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MUNICH/GERMANY - JANUARY 16: JAMIAN JULIANO-VILLANI during the DLD17 (Digital-Life-Design) Conference at the Alte Bayerische Staatsbank on January 16, 2017 in Munich, Germany.
DLD is Europe's big conference of innovation, digitization, science and culture, which connects business, creative and social leaders, opinion formers and influencers for crossover conversation and inspiration.
(Photo: picture alliance / Robert Schlesinger) | Verwendung weltweit
People often ask my advice on photography gear and techniques when they learn I am a long time Nikon enthusiast dating back to 1969! When my best friend Steve wanted to make the jump from cell phone camera to DSLR he asked me for input on gear. Steve took my advice and is now a happy photographer exploring the world of advanced digital photography.
I thought I might create a series of images and articles on getting started in DSLR photography and share it here.
So.....when people ask me "what kind of DSLR camera should I buy?" this is what I tell them:
For general photography I recommend a used Nikon D3300 and 18-55mm AF-P kit lens.
Why used?
Just like buying a car, camera gear depreciates as soon as you take it out of the box. Buying used means that if you don't like DSLR photography you can resell it for basically what you paid for it. Don't make the mistake of one Flickr friend who bought a brand new full frame Nikon and zoom ($3000+) and then found it too big, too heavy and too complicated to be much fun.
Why Nikon?
Sorry Canon aficionados. You can argue the relative merits of both systems but I only know Nikon cameras and gear and can only give advice on them.
Why a D3300?
The D3300 is two versions behind the current release but still features a 24 MP sensor, near state of the art EXPEED 4 processor, decent AF speed and a "fast" 5 frames per second shooting speed. Most important to me is that the D3300 is the first of the series to accept Nikon's new AF-P lenses (and trust me - you want these lenses - more about them in a later installment)
Why an 18-55 AF-P kit lens?
This lens is sharper than expected, focuses lightening fast and is dirt cheap on the used market. Unless you need long telephotos for sports or extreme wide angles this lens will serve you well to get started.
You can buy this entire kit for under $275 from MPB or KEH.
Let me know your thoughts on this......
STROBIST Info: Shot with a single Novatron bare tube head in a Larsen 27" softbox, fired at 120 watt seconds, directly overhead. White cards were placed camera right and left with a silver flat Larsen Reflectasol for fill in front.
I'm sure most seasoned AFOLs are familiar with this technique for creating tiled floors. The vertical part of the panel elements is 1/5 of a stud wide, so putting 6 2x2 tiles side-by-side, separated by a total of 5 panels is equivalent to 13 studs (12 from the tiles, 1 from the panels). What I think is unique about my design is some of the panel elements and hidden 1x2 tiles are attached to the floor to make the design a little more secure. The hidden 1x2 tiles are attached by a single stud to the base, which allows them to have 1/5th stud adjustments relative to the base in either direction paralell the the tile's length (this only works immediately adjacent to the perimeter wall which holds it in place, because doing this elsewhere requires making 1/5th stud adjustments in two perpendicular directions, which is impossible without using a lot more pieces and making the assembly a lot taller). This pattern can still be used by replacing the blue 2x2 tiles with any brick, plate or tile with equal or greater length in both lateral dimensions (so long is neither dimension is odd, meaning 2x3 and 3x3 plates won't work).
Edit: Since I uploaded this photo, 1x3 panels have become a thing, so you can do some cooler stuff with this design now
From a series of layered, textured polymer clay pendants I've been working on. This one was done as a sample for the class I'm teaching at ArtBliss in Washington, DC in September 2011.
For more on ArtBliss registration and my process, visit my blog at:
Some bokeh technique I picked up while I was out of town and thought of trying it out myself in a recent party.
I would make another one real soon, this time I hope to see multicolored lights to have a better feel of the image.
The reddish brown tiles represent the outer wall, the 1x1 column represents the corner of the wall that the roof slopes to.
A breakdown of how I built the corner roof sections on the Green Goblet: www.flickr.com/photos/66620538@N04/15599693464/.
"the artists of the "Casa del Musical" group (House of Musical)".
“gli artisti del gruppo "Casa del Musical".
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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;
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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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.
Did some study on how to get a correct exposure recently base on the meter in our camera. It look simple, but to master the it seems not that easy.
What i know about photography now is very elementary. I have to increase my knowledge so as to improve my skill especially on exposure.
I would like to thank my friend Toonman for lending some of his book on photography.
I may share some of my reading here if possible.
This picture was processed in HDR with three exposures. HDR does help in producing a nice picture, but i tell myself i must master the technique of photography one day instead of staying at shooting and deleting level......
My first exposure for this shot was good enough, but the high contrast of the spot light make a mile over exposure at the lower part of the building. So i down one to two stop for the other two exposures and here is the final result.
Sorry for the lack of uploads, but I'm a kind of person who builds something maybe once a month.
I was segregating parts, and when I connected a few of those black pieces together, I realised, that it would make a wonderful tree trunk. What do you think about this technique?
(sorry for the dust)
By adding bricks and plates, you can achieve basically any angle you like. But the height on both sides must be equal.
I've just shared some recent photos of the sunset after we'd all been surfing, here's a few shots of the actual surfing itself from the day.
If you would like to see more there's around 30 photos in a new blog on my soulsurfing website!
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©2013 Jason Swain, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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Links to facebook and twitter can be found on my flickr profile
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The Witches Tower build techniques. When I make these large builds I usually try to come up with a technique I haven’t seen before or try something I haven’t done before. It helps make these projects more interesting to build and makes bulk ordering parts a lot simpler.
This build I wanted to try messing around with flex tube to get the correct spacing I wanted for the bricks. I did try mixel ball joints and hinges but I quickly realised the price would get expensive quick. Flex tube just ended up being the simpler option and gave me a lot of options to attach things to.
The technique I use for the framing in the rock has been used in all my show displays. It is the best solution I have come up with to help make elevated terrain. It is very strong and light for transport. Its also quick to build and easy to change if need be.
Well, while I have been building for CCCX I have found some fun ways to use fig parts, so here are some of the things I have come up with lately.
#1- Possible Steampunk Captain, or just castle adventurer.
#2-The new standard for a sci-fi faction called K Korps that I hope to do a few builds for in the near future. Also, a purist way to build an awesome looking sniper rifle.
#3-A turkey warrior, avenging his lost brotheren.
Long Live Purism!
Performans tekniğe bağlıdır. Parmaklarınızı açmanız, kollarınızı çekme stiliniz, nefes almanız; her şey sonunda performansı etkiliyor.
Your performance in the water all depends on your technique. How you crawl, how you breathe are important parameters. Here open fingers and both arms stretched forward should result in bad performance.
ID Help: Is this an Ash-throated Flycatcher or Brown-crested Flycatcher or something else? Observed during light rain in the desert next to the Superstition Mountains. The first photograph shows the bird darting from tree to tree ahead of me, making it difficult to capture a clear shot. In the second photograph, the bird flew to a cholla cactus, seemingly attempting to conceal itself by extending its wings in an unusual manner. It remained in that position until I approached, at which point the bird's hiding technique was ineffective. The bird's positioning made it challenging to determine if it was upside down or upright, resembling a bat. Has anyone observed this behavior before?
The technique I've used for this picture I have called 'Dual Motion'. As with some of my earlier abstracts I used shaped card suspended in front of a black background and spun over a long exposure. I developed the idea further by replacing the black background with a mirror which rotated behind the card shape, creating a constantly changing reflection of the environment. The combination of the constantly changing subject and back ground provides a unique image with every shot.
Just my afternoon study of a Fateheart-style frame with the pieces I've got available. I don't really like this style of building in practice (although I love to look at it) because it feels kind of flimsy to me.
Technique: I injected artificial nectar into an Eggplant flower so the bumblebee would have a reason to let me get close. I'm holding on to the flower's stem with my left index finger and thumb, and resting the lens on that same hand to keep everything steady. The color is due to the quality of the light (I didn't have to push the saturation in post).
Tech Specs: Canon 70D (F11, 1/125, ISO 200) + a Canon EF-S 60mm macro lens with 25mm of extension + a diffused MT-24EX (flash head "A" set as the key and "B" as the fill). This is a single, uncropped, frame taken hand held. Camera set so that I could use natural light to expose the sky in the background, with the short duration of the flash freezing subject motion.
(Published in Photo Technique, Spring 2013)
Often, when I head out in search of a new photographic study in a relatively (or completely!) unfamiliar area, I rely upon a variety of means to guide me to my goal. The problem is many enticing subjects lie far from the beaten track and as such are difficult to find, and sadly I've a notoriously awful sense of direction... I cheerily describe occasions where I've ended up driving along remote and overgrown country lanes in search of something or other as my 'mystery tours' to my wife, who has been hostage on several of these much to her chagrin.
My battered, dishevelled and slightly out-dated UK road atlas is a constant companion, and has been snorted at derisively by many - yet it gives me a sense of place in relation to the land and sea, plus I gather the pretty lines on it actually indicate the presence of roads. I'm still enthralled and excited by new technology, yet fear I have reached the age where all too soon I'll start to develop an irrational fear and suspicion of it. Until that day, I plan to embrace it as best I can, ergo I have driven along those prettily coloured lines I mentioned in search of fascinating scenes also aided by other means. Google maps loaded on my phone helpfully provides me the opportunity to pinpoint a location in relation to my moving vehicle (hands-free of course!), and has on several instances stopped me from heading in the completely opposite direction from my goal. Yes, there are local road maps one can buy, but does anyone really bother with those? You do? Oh, ok... The obvious answer for me is of course satellite navigation, something I had hitherto avoided purely because my annual mileage just didn't seem to warrant it. However, increasingly, I need to seek out remote spots that I haven't visited before - yes, someone else will invariably have beaten me to it, but their images will be different to mine, and I think when producing your own work it's a thrill to shoot something fresh. So, I bit the bullet a few weeks ago and bought a sat nav. I've only used it a couple of times so far, but am encouraged that I'm yet to be guided into a riverbed, persuaded to traverse a shopping centre, or taken the wrong way around the M25. That last one would have been a real worry as I haven't been anywhere near London for ages. The child in me has insisted on downloading the near-obligatory 'comedy' voice to accompany me on my travels, and while I realise that particular novelty will soon grow tiresome I find it more disconcerting being directed by the clipped tones of James, Kate or Serena - even if the latter is able to tell me the name of the street I'm on. So, my current companions of choice are Burt and Ernie, of Sesame Street fame. Stop laughing at the back - I figure if I am to become stranded on a level-crossing as a train hurtles towards me at speed I might as well do so with a smile on my face...
Naturally, one of the best ways to discover somewhere new is to rely on the local knowledge of others - so many thanks to Martin Mattocks for guiding and accompanying me when I took this shot. Cheers for a great day out as always Martin, although if you're reading this there's no way I'm ever going back to that fish and chip shop...
On a separate note, I'm delighted my 'Bathing Dangerous Here' shot (elsewhere on my photostream) has been shortlisted for this year's LPOTY competition. I don't think I'll be as lucky as I was last year to progress to the book and exhibition in London, but if I do I might get to make that sat nav M25 attempt after all.
I got this old camera by inheritance for a long time. It isn't sure that it is of some antiquarian value, but nevertheless it is quite interesting artifact.
Feature is that the former owner remade this camera under a format of glass photoplates of a format 4x6" a little.
Probably, for saving reasons, and perhaps in the USSR at that moment format 5x7" plates weren't on sale.
In the late eighties and the middle of the 1990th years glass photoplates could be met on sale and I even managed to shoot and experiment a little. I could print from these plates only contactly, on as there was no suitable magnifying apparat of a big format. Photos, unfortunately, didn't remain because of my continuous moving.
Now I plan to expose this camera on ebay, the truth I don't even imagine its price. I hope that she will take the worthy place in someone's collection, but I am confused that it nevertheless is a little changed with use of textolite which doesn't match an era of the beginning of the Twentieth century in any way.
In this photo, Paloma Rubio of Northrop Grumman is installing flight thermal blankets on the structure that supports the James Webb Space Telescope's secondary mirror in a clean room at Northrop Grumman, Redondo Beach, California. The strings, which are shown hanging down in this image, are called lacing cords, and they are used to tie the blankets to the struts. Why are the blankets tied on with lacing cords? Tying the blankets on allows them to be securely attached, while allowing enough room for them to shrink and move as Webb goes through the movements and temperature changes that will occur during its trip from Earth to its home in space, a million miles away. This technique also makes certain that the blankets are secure without using exposed adhesive for attaching the blankets. It’s cleaner for the telescope optics to not use a sticky adhesive nearby their pristine surfaces.
Because the blankets are tied (and also sewn on), team members working on the thermal blankets are one of the most unique groups of people working on Webb. They often have backgrounds that have included tailoring and costume making, prior to work in the aerospace industry.
Credit: NASA/Chris Gunn
When I saw chubbybots Ultimate Killer Croc I knew I had to build it. When I checked Youtube and other sites I was surprised that no one had attempted to build it (btw congrats on 4,4 mln views on Youtube man!).
At first, I also wanted to build one with Killer Croc, but his figure costs a bit too much. However, I found an interesting replacement in the form of the Green Goblin from set 76016. I was also considering using a gold chain (you know, gangster style) and part x64pb01 (String with End Studs) in the form of a necklace with skulls, but I decided that these were too many accessories.
Oh, and part 77078 (Revolver) as fingers.
In addition to slightly changed colors, I added two pieces of 18674 (Tile, Round 2 x 2 with Open Stud) in light blueish gray in the arms to make them stronger.
Overall, the entire figure and the building technique behind it are very cool.
... and fun with flash. This technique lets you create the look of night time. It was actually mid afternoon. I set the camera's white balance to around 3500k which made the whole scene blue. I set one bare flash behind her camera left. Then I set another flash in front of her camera right with a CTO gel on it to correct the color of the subject.
I downloaded a large picture. It should be clear enough to grasp the technique. 4 levers are placed in the visor hole first. Then a half pin is inserted with 2 levers on either side (one lever pointing in the opposite direction). Then a hose head with a minifig hand through it goes into the half pin to keep it securely in place. This hand will not fall apart (not easily at least). Taking it apart is a pain too. I used rigid hose for the thumb and soft hose for the knuckles.
In the darkest deepest oceans, beautiful creatures like Jelly-fish illuminate their surroundings and their environment. However, dont be fooled by their cute looks, they are extremely venomous and fast killers
This is a wall technique adapted from a roof technique. While in this picture it is shown as a horizontally curved wall, it also works vertically. It is made using 1x2s connected to a net. The net is attached to a wall of bricks as well as a platform made of plates.
… or as right as you're going to get them on something that's going to be shown on hundreds of differently calibrated monitors. A lot of people who do color work say that their brightest colors get washed out when Flickr translates them. This is because Flickr unceremoniously strips them of their color profile on all but the original size, and very few browsers pay attention to color profiles anyway.
If you have a recent copy of Photoshop, though, you can brute force your way into your photo looking almost the same on Flickr as it does on your system. This is a more sure-fire mode than even just working in sRGB, the "official" profile of the web because when it comes to digital cameras, there are several different kinds of sRGB.
Under the Edit menu look for "Convert to Profile." Select the sRGB Web profile and then change the intent to "Perceptual." For our purposes, you're caring about how it looks, not absolute numbers for print quality. If you also do work that requires printing your photos in other profiles, it's probably best to save a copy first.
That's it. You're done, and your pictures shouldn't look quite so alien anymore.
UPDATE: I like relative colormetric better than perceptual these days, but either will be a big improvement.