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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.
The watermill Lippholthausen (Schloßmühle Lippholthausen) in the Lippholthausen district of Lünen is a grain mill built in 1760 near the river Lippe. The watermill of the former Buddenburg noble house is a late Baroque half-timbered building, not far from the former Buddenburg Castle.
From the 14th century until 1902, the Buddenburg house was owned by the Frydag family of Buddenburg. The Frydags belong to the very old Westphalian nobles. The family is mentioned for the first time in 1198.
Around 1535, the noble family built a watermill south of Brunnenstraße and opposite Schlossallee. At the former river Henebecke a large millpond was excavated.
Afterwards, the runs of the creek Henebecke, Sadbecke, Wilbecke and Seltenbecke were diverted so that they flowed directly into the new millpond and fed it with water.
After the mill had been completed and put into operation, the farmers in the area of the thirlage "Buddenburg Mahlzwang" had to come to the castle mill to have their grain ground.
Nothing remains of the mill built at the beginning of the 16th century. However, the current mill building already has a considerable number of years on the hump: It was built in 1760 by Wessel Giesbert von Frydag.
In 1903, Haus Buddenburg and the mill were inherited by the Rüxleben family. The latter finally sold the property to the city of Lünen in 1913. Until 1930 grain was ground in the castle mill.
The old mill pond above the castle mill is no longer present, it was filled in 1938 during the construction of the Lippewerk. A loss for trippers, they could sail around on the pond with paddle boats.
Until the end of the 1970s, the House of Buddenburg, which also included the castle mill, stood in the district of Lippholthausen, now part of Lünen.
The Mühlenfreunde Lippholthausen e. V. restored and maintains the mill, which currently serves as an excursion restaurant and can also be used for weddings. It was placed under monument protection in 1985.
Acrylic on canvas 35.75" x 28.75" July 10, 2020 www.saatchiart.com/art/Painting-Schwabstedt/292357/780936...
...and on the horizon lignite power
THE WORLD OF TECHNOLOGY is the topic for 1th - 7th February 2025., Group Our Daily Challenge
There's some irony here, I think, in the way this sign is crumbling and littering the small patch of nature below it...
...taken at the site of a college that focuses its curriculum on environmental sustainability.
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!).
I last photographed the Thames Barrier a little over a year ago, but became inspired to revisit the location after coming across an article about the 1953 North Sea Flood, which overwhelmed British sea defences in the Thames Estuary and led to the deaths of more than 300 people across several counties. It was remarkable to read that the gates protect not only the immediate East London borough against tidal surges, but also the infratructure, underground network and power supplies stretching beyond the O2 Arena, the Docklands and Tower Bridge and all the way to Westminster. In addition to this, the barrier now also needs to contend with the impact of climate change and rising sea levels.
With all of this in mind, my aim with this image was a darker, moodier and altogether more sinister alternative to my last take on the location, capturing the formidable size and scale of the barrier's piers at dusk, but also contrasting the peaceful flow of the Thames and the reassuring glow of the piers' evening lights with the foreboding tones of the evening sky.
The final image is a blend of a dozen exposures captured over two hours, starting with a 90-second exposure as the sun was setting and continuing into the evening, at which point the shutter speed had extended to 12 minutes. My intention all along had been to weight the emphasis on the later exposures, but I knew I would also be using the earlier and brighter exposures to enhance the lighting across the roof of the piers and the tones along the Thames. Having created Pen Tool selections in Photoshop for the barrier's piers, the sky and the river, I blended in portions of each of these exposures using a combination of Soft Light, Lighten, Luminosity, Linear Dodge, Colour Dodge and Screen blend modes. The goal at this stage was to bring out the reflective finish and dimensionality along the tip of the piers, to emphasise the glow of the lights inside the barrier, to produce a clean finish in the concrete at the base of each pier, and to brighten the water and darken the sky. After blending the exposures,
I applied a gentle radial blur to the sky and used Silver Efex Pro to lower its midtone structure and soften its texture, creating a subtle contrast between the piers and their surroundings. I then used Colour Efex Pro to add some minor tonal contrast adjustments, with a gentle Detail Extractor to bring out the gritty nuance in the piers. The final touches were a combination of a Gradient Map to emphasise the chilly evening tones and a Colour Lookup set to Bleach Bypass to desaturate the tip of the piers, which helped to bring out their metallic texture and to add some definition to their background.
The end result involved more planning and attention to detail at both the shooting and editing stages than my previous take, but it hopefully brings out the immense feat of engineering behind the barrier's design, as well as the rock-steady industrial strength of the barrier against a sometimes menacing force of nature, which was the aspect that inspired me to revisit the location in the first place.
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Sunset in the Allgäu and view directed to Germany's highest mountain, Zugspitze, while a regional train passed the scene.
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.
20th March 2015 from Northampton UK. Taken using Camranger technology so I didn't look directly at the sun!
Absolutely love the way this turned out. It's inspired by this concept art from Elysium. Something I've wanted to do for quite a while now. Not quite done yet as I need to add to the interior cargo area and make some actual cargo for it, but I wanted to get this photo before the decals aged or something happened to them. This is also the first time I've been able to get a white background to look good in a long time! XD