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Something is going wrong when the camera with its impressive algorithms and countless AF options forces itself into the centre and, hence, between photographer and object. Ideally, I would think, we photographers ought to use the camera as if it was not there. Just focussing on the composition and the 'essence' of the object and having the settings run in the background. I am not advocating 'point and shoot', I am saying that a camera should be built in such a way that we can 'forget' about it and focus on taking the picture. I think my older cameras do that. My newer ones are much more sophisticated and what they are increasingly trying to do is take over decisions I could make myself. What is my reaction? Number one, I prefer using my older cameras. And two, when using my sophisticated ones, I turn off a lot of their computer-powered procedures. I wonder what you think.
Two brass fasteners. These were once common place and used to hold together sheets of hole-punched paper.
Focus stack (25 images) Shot with two off-camera strobes (Leica SF 60/Leica SF C1 trigger) . Flash A modified with MagMod MagGrid, camera right 30 degrees above subject. Flash B mounted on boom, positioned above and in front of subject, angled at 45 degrees, modified with 32 inch white umbrella.
The biggest security risk in any system is the user.
"Hundreds of Westminster insiders were added to - and then deleted from - a WhatsApp group set up by shadow justice secretary Robert Jenrick to promote his London Marathon run".
In this day and age there should be minimum level of competence with technology to gain access to any position of power or trust, (especially after the U.S "signal app" fiasco).
(As we old techies used to say the problem is "BTKAC" between the keyboard and chair).
The BBC has been told Jenrick is not referring himself to the Information Commissioner's Office (ICO), which investigates data breaches. (What a surprise!).
Minolta X-700 Minolta 50mm 1:3.5 MC Macro Celtic 1:1 Extension Adox HR-50 LegacyPro EcoPro 1:1 05/04/2024
Sitting on the window-sill and enjoying the low afternoon sun. Illuminated and in sharp focus is the "good" eye, the one I use for photography. The other one plays second fiddle. However, none of them was really involved in taking this self-portrait. It was the artificial eye of the camera in connection with a clever algorithm (automatic eye recognition) that kicked in when I pressed the shutter release (via a long cable). This is one of the situations where camera technology enables me to do things with ease that, if done manually, would have been quite difficult to achieve.
Katherine Brown talking about her use of the Moodle Lesson tool in teaching.
WCELfest08, University of Waikato, December 11, 2008
The ministry of time
Chapter II: The Mystery of the Incubators
The style card and credits here
Sam found himself alone in the laboratory, the dim lights flickering intermittently over the equipment. A bottle of beer was within his reach as he immersed himself in his thoughts. Recently, an unusual event had shaken his scientific world: the disappearance of a body from the incubators. This act not only defied the laws but also raised serious questions about the integrity of the timeline.
As the golden liquid flowed down his throat, Sam pondered the possible devastating consequences that this incident could unleash. What effect would it have on historical evolution? How would it alter temporal continuity? These questions haunted him, filling his mind with unease and concern.
An even more alarming idea seized his thoughts: Who could have orchestrated this act and for what purpose? Time travel technology was heavily regulated, its illegal use a serious offense. Only a few would have access to it, and none of them would have noble motives to carry out such an action.
As Sam delved into his reflections, a determination grew within him: he must uncover the truth behind this enigma. Not only for the sake of the scientific community and temporal stability but also for his insatiable thirst for knowledge. With determination in his gaze, he promised himself that he would not rest until he found answers and ensured that temporal integrity remained intact.
With the collaboration from:
BIRTH / *Birth* 'Valor' Lelutka EvoX BOM @ UBER EVENT
CHRIS TWO DESIGN / Cyber VR Headset Y.2077 @ in main store
TANAKA /[TNK] GAMER MINI-FRIDGE @ GOTHCORE event
KOKOS-EARRING ROKITI-Gauged XL/S @ menselected
KOKOS-HUD-EARRING ROKITI-Gauged XL Ears(EXTRA) @ menselected
SAM KOKOS- HAIRBASE SAM-EVOX @ GROUP GIFT
[LOB] SPACEX SET @ in main store now
Synnergy.Tavis/Cryo Chamber [360] Backdrop @ Easter offer
I was visiting a small museum (not a store) of movie & television vintage props & related equipment, etc. This NBC Studios fresnel light (from the 1950’s & 60’s & probably later) was, most likely. used on the Johnny Carson "Tonight" Show & a few others, from that time period. The multi-faceted & ringed fresnel lens in this light is widely used in movies & television as an accurate & adjustable light source. Much larger fresnel lenses were also used in lighthouses & could be seen for very great distances.
“The difference between technology and slavery is slaves are fully aware they are not free”
Nassim Nicholas Taleb
Inquiring about the buildings which look like 'half a building' we were informed, "these were the slave quarters.' While slavery wasn't the first thing we thought about while absorbing NOLAs fine sense of heritage and hospitality, when you become calibrated to it, it is hard not to think of elephants in the room.
French Quarter New Orleans