway at Aylesford.
Aylesford Bridge is constructed of Kentish ragstone with seven arches including a central segmental arch and six pointed and double-chamfered outer arches. The bridge is about 4m wide between the centres of the stone-coped parapet. The end arches are partly buried by the river bank. The stone piers have cutwaters on the upstream and downstream sides on rebuilt concrete foundations. On each side are octagonal and triangular canted pedestrian refuges resting on buttresses over the piers. Below the bridge is a barge-bed constructed from large baulks of timber.
Aylesford Bridge is thought to have been constructed in about the 14th century, and is situated downstream from the probable site of an earlier ford. A grant of pontage was issued in 1331, although it is possible that this relates to a timber predecessor. In about 1824, the two centre arches were replaced by a single arch of 18m span, removing a pier to allow passage for larger river traffic.
Aylesford Bridge is Grade I listed.
"Despondency never takes into account the firmament."
Alda Merini
“Lo sconforto non tiene mai conto del firmamento.”
Alda Merini
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina.
Her name was Cheryl and she was 65, he was called Christopher and he was 59, they both came from Australia; before reaching Taormina, in Sicily, they had traveled far and wide in various European countries, finally they came to Italy to visit some cities of art and tourism such as Florence, Rome, Sorrento, Amalfi ... the reason for this great to wander? The answer will be known after their tragic ending: to look for a "beautiful place" where they can die ... They weren't married, they didn't behave like lovers or boyfriends do, they certainly were good friends, or maybe they were simply a so-called open couple. Physically and temperamentally they were the exact opposite: Cheryl was sunny, cheerful, decidedly nice, a little chubby, overweight, she loved to wear large handkerchiefs which she then tied on top of her head to form showy bows, Christopher instead was a bit skittish , closed and sad, of few words, thin, tall, with possibly gay attitudes, but both were very friendly, so much so that they had made friends above all with the hotel staff, indeed, to be honest, they made small gifts, they were objects of good workmanship that they had brought with them and bought somewhere, demonstrating their sincere attachment (they had chosen a famous hotel in Taormina, staying in a Junior Suite - Sea View, in Taormina they should have stayed a week, later they would go to Syracuse). On the day of departure, 02-October -2013, at 14.00, Cheryl and Christopher do not show up in the hall to hand over the keys to the room, with extreme embarrassment the assistant manager of the hotel and the housekeeper go to knock on their door , over and over again, and seeing that they do not answer, they open the door with the electronic passe-partout: as soon as they enter they see reflected in the mirror the shape of their bodies that appear stretched out in bed, motionless: quick and convulsive thousand questions pile up in the mind of the two women, the housekeeper is terrified and runs away, while the lady assistant director must be able to understand what is happening and approaches, what she sees is a surreal scene: they are clearly dead, lying and rigid on the bed, they are not hugging each other , however, they are lying next to each other, under them, to cover the blankets and sheets of the bed, they have placed a large sheet of cellophane, like the one used by painters, to prevent any the humors freed from lifeless bodies, could dirty; on the back of the bed hung a row of Halloween flags, with printed skulls, and, among these, other flags, those used for birthday parties, each with a letter forming the phrase "dance of death"; on the bedside table there were two empty bottles (200 - 300 ml), which each contained a lethal substance, there were keys (for the locks of the suitcases), and a letter, in which they reported their last wishes: they left the money to honor the hotel expenses, they donated the contents of their suitcases to the hotel, and finally asked forgiveness for the inconvenience that their extreme action would certainly have caused to the hotel. The scant news on the web at the time (all photocopies of a single article) reported that both suffered from serious health problems, but that was not the case, certainly there was some minor ailment, but nothing really serious and unsolvable. Cheryl and Cristopher now lie in the cemetery of Taormina, higher up, closer to the sky than to the earth, even with the high ladder it is not easy to get close, even if only to lay a flower, the Australian embassy was contacted, but no one asked that their bodies were repatriated to their homeland, Australia.
Saint Augustine does not seem to say "those who sing, pray twice", but it would be nice to think that I, in posting my photos and dedicating them to them, maybe I am praying for them.
Post Scriptum: I thank Mrs. Luisa, without her I would never have been able to reconstruct the last hours of their lives with some accuracy, the news on the web is imprecise and laconic; many thanks to mr. Bambara, a funeral director, who having buried their bodies in 2013, showed me, accompanying me in person, where exactly their location is.
All the photos I present were taken in the town of Taormina and its surroundings (Sicily); I made photos related to "street photography";
I tried to capture the essence of minimal photographic stories, collected walking down the street ... in search of fleeting moments ...
For some photographs I used a particular photographic technique at the time of shooting, which in addition to capturing the surrounding space, also "inserted" a temporal dimension, with photos characterized by being moved because the exposure times were deliberately lengthened, they are confused -focused-imprecise-undecided ... the Anglo-Saxon term that encloses this photographic genre with a single word is "blur", these images were thus created during the shooting phase, and not as an effect created subsequently, in retrospect, in the post-production.
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Una storia di Taormina.
Lei si chiamava Cheryl ed aveva 65 anni, lui si chiamava Christopher ed aveva 59 anni, entrambi provenivano dall’Australia; prima di giungere a Taormina, in Sicilia, avevano girato in lungo ed in largo in vari paesi d’Europa, infine giunsero in Italia per visitare alcune città d’arte e turismo come Firenze, Roma, Sorrento, Amalfi… il motivo di questo gran girovagare? La risposta si saprà dopo il loro tragico epilogo: cercare un “posto bello” dove poter morire…Non erano sposati, non si comportavano come fanno gli amanti od i fidanzati, certamente erano dei buoni amici, o forse erano semplicemente una cosiddetta coppia aperta. Fisicamente e caratterialmente erano l’esatto opposto: Cheryl era solare, allegra, decisamente simpatica, un po’ pienotta, sovrappeso, amava indossare dei grandi fazzoletti che poi annodava in cima al capo a formare dei vistosi fiocchi, Christopher invece era un po’ ombroso, chiuso e triste, di poche parole, magro, segaligno, alto, con atteggiamenti forse da gay, però entrambi erano molto cordiali, tant’è che avevano fatto amicizia soprattutto col personale d’albergo, anzi, a dirla tutta, acostoro facevano dei piccoli regali, erano oggetti di buona fattura che avevano portato con se ed acquistati chissà dove, a dimostrazione del loro sincero attaccamento (avevano scelto un famoso albergo di Taormina, alloggiando in una Junior Suite –Vista Mare, a Taormina sarebbero dovuti restare una settimana, dopo si sarebbero recati a Siracusa). Il giorno della partenza, il 02-ottobre -2013, alle ore 14,00, Cheryl e Christopher non si presentano nella hall a consegnare le chiavi della stanza, con estremo imbarazzo la vicedirettrice dell’albergo e la governante vanno a bussare alla loro porta, più e più volte, e, vedendo che non rispondono, aprono la porta con il passe-partout elettronico: appena entrate vedono riflessa nello specchio la sagoma dei loro corpi che appaiono distesi nel letto, immobili: rapide e convulse mille domande si affastellano nella mente delle due donne, la governante è terrorizzata e fugge via, mentre la vicedirettrice deve poter capire cosa sta succedendo e si avvicina, quello che vede è una scena surreale: loro sono chiaramente morti, distesi e rigidi sul letto, non sono tra loro abbracciati, però sono coricati l’uno accanto all’altra, sotto di loro, a coprire le coperte e le lenzuola del letto, hanno posto un grande foglio di cellophane, come quello che usano gli imbianchini, per evitare che eventuali umori liberatisi dai corpi esanimi, potessero sporcare; sulla spalliera del letto era appesa una fila di bandierine di Halloween, coi teschi stampati, e, tra queste, altre bandierine, quelle che si usano per le feste di compleanno, ognuna con una lettera a formare la frase “dance of death” (la danza della morte); sul comodino c’erano due flaconi (200 – 300 ml) svuotati, che contenevano ognuno una sostanza letale, c’erano delle chiavi (per le serrature delle valigie), ed una lettera, nella quale riportavano le loro ultime volontà: lasciavano i soldi per onorare le spese dell’albergo, donavano all’albergo il contenuto delle loro valigie, ed infine chiedevano perdono per il disagio che il loro gesto estremo avrebbe certamente arrecato all’albergo. Le scarne notizie sul web di allora (tutti articoli fotocopia di un solo articolo) riportarono che entrambi soffrivano di gravi problemi di salute, ma le cose non stavano così, certo qualche piccolo malanno c’era, ma nulla di veramente grave ed irrisolvibile. Cheryl e Cristopher adesso giacciono nel cimitero di Taormina, in alto, più vicini al cielo che alla terra, neanche con la scala alta è facile avvicinarsi, anche solo per deporvi un fiore, fu contattata l’ambasciata australiana, ma nessuno chiese che i loro corpi venissero rimpatriati nella loro patria, l’Australia.
Sant’Agostino sembra non disse “chi canta prega due volte”, ma sarebbe bello pensare che io, nel postare le mie foto e nel dedicarle a loro, forse io stia ugualmente pregando per loro.
Post Scriptum: ringrazio la signora Luisa, senza di lei non sarei mai riuscito a ricostruire con una certa accuratezza le ultime ore della loro vita, sul web le notizie sono imprecise e laconiche; ringrazio il sig. Bambara, impresario di pompe funebri, che avendone tumulato i loro corpi nell’anno 2013, mi ha indicato, accompagnandomi di persona, dove si trova esattamente la loro ubicazione.
Tutte le foto che presento sono state realizzate nella cittadina di Taormina e nei suoi dintorni (Sicilia);
ho realizzato foto riconducibili alla “street photography”;
ho cercato di cogliere al volo l’essenza di storie fotografiche minime, raccolte camminando per la strada ... alla ricerca di attimi fugaci s-fuggenti ...
Ho utilizzato per alcune fotografie una tecnica fotografica particolare al momento dello scatto, che oltre a catturare lo spazio circostante, ha "inserito" anche una dimensione temporale, con foto caratterizzate dall’essere mosse poiché volutamente sono stati allungati i tempi di esposizione, sono confuse-sfocate-imprecise-indecise...il termine anglosassone che racchiude con una sola parola questo genere fotografico è "blur", queste immagini sono state così realizzate in fase di scatto, e non come un effetto creato successivamente, a posteriori, in fase di post-produzione.
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First time i develop with stand still technique.
This is in fact semi stand still at 40 minutes(20+agitation+20) with Rodinal.
It is usually 60 min development but 60 min with Fomapan 100 would be over exposed.
Camera: Canon Prima Zoom76 that i got for free, I don't like point and shoot cameras but i must say that the results are over my expectations (exposition was spot on!). May be it is because of the development which gives a lot of details in the highlights and shadows.
If you've done Calotypes, I'd like your expert opinion. On some of my negatives, I get these scuffs and smears. It seems like it's from my brushing - all my chemicals are brushed on with clean cotton - but I'm not positive which step.
My workflow is: brush on double iodide of silver and potassium. Dry and wash for several hours. Yields the light yellow iodide of silver.
Sensitize with dilute aceto-nitrate of silver.
Dry. Load into film holder. Expose.
Develop: First pass, gallic acid .5%. Second pass, gallic acid plus aceto-nitrate of silver, roughly 2:1
These show up after the last pass but I don't know that they're not caused earlier.
Any advice welcome.
Inside of the tower, showing how I achieved the angled top.
The stack of brick with either 3 or 5 studs can be used with one dot (1x1 round plate) on either side, By placing two of the 2xn plates on alternate sides and twisting, it allows a tight and clean connection,
It the happens that a cheese slope fits in the top cleanly (as can be seen in the insert)
The Lego watch face part is really useful! I use it to make the lens above and on the scope for this gun. Awesome part!
Inspired by "shadowplay" (Hans Proppe). His techniques are impeccable and his vision is extraordinary.
Flowers placed on scanner.
Much simpler and more elegant solution: the 1x1 cylinders have been replaced by 2 plates and a jumper, and the clumsy headlight brick construction with 2 brackets. It can easily be extended to create something like a thruster/engine.
Lacul Morii-Bucharest city-Vivitar 24mm F2,8
*Not the brand or technique is important in photographic art, but the understanding of the things behind the photographed subjects, the emotion, the composition, the joy or the sadness, the life itself that is mysteriously coming unrepeatable as a gift.
(Horia Stanicel)
* I have seen a large part of the most popular or devoted photographers' photographs over time and of course I can say that most of them have speculated on different situations, angles of photography, shadows, different brightness, feelings, human tragedies, all kinds of paradoxical situations that of course make them noticed. I do not want to bring any name into question for the simple reason that each photographic artist has a unique value. However, I regard the photographic art as a simple spectator that is difficult to be convince most of the times. I contemplate the creation of God and every time I photograph I do not forget how grateful we should be for all the beauty that our Creator gave it to us! People who forget this do nothing but hate themselves and the world they live in and photography is nothing but a mirror of this beautiful or crooked world.(Horia Stanicel)
*Nu aparatul foto sau tehnica este importantă în arta fotografică, ci înțelegerea lucrurilor care stau în spatele subiectelor fotografiate,emoția, compoziția, bucuria sau tristețea, viața însăși care vine tainic irepetabil ca un dar.
(Horia Stanicel)
*Am văzut o mare parte a fotografiilor celor mai populari sau consacrați artiști fotografi de-a lungul timpului și desigur pot spune că majoritatea dintre ei au speculat diversele situații,unghiuri de fotografiere, umbre, luminozitati diferite,sentimente,tragedii umane chiar,tot felul de situații paradoxale care desigur să-i facă remarcați.Nu vreau să aduc vreun nume în discuție pentru simplul motiv că fiecare artist fotograf are o valoare unică. Totuși eu privesc arta fotografică ca un simplu spectator greu de convins de cele mai multe ori.Eu contemplu creația lui Dumnezeu și de fiecare dată când fotografiez nu uit cât de recunoscători ar trebui să fim pentru toată frumusețea pe care Creatorul nostru ne-a daruit-o! Oamenii care uită aceasta nu fac decât să se urâțească pe ei înșiși dar și lumea în care trăiesc iar fotografia nu este decât o oglindă a acestei lumi frumoase sau urâțite.
(Horia Stanicel)
I really wanted a 1 x 2 cheese slope stuck on each end of that girder. The one end was easy, but the other was not. That's pneumatic tubing around the minifig hands. The 1 x 2 plate helps to hold it, but isn't necessary.
Here are a few more visor techniques I found and have queued up. I like to save them until I use them before I post, but they're starting to overflow.
I don't know if some of these have been found but in the case that they aren't, I'm posting them here.
p.s. I still have a ton of techniques that I haven't shown yet.
A quick close up pic of the principal technique used on my Class 37 bogie. This one is for a new Class 27 currently being built :)
Because you guys ask about techniques - Here's one for a Muntin style window.
Most techniques used for this style window are very loose; not actually connecting the bricks, but rather relying on them being squeezed in place.
This method though, connect it all securely. And it's not that complex either.
(you can see the broken down assemblage in the third pic)
Anyway, hope you guys like it, and if you wanna see more technique breakdowns, let me know
oh we haven't finished yet
The bottoms of the 1 x 2 dark grey plates are flush with the edges of the 1 x 3 light grey plates. The dark grey 1 x 2 tiles can be arranged to either protrude 1/2 plate or recess 1/2 plate.
Melasti Beach, Bali - Indonesia
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Basically it uses the same system like the 1x3 plate with 1x1 round plates but now with the new tiles it has a much smoother and cleaner look from the outside!
Even more tablescraps! As usual, see if you can figure out how to build them; if you figure it out, send your solution to me (privately); I'm interested in seeing how other people would build these.
Information/Part Restrictions:
All hidden sides look the same as the visible sides.
No flex tube or rubber bands
Grey cube: No inverted tiles, no technic pins
Blue sphere: This one may look similar to the one I posted a week ago...but with this one, on the top and bottom dishes, the studs are rotated 45* (see picture). No LOTR rings.
Black box: No using the pony ear technique, no technic pieces, no LOTR rings
Purple wedge:
No 2x4 plates