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Strobist note:
primary flash under a white plastic box command by light trigger.
secondary flash on camera.
N° 881
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Bonnington, Kent.
St. Rumwold's Church and Type FW3/22 Pillbox on the northern bank of the Royal Military Canal.
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Ogliatsra is a little beautiful district in Sardinia….. it is magical!!!!
Come with me to take a walk in Ogliastra looking this short slideshow:
www.youtube.com/user/sante59marino?feature=mhum
And if you want swing into the Ogliastra water came with me to visit Cala Mariolu:
www.youtube.com/user/sante59marino?feature=mhum#p/u/0/i1s...
Una storia d’amore iniziata otto anni fa….. una storia d’amore con una terra ricca di magia…..
Siamo approdati in Ogliastra per caso, navigando verso sud senza meta, Sicilia o Tunisia….
Le scogliere selvagge del golfo di Orosei ci hanno lasciato senza fiato…. Arrivare a Cala Golortzè senza averla mai vista prima ci ha conquistato e catturato per sempre….
Non solo un mare stupendo….
Una terra magica e ricca di energia positiva…. Passeggiare per i sentieri del Golgo ti fa sentire legato e arricchito dalla natura che ti avvolge…. I nuraghi le domus de janas entrano in te nel silenzio intenso rotto solo dal canto del vento….
Queste montagne rosa, non hanno niente da invidiare alle Dolomiti…… il loro riflesso in questo mare turchese te ne fa innamorare perdutamente.
Ormai sono anni che navighiamo lungo le coste di Capo di Monte Santu e non smettiamo mai di restare in silenzio ad ascoltare il grido dei falchi pescatori fondersi con la risacca….
E poi il popolo dell’Ogliastra… così orgoglioso e riservato… così pronto ad accogliere chi arriva qui con lo spirito giusto…..
vieni a fare una passeggiata in Ogliastra in questo breve slideshow accompagnato dalla musica di Maria Giovanna Cherchi
THE ANCIENT LANGUAGE OF SOUNDS AND SIGNS
April 27th, 2010
@ Mobius
725 Harrison Avenue, Suite One
Boston MA 02118
Dancers:
Olivier Besson
Ellen Godena www.mobius.org/user/27
Liz Roncka www.myspace.com/realtimeperformance
Musicians:
Haggai Cohen Milo (bass) www.myspace.com/jatul
Amir Milstein (flute)
Jamey Haddad (percussion) www.jameyhaddadmusic.com
A very special evening of improvised music and dance featuring musicians Haggai Cohen Milo (bass) and Amir Milstein (flute) and movement artists Olivier Besson, Ellen Godena and Liz Roncka.
ARTIST BIOS
Olivier Besson - Movement Artist - is an improvisational movement artist who hails from France and is based in Boston. In the period from 1980 until the mid 90's, Olivier studied Contact Improvisation with Robin Feld, Nancy Stark Smith, Lisa Nelson and Andrew Harwood, and Improvisation / Real Time composition with Daniel Lepkoff and Julyen Hamilton. During that time, he also practiced and performed Bugaku (Court dance from Japan) with Arawana Hayashi. Other training includes Butoh with Maureen Feming and Action Theater with Ruth Zaporah.
Most notably, Olivier’s work has been presented: *in the US - at Dance Theatre Workshop (NYC), Judson Church (NYC), New York Improvisation festival, Walker Art Centre (Minneapolis), Boston Dance Umbrella, Florida Dance Festival, Dance Place (Washington DC), The Boston Conservatory, Boston University, Radford University (Virginia), *and internationally - at the National Institute of the Arts (Taipei, Taiwan), Die Pratze (Tokyo), Art of Movement Festival (Yaroslav, Russia), Micadanses (Paris) and with Compagnie Vertige (Nice, France). He has collaborated with many individuals including Chris Aiken, Lisa Schmidt, Debra Bluth, Ming-Shen Ku, Pamela Newell, Toshiko Oiwa and musicians/composers Mike Vargas, Peter Jones, Jane Wang and Grant Smith. Locally, he has guest danced for Dawn Kramer, Micki Taylor-Pinney and Diane Noya. His ongoing performance projects involve collaborations with Liz Roncka in Boston and Emmanuelle Pepin in Nice (France) .
Olivier is currently on faculty at The Boston Conservatory (dance division). He has been on faculty at Canal Danse (Paris), the French National Circus School (CNAC), Bates Dance Festival, Emerson College and the School of Fine Arts at Boston Universtity. He has taught residencies at the National Institute of the Arts (Taipei, Taiwan), Le Centre Choregraphique de Danse / Daniel Larieu (Tours, France), the University of Minnesota, and Radford University (Virginia). He has also taught masterclasses for teen / pre-teen programs at Walnut Hill, Cambridge School of Weston, Jeanette Neil Dance Studios, Brookline High and Cambridge Rindge and Latin.
Haggai Cohen Milo - At the young age of 25, bass player and composer Haggai Cohen Milo is already a known name in the international music scene. Mr. Cohen Milo, currently operating from Berkeley, CA, brings exotic flavors to his music from his native middle east country, Israel. In both his compositions and in his playing, there is a contemporary mix of sound between East and West. His group the Secret Music Project, that features his personal musical sound and vision, has performed in some of the most important festivals around the world including the Aspen Music Festival, the Atlantic Jazz Festival (Canada), Boston First Night and many more.
Mr. Cohen-Milo first gained international recognition when he won the First Prize in the International Ensemble Competition in Belgium 2006. In the same year, Cohen Milo was also awarded the DownBeat Magazine Music Awards and the grand prize at the Fish Middleton Jazz Soloist Competition held in Washington, DC.
As a Composer, Cohen Milo has composed the score for two full enough feature films, Intimate Enemies (2008), by the internationally known Mexican director Fernando Sariñana and SPAM (2009) by the director Charlie Gore. Cohen Milo released his debut album in January 2007 under the prestigious record label “Fresh Sound - New Talent”. The album received enthusiastic reviews in the US and in Europe. Cohen Milo also recorded with different artists for Warner Music, Sunnyside Records and more.
With a fast growing touring career, Cohen Milo has already performed on some of the most important stages around the world, including Carnegie Hall and Birdland (New York), Getxo International Jazz Festival (Spain), The Jazz Station (Belgium) and Rome Music Festival (Italy), to name a few.
Cohen Milo graduated in 2009 from the prestigious New England Conservatory of Music in Boston where he studied with such masters as Danilo Perez, Bob Moses, Jamey Hadad and Jerry Bergonzi.
"... Haggai Cohen Milo revealed over a set of ridiculously infectious music that he's in the soul restoration business. Yessiree. He is!" (Graham Pilsworth, "The Coast", Canada)
Amir Milstein - Flutist and composer - is a graduate of the "Rubin Academy of Music" in Jerusalem (B.M. in jazz and classical flute), and the New England Conservatory (Masters degree in music performance, 2010) Amir established his career in the world-music scene founding acknowledged ensembles such as Bustan Abraham and Tucan Trio with which he has recorded and performed worldwide.
His musical background represents a variety of styles and cultures including classical, jazz, Mediterranean and Latin. He has collaborated with artists such as Zakir Hussein, Tito Puente, Ross Daly, Omar Farouk Tekbilek and Armando Macedo, among others and has participated in distinguished concert venues and festivals, both as a player and a composer.
He has collaborated with several choreographers, with whom he has composed for modern and flamenco dance groups and has composed and recorded several film scores. (His recent work on the documentary film "The Case for Israel- Democracy's Outpost" is currently presented at film festivals worldwide). Amir played in musical shows in the Israeli television and has collaborated and recorded numerous albums with Israel's leading artists, such as Matti Caspi, Shlomo Gronich, Gidi Gov, Miki Gavrielov, Leah Shabbat, and many others.
With over twenty years of experience teaching flute, recorders and music theory, Amir developed a unique musical education program and has instructed at the "Karev Music Educational Program" in Israel. He currently teaches at the New England Conservatory, Boston, and has lectured and presented workshops at music schools such as the Berklee College of music, Boston and Berkeley University, CA. Before moving to Boston, in 2004 Amir was also a faculty member at the "Hed College of Contemporary Music" in Tel Aviv, Israel. Amir presents an interactive workshop for schools and colleges called: "A World of Flutes"- Introducing the evolution of woodwinds through live music, stories, and a demonstration of over 80 musical instruments.
Ellen Godena - Movement Artist - is an experimental performer, choreographer, and Mobius Artists Group member. Her recent work has focused on the relationships between human, non-human (organic), and machine (non-organic) movement as a method for studying human development. Recent solo and collaborative works have been quests to define these relationships through the use of primitive, robotic entities in performance.
Ellen’s training, artistic influences and inspiration derive from the study of Japanese avant-garde movement and theater forms that have developed since the early 1960’s, primarily the butoh dances created by Japanese artists Kazuo Ohno and Tatsumi Hijikata, physical theater, and contemporary dance. Since 1998, she has performed solo, group, and ensemble work in Boston, Philadelphia, Providence, and New York City. She was a former dancer with the Boston-based Kitsune Dance Theater (2003-06) under the direction of Deborah Butler, and the NYC post-modern butoh troupe, the Vangeline Theater (2006-08) under the direction of Vangeline. She has performed with Master butoh artist Katsura Kan (Curious Fish, 2002, 2008), and has studied with internationally recognized artists such as Zack Fuller, Hiroko Tamano, Su-En, Diego Pinon, and Katsura Kan. Her primary, long-term training has been with American artists Deborah Butler, Vangeline, and Jennifer Hicks. Currently, Ellen is presenting solo robotics – movement projects in addition to performing regularly with Liz Roncka's Real-Time Performance Project in Boston, MA. She holds a Bachelor of Fine Arts degree from the Rhode Island School of Design in Studio Painting (1997), and a Master's degree in Human Development and Psychology from Harvard University (2005).
Liz Roncka - Movement Artist - is an avid practitioner of movement improvisation and contemporary dance. She is the director of lizroncka/Real-Time Performance Project,a Mobius Artists Group member and a collaborating artist with Emma Jupe, a Paris-based improvisation collective. Her work has been presented in Boston, NYC, San Francisco, Budapest and Paris.
Liz's early training was in the tradition of classical ballet at the School of the New Bedford Ballet. In college, Liz’s focus shifted toward contemporary dance and improvisation. She was a member of the Dance Collective of Boston from 1998-2005. Liz has had the pleasure of performing modern dance and improvisational work under the direction of: Ramelle Adams, Emily Beattie, Ruth Benson-Levin, Debra Bluth, Alissa Cardone, Sean Curran,Ellen Godena, Andrew Harwood, Michael Jahoda/White Box Project, Dawn Kramer, Light Motion, Karen Murphy-Fitch and Micki Taylor-Pinney.
Much of Liz's work is developed in deep collaboration with sound artists, most notably Jane Wang, Haggai Cohen Milo, Jessyka Luzzi, Sean Frenette and Akili Jamal Haynes. Current projects include an improvisational duo with Forbes Graham (trumpet) and an collaboration with Philippe Lejeune (visual artist) developing a movement piece within a glass installation exploring the intersection of reality and reflected images. For more information please see:
www.dailydanceproject.blogspot.com
/Users/wernerkeifer/Documents/Biblioteca Fotos.photoslibrary/resources/proxies/derivatives/29/01/1297a/cu1oaAzdSVi6l0AxZbDiRA_thumb_1297a.jpg
Quick sketch over coffee considering a different approach to displaying user research...
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These photographs are presented here for viewing purposes ONLY. They are NOT royalty free images and may not be used for commercial or private use. Any such use of these images is strictly prohibited. Specifically, these images may not be copied, manipulated, be reproduced by any other means nor sold without prior written consent by the author.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
See my videos! www.youtube.com/user/844steamtrain
prrt1steamlocomotivetrust.org/ - Please help fund the T-1 Trust! They are a wonderful organization, building an advanced new 4-4-4-4 T-1 steam locomotive from scratch!
One of the most viewed, recommended and relevant UP 4014 Big Boy videos on Flickr! This is a photo about a very simple way to help the T-1 Trust! If any of you have footage of UP 4014 on Youtube, you can add cards and end screens to your videos with T-1 Trust material in them. That way, anyone who watches your videos, will see the T-1 Trust material as well! I have applied this to most of my videos, especially ones that get the most views. :)
If you enjoy my videos, feel free to like, share and thanks for watching!
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw recently!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
Tableau réalisé dans le cadre d'un projet professionnel. Regroupes les différentes autorisations en fonction du type d'utilisateur Wordpress
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw last Monday!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
These are user friendly (not specific usage). If you want to see what I did with them, just check out them out on my flickr.
user report with the Fuji X-e2 here www.mikekobal.com/blog/?p=9648
and here
This is my latest model, which happens to be based off set 3829, Fire Nation Ship from a decade ago. (2006) The model has been elongated to 97 studs long, while being made to be 25 bricks in height and 14 studs in width.
The ship now has three turrets with three barrels each that can elevate up and down or rotate left to right.
The vessel features modular functionality with regards to the bridge deck and it's roof with attached smokestack. The lower section is the war room with tables, while the upper floor is the bridge with wheel and nautical telegraph.
The ship belongs to High Lord Vladimir Ogel, but is being loaned, along with a considerable land force, to Sam Sinister and his allies to find treasures throughout the globe.
LDD file: www.moc-pages.com/user_images/80135/1460938765m.lxf
flickriver.com/photos/javier1949/popular-interesting/
3TTMAN (Louis Lambert) "La Chutte" (La Caída) calle Marcelo Usera 168.
El autor comenta: después de 7 días de trabajo, probablemente no sea la pared me siento más orgulloso en términos de significado pero era un desafío. Cada forma en que el mural es enorme y el tiempo no ha colaborado durante su realización. De todos modos, estoy supercontento de haberlo hecho. Como el título lo indica, se trata de la caída de la criatura / civilización. Podrían ser terrestre o podrían ser dios, pero que están cayendo sonriendo ... "L'importante pas c'est la chutte; c'est l'atterrissage. No podría haberlo hecho sin la ayuda de Don Andrea Pancaldi.
3ttman.com/site/2014/12/15/la-chute/ 3ttman.com/site/ www.delimbo.com/expos-artistas/3ttman/
Paisaje Sur. Plan de Mejora del Paisaje Urbano en Usera y Villaverde
Artistas de vanguardia decoran las fachadas, muros y otras zonas con “graffitis” de diseño
Un experimento sociológico en Nueva York instaló dos coches en barrios muy diferentes de esta ciudad: el suburbial Bronx, y el bohemio y elegante Village. A ambos vehículos se les rompieron las ventanillas. El que se colocó en el Bronx, a las 24 horas había sido vandalizado y estaba destrozado. El del Village, lo mismo. “Cuando un espacio está degenerado, esa sensación se contagia, y se acelera la degradación”, concluye el concejal de Las Artes, Pedro Corral. Precisamente para evitar este efecto, se han elegido los distritos de Usera y Villaverde para la segunda experiencia de Mejora del Paisaje Urbano en la capital, un experimento que lleva el arte urbano más vanguardista a las zonas degradadas de los distritos periféricos. La idea es convertir lo que hasta ahora era un espacio abandonado –una tapia de un solar, una fachada, un muro medianero entre bloques...– en una referencia artística para los vecinos. Lo hacen contando con éstos, con artistas vinculados a los barrios y de renombre en el panorama del arte urbano. Con sus creaciones, dan una nueva vida a lugares que están abandonados, sin uso o que el tiempo ha deteriorado. Les dotan de una nueva personalidad, y en función del artista y de la inspiración del lugar, pueden llegar a transformar una plaza, un solar o una medianería sin aparente gracia en un rincón lleno de arte, y convertir las calles en auténticos museos al aire libre.
Este plan, desarrollado por la Dirección General de Patrimonio Cultural y Calidad del Paisaje Urbano del Ayuntamiento de Madrid, se enmarca en las líneas estratégicas encaminadas al fomento de la creatividad, la participación pública, la colaboración con los distritos y la difusión del paisaje urbano.
Paisaje Sur engloba un conjunto de actuaciones en Usera y Villaverde, tras el éxito del proyecto piloto en el distrito de Tetuán. Las acciones incluyen intervenciones sobre muros deteriorados, en plazas duras y la mejora y acondicionamiento de huertos urbanos. Participan artistas y colectivos, organizaciones ciudadanas, agentes culturales, económicos y sociales de los barrios, en coordinación con las Juntas Municipales de distrito. Los espacios y el tipo de intervenciones se han decidido tras analizar las necesidades de cada distrito así como los posibles ámbitos de actuación del proyecto. Además se ha contactado con el tejido asociativo y vecinal de los diferentes espacios a intervenir para involucrar a los vecinos en esta "puesta en valor" de sus barrios.
Entre las intervenciones, se encuentran murales realizados por creadores y colectivos de artistas radicados en el distrito. También se han acondicionado espacios o solares con huertos urbanos ya creados por los vecinos, con la intención de mejorar sus infraestructuras y dar apoyo a sus usuarios. Asimismo, se van a realizar acciones sobre plazas duras, mediante la creación de infraestructuras y espacios culturales portátiles demandados por los vecinos en plazas con poco uso para su gestión ciudadana. Se organizan, además, charlas con los vecinos para explicarles las acciones y se han nombrado coordinadores vecinales para que, como agentes sociales con conocimiento del contexto social y cultural, coordinen y difundan el proyecto dentro de cada uno de los barrios a través de visitas guiadas.
Estos proyectos se están llevando a cabo de la mano de Intermediae-Matadero Madrid, que han contado con Basurama, PEC, Todo por la Praxis, Zuloark, Las Ciento Volando, Jóvenes Creadores de Villaverde, Cruz Roja de Villaverde, Asociación Vecinal La Incolora de Villaverde, Servicio de Dinamización de Espacios Públicos de la Asociación La Rueca, Asociación de Vecinos Zofío de Usera, Sala Kubik Fabril y Espacio Oculto. Además han participado destacados artistas como LAGUNA, 3TTMAN, SUE, SPOCK y DOSJOTAS en el distrito de Usera; y LIQEN, ESCIF, SAM3, ARYZ y E1000 en el distrito de Villaverde.
Durante el año 2014, se han realizado doce de estas intervenciones en varias localizaciones diferentes
I got the idea today that there had to be a way to make the 540EZ more user friendly than what it currently is. Anyone familiar with using the 540EZ as an off-camera flash will understand my frustration. My current setup requires a the use of a hot shoe adapter to trigger the 540EZ with the Pocket Wizards. Sure enough, a quick search on Flickr revealed that this mod had already been successfully completed and well documented. What I found interesting was that most of the mods completed made use of a miniphone socket. Instead of having to go out and purchase a couple of miniphone sockets and cables, I ripped apart the adapters that I had been using and installed the PC cable socket directly onto the 540EZ.
Mod Details - Read photos left to right
1st Photo:
A product shot of the Canon 540EZ speedlite prior to the modification
2nd Photo:
Remove the "shoe unit" from the "main speedlite body" by removing the four small phillips head screws.
3rd Photo:
With the 4 screws removed you will find that you need to release 3 connections. I found it helpful to remove the main front panel to remove the 3 connections. To remove the front panel, you will need to remove 2 phillips screws where the "flash head" connects to the "main speedlite body".
4th Photo:
"shoe unit" separated from "main speedlite body"
5th Photo:
Remove the "AF LED"
6th Photo:
Remove the "Power Connector"
7th Photo:
Drill a hole in the rear of the "shoe unit" case the same size as the PC cable socket. Make sure you drill the hole either to the left or right of center. This will prevent you from blocking access to the hot shoe contacts when you go to solder the connections. Solder the center of the PC cable socket to the hot shoe contact with the red wire and the grounding to the contact with the blue wire.
8th Photo:
Another view of photo 7.
9th Photo:
Before and after shot.
Strobist Info:
580EX II CL @ 1/64th Power
540EZ CR @1/64th Power