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Using photo today to satisfy two challenges.
Macro Monday: Reflections I hope you can tell that these are staples and remover reflected in a mirror.
52 Weeks: SOOC Straight out of Camera...No editing. Just uploaded via LR and into Flicker. I love low-key-type photos, even with my macros.
Using the self-timer function while walking away along the beach at North Myrtle Beach this week. Walking Away #1 can be viewed here; www.flickr.com/photos/40084825@N07/5421835750/
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used the same model as in my last upload, just added a dress to her using transform tool warp ,then used the puppet warp tool to fit the dress to her. hope that makes sense!
Using The Sky Live Online Planetarium and The Photographer's Ephemeris the comet from this location on the BZ Glenwood Highway was supposed to be a couple of degrees above the left (west) flank of Mt Adams. Even though visually and in binoculars the comet was no where to be seen, I took a series of exposures every 5 minutes from 9:35 to 10:20PM anyway. When I got home and reviewed the exposures on the computer I didn't see anything either. All day Saturday I wondered what had gone wrong, was the sky too bright an hour after sunset? Was the comet lost in the layers of smoke? Did I make a mistake with TPE? I'd deliberately over exposed the images a bit in order to minimize noise and have some shadow detail on the mountain and unknowingly the comet was lost in the slightly overexposed sky, until this morning when on a whim I pulled back the highlights and was pleasantly surprised when the comet appeared in a few of the exposures. My expectation had been a much brighter comet with a tail as long as the mountain is high, but it turned out most of the tail was lost in the still too bright sky and I was too close to the mountain making the comet look tiny in comparison. Three 4 sec exposures, f5.6, ISO 200 combined using masks and lighten layer mode in photoshop. Best when viewed in the lightbox. O15168,69,70
“He used often to say there was only one Road; that it was like a great river: its springs were at every doorstep, and every path was its tributary. 'It's a dangerous business, Frodo, going out of your door,' he used to say. 'You step into the Road, and if you don't keep your feet, there is no knowing where you might be swept off to.”
― J.R.R. Tolkien, The Fellowship of the Ring
As I walked up towards this little waterfall below High Shoals I could see this as a place in Middle Earth. It so reminds me of Hobbits and Dwarves.
The critical part of me took over at this point and said, the arching tree would look better if it had more leaves, or was not present at all. And, also that whomever designed the boardwalk must have been an Orc, because all the best images were abused by the limitations its creation imposed.
Enough of the critical me (its the better part of me btw. I'm good, very good, at seeing the faults. I work at seeing the good instead. But, my job is such that I am paid to find the bad and fix, so it limits me. btw, I think I'm good at my job too ;) ) But it was such a pretty little scene. I'm not sure how others will see it, but the little arched tree seemed to frame the falls. I did even break the rules and climbed over the railing and tossed leaves into the little maelstrom on the lower right. There was log there that was too large to move or I'd have moved it. It was also snowing, but none of my images shows the flurries as they fell on us.
No uses mis fotografías en páginas web, blogs, RRSS o cualquier medio de comunicación, sin mi autorización explicita. Si estas interesado en mi trabajo, puedes contactar conmigo en jespor@yahoo.es
Do not use my photographs on websites, blogs, social networks or any media, without my explicit permission. Contact me at jespor@yahoo.es - © All rights reserved.
Enlaces a las distintas RR.SS.:
Instagram ……. www.instagram.com/jesus_portal_photo/
Facebook…….. www.facebook.com/jesus.portal.52
Blog personal… www.jesusportalphoto.blogspot.com.es/
A stanchion fashioned out of a pole embedded in concrete inside a wheel rim. It looks like it is no longer in use. (6496a)
Processed using my Vintage Vogue (Dusky Rose) Lightroom Preset + additional adjustments.
This was taken at number 2 beach in Sierra Leone, Africa. I just love this beach... plan on going there again soon.
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Lady Tori
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Please don't use this image on websites, blogs or other media without my explicit permission.
© ALL RIGHTS RESERVED. Use without permission is illegal.
Being an amateur photographer, I accept gladly also the critical comments to my pictures by the more experienced photographers. I want to know what is good and what is not good in my photos. Feel free to express your opinion on my photos, so you know that you learn from your mistakes. Thank you all for your comments and favorite
Studio equipment used:
1 light source - Elinchrom ELC Pro HD 1000, key light with Indirect Litemotiv 190см light modifier placed left to the model.
2 light sources - Elinchrom ELC Pro HD 500 fill lights with 60х90 Strip Boxes on the right side behind the model.
The whole scene was syncronized with Elinchrome EL Skyport remote used on camera.
White paper background behind the model + foldable V-Flat / black & white (used black side which was placed on the left side behind the model) - approx 1...1,5 meters behind the model.
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Darya only agrees to make fashion style photoshots. She is a professional model, owner of a kids model school and a very positive and open person.
Everytime I'm shooting her, I'm astonished how easy to work with her. There is no need to guide her - she catches straight any ideas and photographer must only give a general explanation on final result, to perform absolutely the best.
The session usually lasts for 2 hours, and some girls starts to repeat their poses after the 1st hour. Darya is so creative and professional, that the time flies with her like a blink of an eye. You start shooting and a moment after, you have 500+ photos on camera, you're happy and know that every second shot is a killer one.
She is the great example of what professional model is capable of. Some photographers say that a good photoshot mostly depends on the skills of photographer. I think opposite and state that 90% of a good portrait depends on a model. In case of Darya it's close to 99.99%.
BACKSTAGE: www.instagram.com/p/CiqFYrJDkM9/
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Md: Darya
Ph & retouch: mine
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Date: September 11, 2022
Camera: Sony a7 iii (ILCE7M3)
Lens: Carl Zeiss Batis 85mm f/1.8
Exposure: 1/200 at f/3.5, 85mm, ISO 100
The photographic location everyone uses ... and with good reason, when visiting the Llangollen Railway, that looking east across the level crossing at Glyndyfrdwy.
The occasion was this year's transport festival when, because of exceedingly dry weather, there was a ban on the use of steam locos. Here two cars of a visiting and beautifully restored Calder Valley DMU, set of in tendem with the railway's own Wickham unit for Langollen in the late afternoon. The Calder Valley units were 6 cylinder Rolls Royce powered and were of higher horsepower than the majority of the DMU genre in view of their intended operating terrain.
The Cincinnati Museum Center at Union Terminal, originally Cincinnati Union Terminal, is a mixed-use complex in the Queensgate neighborhood of Cincinnati, Ohio, United States. Once a major passenger train station, it went into sharp decline during the postwar decline of railroad travel. Most of the building was converted to other uses, and now houses museums, theaters, and a library, as well as special travelling exhibitions. Since 1991, it has been used as a train station once again.
Built in 1933, it is a monumental example of Art Deco architecture, for which it was designated a National Historic Landmark in 1977.
Cincinnati was a major center of railroad traffic in the late 19th and early 20th century, especially as an interchange point between railroads serving the Northeastern and Midwestern states with railroads serving the South. However, intercity passenger traffic was split among no fewer than five stations in Downtown Cincinnati, requiring the many travelers who changed between railroads to navigate local transit themselves. The Louisville and Nashville Railroad, which operated through sleepers with other railroads, was forced to split its operations between two stations. Proposals to construct a union station began as early as the 1890s, and a committee of railroad executives formed in 1912 to begin formal studies on the subject, but a final agreement between all seven railroads that served Cincinnati and the city itself would not come until 1928, after intense lobbying and negotiations, led by Philip Carey Company president George Crabbs. The seven railroads: the Baltimore and Ohio Railroad; the Chesapeake and Ohio Railroad; the Cleveland, Cincinnati, Chicago and St. Louis Railway; the Louisville and Nashville Railroad; the Norfolk and Western Railway; the Pennsylvania Railroad; and the Southern Railway selected a site for their new station in the West End, near the Mill Creek.
The principal architects of the massive building were Alfred T. Fellheimer and Steward Wagner, with architects Paul Philippe Cret and Roland Wank brought in as design consultants; Cret is often credited as the building's architect, as he was responsible for the building's signature Art Deco style. The Rotunda features the largest semi-dome in the western hemisphere, measuring 180 feet (55 m) wide and 106 feet (32 m) high.
The Union Terminal Company was created to build the terminal, railroad lines in and out, and other related transportation improvements. Construction in 1928 with the regrading of the east flood plain of the Mill Creek to a point nearly level with the surrounding city, a massive effort that required 5.5 million cubic yards of landfill. Other improvements included the construction of grade separated viaducts over the Mill Creek and the railroad approaches to Union Terminal. The new viaducts the Union Terminal Company created to cross the Mill Creek valley ranged from the well built, like the Western Hills Viaduct, to the more hastily constructed and shabby, like the Waldvogel Viaduct. Construction on the terminal building itself began in 1931, with Cincinnati mayor Russell Wilson laying the mortar for the cornerstone. Construction was finished ahead of schedule, although the terminal welcomed its first trains even earlier on March 19, 1933 when it was forced into emergency operation due to flooding of the Ohio River. The official opening of the station was on March 31, 1933. The total cost of the project was $41.5 million.
During its heyday as a passenger rail facility, Cincinnati Union Terminal had a capacity of 216 trains per day, 108 in and 108 out. Three concentric lanes of traffic were included in the design of the building, underneath the main rotunda of the building: one for taxis, one for buses, and one (although never used) for streetcars. However, the time period in which the terminal was built was one of decline for train travel. By 1939, local newspapers were already describing the station as a white elephant. While it had a brief revival in the 1940s, because of World War II, it declined in use through the 1950s into the 1960s.
After the creation of Amtrak in 1971, train service at Cincinnati Union Terminal was reduced to just two trains a day, the George Washington and the James Whitcomb Riley. Amtrak abandoned Cincinnati Union Terminal the next year, opening a smaller station elsewhere in the city on October 29, 1972.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Cincinnati_Museum_Center_at_Union_T...
Please don't use my images on websites or any other media without asking for my written permission.
Nelson Mandelabrug is een fiets- en voetgangersbrug uit 1992 van 180 meter lang, die in Zoetermeer het Plein van de Verenigde Naties in de wijk Rokkeveen, ten zuiden van de rijksweg A12, met de Boerhaavelaan in de wijk Driemanspolder ten noorden van de rijksweg verbindt. Hij kruist niet alleen de rijksweg, maar ook twee spoorlijnen en gaat onder het gebouw ‘de poort van Zoetermeer’ door.
Use all my images without my permission is illegal. All Rights Reserved Eleonora S.©
alienorphotographie.tumblr.com/
Model: Marta <3
Ore 18:30. "Vieni, ti porto a vedere un posto! E porta la macchina fotografica!" mi dice.
Lasciamo la macchina sul ciglio della strada. Percorriamo una stradina sterrata. Attraversiamo un campo di alti steli d'erba e..ecco! Una distesa rossa di papaveri che si muovono col vento sotto gli ultimi raggi dorati della giornata.
On air: The secret life of daydreams - Dario Marianelli.
Zanysson - A crabronid wasp. Most of the stinging wasps are fairly badass in aspect, to use a technical term. This one certainly is worthy of a tattoo on someone's chest and was collected by Merle Shepherd from Spring Island along the coast of South Carolina. It is unclear which species this is, but perhaps someone will reveal that to us. The group as a whole are cleptoparasites of other Crabronid wasps.
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All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
Beauty is truth, truth beauty - that is all
Ye know on earth and all ye need to know
" Ode on a Grecian Urn"
John Keats
You can also follow us on Instagram - account = USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
Sunset today no fancy effects used. Due to wildfires in the region there was a lot of haze. Haze can make for some neat sunsets. Seattle, WA 08-02-2017 This one has the tree right where I wanted it.
The cold air bites as a man pauses along a sidewalk and inspects used cars for sale. The car, a 1939 Oldsmobile seems to fancy him. Closest to the camera, is a '36 Pontiac, a '38 Studebaker next to the Olds. Beyond the Olds is a '38 Olds.
By '40, these cars have a few miles on them or, maybe not. Only a few years old by this point, they're trade-ins most likely. But, it's interesting to still see cars of this era in used car lots by the 1950s and early 1960s! The saving grace of these machines is, it didn't break the bank to rebuild a motor, transmission or differential. So, keeping these cars on the road was standard practice by most garages. Today, since cars go for far greater miles, they're "done" by 150,000 or more. It's far too expensive to rebuild anything on a contemporary machine, where as in this generation, it was generally expected. The technology had a lot to do with it as well, not nearly as complex as cars made today.
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries throughout the Second World War.
The Spitfire continued to be used as a front line fighter and in secondary roles into the 1950s. It was produced in greater numbers than any other British aircraft and was the only British fighter in continuous production throughout the war.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith became chief designer. Where speed was seen as essential to carrying out the mission of home defence against enemy bombers, the Spitfire's thin cross-section elliptical wing allowed it a higher top speed than several contemporary fighters, including the Hawker Hurricane.
During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public as the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. The Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes.
After the Battle of Britain, the Spitfire became the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber, carrier-based fighter, and trainer. It was built in many variants, using several wing configurations.
Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 768 kW, it was adaptable enough to use increasingly powerful Merlin and later Rolls-Royce Griffon engines producing up to 1,520 kW.
For the last sixty years, car construction has used 'monocoque' principles whereby the chassis and body are built as one strong shell. All the key components such as engine, axles etc are then attached to the shell - the result is a very strong unit with the ability to model exactly how the vehicle's structure will react to an accident or under different handling conditions.
Unfortunately, it's difficult to do this with a bus. Firstly they're far bigger, and secondly their size makes them prone to bumps and scrapes so it needs to be easy to detach external parts and panels for repair. So historically, buses are made as a chassis and then separate bodywork is built on top of it. In the 21st century more car construction techniques are being used, and many buses are built on 'integral' principles, but in general buses are still made on a less hi-tech, robotic basis than cars.
This is a Leyland Olympian for Greater Manchester Transport, at the Northern Counties Motor & Engineering Company factory at Wigan. GMT owned Northern Counties for a while and regarded it as its 'in house' coachbuilder. Most GMT buses were bodied by Northern Counties.
This bus is nearly finished, and the interior is done - you can see the seats through the windows. The next step will be painting into GMT's brown, orange and white colour scheme. The white exterior parts you can see on the bus are fibreglass, while the silver parts are the aluminium panels that are riveted to a strong frame.
One of these buses, GMT bus number 3065, is restored and on display at the Museum of Transport Greater Manchester.If you'd like to know more about the Museum of Transport Greater Manchester and its collection of vintage buses, go to www.gmts.co.uk.
© Greater Manchester Transport Society. All rights reserved. Unauthorised reproduction is strictly prohibited and may result in action being taken to protect the intellectual property interests of the Society.
We pass through Billings, Montana on my Pan-American Trek using Google Street View.
Used Cameras, Billings, Montana. Wouldn't you love to see what they've got?
This image may not be used in any way without prior permission
© All rights reserved 2018
Mount Hope, Ontario, Canada
John C. Munro Hamilton International Airport CYHM
VP-BAT
Boeing 747SP
Peerless lorry, static hand crane and a horse drawn waggon used at the clay works.
Camera: Contax 139 + Carl Zeiss f2.8 28mm Distagon lens
For more 35mm Archive Images of Wheal Martyn please click here: www.jhluxton.com/The-35mm-Film-Archive/China-Clay-Industr...
Wheal Martyn Trust was established as a charity in 1975 by the producers of china clay in Cornwall to preserve and record the history of the west country china clay industry. The site is situated alongside the St. Austell river in a valley which contained several china clay works, including the Gomm Works and Wheal Martyn Works which today form the museum.
The Wheal Martyn museum site incorporates two former china clay works – the Gomm Works and Wheal Martyn Works. The Gomm Works were leased by the Martyn Brothers from the Mount Edgcumbe Estate in about 1878 and were worked until the 1920s. The Wheal Martyn china clay works began working much earlier, in the 1820s. They were started by Elias Martyn on the Carthew Estate, and bought by his father Richard in 1790. Elias became one of the major clay producers in Cornwall. In the 1840s he operated 5 pits and by 1869 was producing 2000 tons of clay a year at Wheal Martyn. After Elias’ death in 1872 the family kept the land at Carthew but his son Richard Uriah Martyn closed down or leased the works to other operators. In the 1880s John Lovering took on the lease at Wheal Martyn. Wheal Martyn pit worked until the effects of poor trade forced its closure in 1931. The Dry continued to operate until 1969, working lower grade clay from pits further up the valley. Wheal Martyn Pit reopened in 1971 and is today operated by Imerys Minerals Ltd.
The Pan Kiln and linney which comprises the main building of the museum complex.
For more 35mm Archive Images of Wheal Martyn please click here: www.jhluxton.com/The-35mm-Film-Archive/China-Clay-Industr...
Wheal Martyn Trust was established as a charity in 1975 by the producers of china clay in Cornwall to preserve and record the history of the west country china clay industry. The site is situated alongside the St. Austell river in a valley which contained several china clay works, including the Gomm Works and Wheal Martyn Works which today form the museum.
The Wheal Martyn museum site incorporates two former china clay works – the Gomm Works and Wheal Martyn Works. The Gomm Works were leased by the Martyn Brothers from the Mount Edgcumbe Estate in about 1878 and were worked until the 1920s. The Wheal Martyn china clay works began working much earlier, in the 1820s. They were started by Elias Martyn on the Carthew Estate, and bought by his father Richard in 1790. Elias became one of the major clay producers in Cornwall. In the 1840s he operated 5 pits and by 1869 was producing 2000 tons of clay a year at Wheal Martyn. After Elias’ death in 1872 the family kept the land at Carthew but his son Richard Uriah Martyn closed down or leased the works to other operators. In the 1880s John Lovering took on the lease at Wheal Martyn. Wheal Martyn pit worked until the effects of poor trade forced its closure in 1931. The Dry continued to operate until 1969, working lower grade clay from pits further up the valley. Wheal Martyn Pit reopened in 1971 and is today operated by Imerys Minerals Ltd.
We thought this looked like a bakers oven and the Burn looked like a loaf what do you think ?
Hence Use your Loaf
CameraNikon D7000
Exposure24
Aperturef/7.1
Focal Length12 mm
ISO Speed100
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Using the Christmas tree lights for some bokeh, I am holding the iPhone and the rest of the gang standing behind me.
Salamander elite pilots use the Nautilus SP-350 as a deep sea exploration submarine ship. Its technology is based on the close observation of cephalopods in general, and the Chambered Nautilus in particular.
The right balance between swift movement (both activated by propellers and jet propulsion), an assortment of visual, chemical and gravity sensors, and high camouflage skills makes it the perfect vehicle for inconspicuous observation of the deep sea biomes.
Pilots often take pride in decorating their own machine with rare customized parts made of copper and gold, coral powder and opal moonstones.
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This is my very first attempt at building a ship slash mollusk, or any type of vehicle for that matter, out of Lego.
Its name and inspiration actually comes from the sea creature more than the famous fictional Jules Verne's submarine, although the steampunk background was definitely in my mind while building it.
It's been great fun getting accustomed to this new logic and finding new solutions to new problems. Being able to hold the model in my hands while building it was pretty neat too. And the use of a minimal number of parts is both exciting, because it's a fast building pace, and stressing because you can't rely on mass to cover mistakes.
I'll definitely try my hands at another ship model soon, and try to make those damned canopy gaps disappear.
The model sits on a stand from which it can be lifted, and can be swooshed if need be.
Very curious to know what you think of this thing! - Cheers