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Using a heckload of the blue parts I got from Disty.
So this is my self-MOC, or self-mech, should I say. I'm not too crazy on the simple design of the legs, but they work. I'm quite proud of the flag and gun design (illegal connections!) and this is also my first mech-ish build.
C&C appreciated :)
Originally built for use as a battery or overhead Electric locomotive and later converted for battery operation only this locomotive was built in December 1944 and delivered to Upper Boat Power Station in South Wales. The locomotive was built by Baguley of Burton under contract from English Electric. The locomotive later went to Back o'th Bank Power Station in Bolton. The loco is now at the Manchester Museum of Science and Technology and had a new set of batteries in 2012 at a cost of £12,000
Edited using Topaz Denoise. Use the link below and save 15%. I HIGHLY recommend this product for noise reduction!
topazlabs.refr.cc/HCphotography
See a video demo here: www.youtube.com/watch?v=cbG0KgXPfOo&t=11s
Photos and workshops on my website: www.harrycollinsphoto.com
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Quidam
Quidam ha debuttato sotto il tendone ad aprile 1996 a Montreal. Da allora, la produzione ha visitato cinque continenti ed ha emozionato milioni di persone. Nel dicembre 2010, Quidam ha intrapreso un nuovo viaggio, presentare la stessa entusiasmante produzione nei palazzetti, partendo dal Nord America. Il cast internazionale comprende 45 acrobati, musicisti, cantanti e artisti di prima classe.
La giovane Zoé è annoiata; i suoi genitori, distanti e apatici, la ignorano. La sua vita ha perso qualsiasi significato. Cercando di riempire il vuoto della sua esistenza, scivola in un mondo immaginario - il mondo di Quidam - dove incontra dei personaggi che la incoraggiano a liberare la sua anima.
Cirque du Soleil
Dai circa 20 artisti di strada di cui la compagnia era formata al suo inizio nel 1984, il Cirque du Soleil, basato in Quebec, è oggi la società leader nel settore dell’entertainment. Il gruppo conta 4.000 lavoratori, di cui oltre 1.200 artisti di oltre 50 nazionalità diverse.
Cast
The cast of Quidam has over 50 acrobats, musicians, singers, and characters, some of which are detailed below.
Zoé: She is the principal character in Quidam. Although average in nature, she longs for excitement.
Father: Completely, though unwittingly, self-absorbed. His white shoes are the only indication of a hidden personality.
Mother: Conveys an air of absence and alienation. Inside her lie fear, frustration, and desire.
Quidam: The show's titular character, who is anonymous, everyone, and no one. He may have stepped out of a surrealist painting or been conjured up out of Zoé's imagination.
John: Part game-show host and part substitute teacher who is the guide through the world of Quidam. Also is represented as a father figure to Zoé hence him stepping into her father's shoes.
Target: A living human bullseye fired at by everyone but is always smiling.
Chiennes Blanches: The silent chorus, the nameless and the faceless, the dehumanized, mechanical crowd, simultaneously leading and following. They also accompany the principal characters as they make their entrances and exits.
Boum-Boum: Enjoys screaming at the audience and walking away proudly, but will run away if an audience member screams back.
Rabbit: A minor character who chases and gets chased by other characters.
Aviator: A character who has skeletal wings who looks like he is not ready to take off.
Les Égarés: Lost individuals who gather together in the streets and abandoned buildings of Quidam. They perform in the banquine act.
Acts
Quidam combines a mix of acrobatic skills and traditional circus acts.
German Wheel: An acrobat performs tricks within a German wheel.
Diabolo: A performer manipulates diabolos (i.e., Chinese yo-yo), which are two sticks linked by a string on which a wooden spool balances.
Aerial contortion in silk: Intensity, power and grace combine when a young woman becomes one with the column of red fabric which supports and cradles her.
Skipping ropes: Drawing inspiration from dance, acrobatics, and the art of manipulation, a group of 20 acrobats performs this familiar child's game in a steady stream of solo, duo, and group jumps and figures.
Aerial hoops: Two performers use hoops attached to the ceiling to perform tricks.
Handbalancing: Using strength and balance, a performer contorts into poses while on balancing canes.
Spanish webs: Artists fly over the stage, attached to trolleys on the overhead tracks. In turn or as a group, they occasionally perform a sudden drop, stopped only by the ropes looped around their waists or ankles.
Statue: Never losing contact, two strong, flexible performers move almost imperceptibly, assuming positions impossible without an impeccable sense of balance.
Banquine: An Italian acrobatic tradition going back to the Middle Ages that combines gymnastics and ballet. Showcasing the agility of the human body, up to 15 artists perform sequences of feats and human pyramids with their perfectly synchronized movements.
Juggling: Up to five balls fly through the air, with additional manipulation of a briefcase, umbrella, and bowler hat.
Absolutely no use of TurnAround_2048 photographs without prior written permission.
Member: Pinoy Bus Fanatic (PBF)
Basic Details:
Line: NAFTI Transport, Corp.
Fleet No.: 130
License Plate No.: (hidden)
Coachbuilder: Del Monte Motor Works, Inc.
Model: Aero Adamant
Route of operation: FTI Complex, Taguig City - Navotas City
Seating configuration/capacity: 3x2 / 58
Location: FTI Complex / Arca South Terminal, Brgy. Western Bicutan, Taguig City
Date: 2016-02-08
Engine:
Engine Manufacturer: Guangxi Yuchai Machinery Co., Ltd.
Engine Type: YC6A240-20
Number of Cylinders & Arrangement: 6, Inline
Displacement, cc: ?
Power Output:
> In bhp: 236.71
> In PS: 240.00
> In kW: 176.52
Chassis:
Chassis Manufacturer: Dongfeng Motor Co.
Chassis Type: ?
Chassis Length: 11.xx m
Transmission:
Method: Manual Transmission
Nr. of Gears:
> Forward: 6
> Reverse: 1
Notes:
1) Specifications are subject to change without prior notice.
2) The license plate of the bus concerned was blurred to prevent any conflict.
3) I have taken this photo for the enjoyment of anyone interested in buses.
4) For any corrections, comment it.
5) Violent and personal comments will be deleted without any notice. Personal comments should be in FlickrMail, not in the comments. I don't want my reputation be ruined.
Day 2 of The Indy KA500 and After a Fantastic First Day of Racing and Celebrations now is where the Real Hard Work Begins as The Entire Field of 46 KA'S were in the Garages with Drivers Teams and Engineers at The Ready as they were about to tackle 8 Hours of the Indy Circuit.
With an 8 Hour Race anything can Happen and with such a Large Field of Cars a lot of Overtakes and Careful Navigation will be Required to Ensure Victory.
With The Start of The Race About to get underway Its Time to See Who will be able to Hold out the Longest and Take the Title of IndyKa500 Endurance Champion for 2021.
Hour 1 (11:04AM)
As The Field of 46 KA'S Completed the Formation Lap and Slowly made their way Towards the Start Finish Straight The Lights went Green and at Exactly 11:04AM the Race Had Begun.
Racing Down Towards Paddock Hill Bend it was The KA of Team (IP Racing's Adam Blair Scott Parkin Oliver Wilmot and Mark Witherington) Who took the Lead Followed Closely by Team (Octane Junkies Adam Smith Martyn Smith and Bazza Ward) in Second Place and Team (Alex Read Motorsport's Chris Reade Sam Luke's Carlito Miracco and Luke Read) in Third Place as they Thundered Up the Hill Towards The Tops of Druids and Back Down Again through Bottom Bend where Team (Ferguson Motorsport's Damon Astin Billy Ferguson Joe Ferguson and Daniel Ferguson) took the Lead from (Octane Junkies) before Flying Around The Track to Complete Lap 1 of 500.
As The Cars came Round Paddock for The Second Time The KA of (Ferguson Motorsport) Now Leads by a Heathy Margin While Further Back (IP Racing) and (Octane Junkies) Have A Fantastic Scrap over Second Place with The Two of Them Swapping The Lead Over and Over again. Car Number 55 of (Al Most Racers Alistair Hardie Alistair McDonald Lee Conway and Will Denny) was Seen Getting Air of The Inside Curb on the Exit of Paddock Hill Bend making for a Spectacular Sight.
Hour 2 (11:54AM)
Hour 2 and All 46 KA'S are Still Alive and Well with Each Driver Pushing Hard to Maintain their Advantage as the Tyres Begin to Warm Up and Start to Grip the Track More.
KA Number 56 Team (Hard And Enthusiastic Martyn Dilworth Mark Figes and Mike Hickey) are Locked in a Tight Battle at The Top of Paddock Hill Bend with KA Number 27 Team (Semprini Racing's Jeremy Evans James Hart Phil Hart and William Puttergill) as they Fight it Out Between the Two Cars for a Position.
Further Down the Field KA Number 23 Team (Kastrol's Michael Keegan Tim Keegan and David Murfitt) is Having its Own Battle with KA Number 4 of Team (Alex Read Motorsport) as The Two Teams Have a Go at One Another Thought the Course of The Lap trying Hard to Hold onto that Position they Worked so Hard for.
Another Battle at Paddock is the KA Number 3 of Team (Wingdat Racing's Andy Chapman Jonathan Barret and Wayne Jackson) Having to Fend off The KA Number 16 of Team (M and D Racing's Alex Martin Daniel Martin Tony Perfect and Mathew Rowling) as they Also were Looking to be in an Intense Battle Thought the Lap with Many Other Teams and Drivers Now Settling into a Rhythm. at The Endo f The Second Hour The KA't Mobile Number 49 of Team (LDR Performance Tuning's David Bywater Adrian Clarke Andy Grear Hardy and Sammy Bryan) is Seen Making its way Through Paddock Hill Bend and Through the Gravel Trap but Manages to Get Out Unaided and Safely.
At 12:12PM a Huge and Very Loud Crash is Heard at The Bottom of Paddock Hill Bend and Seen Rowling Through The Gravel Trap and Ending up on its Wheels is the KA Number 3 of Team (Windgat Racing) Bringing out the First Safety Car of The Endurance Race. Lucky The Driver was Fine and After a Few Minutes Due to The Recovery Taking Place they Are Back out in the Race But with a Lot of Catching Up to do.
Hour 3 (13:08PM)
With the Safety Car Now in the Race gets Back Underway and Already each Driver was Pushing Even Harder trying to either Create a Gap or Make Up for Lost Time Due to The Safety Car Intervention.
At The Top of Paddock Hill Bend a Fierce Battle is Taking Place Between the Two Teams of KA Number 13 and KA Number 155 Team (Deranged Motorsport's Jason Pelosi Josh Larkin and Alex Kelby) and Team (JRS's Nick Walker Alex Day and William Foster) as they Duel Thought the Whole of Paddock Hill Bend Starting at The Top and Still Keeping the Fight Going Right Up towards Druids in The End Deranged Motorsport Wins Out and Takes The Position Away from JRS.
At 13:24PM The Fighting Between each Team Continues at The Top of Paddock Hill Bend which is Proving to be the Best Overtaking Area as Each Car has Only 73 Break Horse Power so Carrying as Much Speed as Possible from the Main Straight Towards Paddock is Essential for a Successful Overtake.
Team (Piston Heads Peter Dignan Oliver Lewis Benjamin Lowden and Sam Sheehan) Battles it out with Team (LDR Performance Tuning's Laurence Davey Mike Paul James Parker and Glen Copeland) as The Two Cars Do Battle for All to See with Team LDR Taking The Position Away.
At 13:39PM A Set of 4 KA's are Seen Fighting Their Way up Towards Druids with All Four Teams not Giving up the Fight as they Swap Positions Relentlessly with not One Driver Willing to Give Up his Position.
The 98 55 53 and 13 All Really Having a Good Go at One Another Thought their Fight. As The Sun Starts its Slow Dissent Down Over The Hills and Valleys that Surround The Circuit Bottom Bend was Providing Some More Opportunities for Drivers to do Battle with One Another. A Four way Fight Between KA's Number 56 51 44 and 64 was Occurring with Number 56 Holding Strong at The Front of This Fight and Leading them on Towards Clearways.
Finally at 13:48PM An Epic Battle Between KA's Number 64 and 44 was Witnessed Through Bottom Bend with The Likes of The Number 64 Bouncing a Wheel Into The Air as The Car Took the Tight Racing Line making for an Amazing Picture and a Superb bit of Car Control To Keep that KA Pointing The Right Way.
Hour 4 (14:02PM)
The Fourth Hour and Pit Stops and Driver Changes were Imminent with Many Teams Choosing to Go into The Pits to Change Both Drivers and Top Up the Fuel as Well as Change Tyres if Necessary. Every Team was Running to a Different Strategy Depending Upon the Amount of Drivers they Had with Teams of Four Drivers Taking 2 Hours in the Car Each While Teams of Three or Less would Have to Take on Longer Stints of 3 To Maybe Even 4 Hours in the Car Hoping that Having to do Fewer Driver Changes would Mean they could make Up The Difference on Track.
Back on The Track at 14:02PM More Battles were Commencing Through Pilgrims Drop With KA's Number 81 Team (GM Performance's Gary Mitchell and Ian Mitchell) Going Head to Head with KA Number 46 Team (JDC Motorsport's Stu Neal Andy Gaugler and Simon Walker Hensell) with The KA of GM Performance Narrowly Taking The Place From JDC Motorsport on the Run towards Clearways.
At 14:20PM a Fantastic Battle Between KA Number's 18 100 127 3 55 and 115 was Seen as they Powered their Way onto Clearways with 155 Leading Followed by 55 and 3 127 100 and 18 All Slowly Gaining Ground to the Two Leading KA's at The Front of This Train.
Shortly After This Train of Cars Came Through Another Train of 5 KA's was not Far Behind this Time Being Lead by Number 13 Deranged Motorsport with 131 (Team Viking's Mark Holme Harry Nunn and Nick Nunn) Then came Number 4 Alex Read Motorsport with 98 Piston Heads and 41 (Rowe Rage Motorsport's Alex Butler Greg Caswell Jason Handcock and Sam Rowe) As they All Fought Hard to Catch One Another Thought their Fight.
KA's Number 98 4 and 64 were Also Seen at 14:48PM Having a Really Good Three Way Fight with 64 and 98 Side by Side down Pilgrims Drop with The Number 4 Car Closing Fast.
At 14:54PM A Final Battle was Seen on the Run Up Towards Clearways with The KA's of Number 60 (Powerflex's David Power Paul Cowland and Dom David) Battling Hard with KA's Number 7 (G and B Finch's Joe Bragg Lee Finch Steve Finch Benjamin Smith and Arthur Thurtle) and Number 127 (Fat Boys Racing's Charlie Jackson and Matt Pinny) with The Number 7 KA Leading The Trio On Towards Clearways as The Sun Began to Set.
Hour 5 (15:25PM)
The Fith Hour and a Swarm of KA's were Seen Storming Down the Main Straight towards Paddock Hill Bend with the Number 131 Car of (Team Viking) in the Lead by Some Distance Followed by Number 64 125 18 81 and 155 as they All Made their Way Towards Paddock for another Chance at an Overtake.
Another Battle Followed Closely Behind with KA Numbers 11 18 49 and 111 All Fighting as Well in order to Maintain or Improve their Positions as The Race Went on.
At 15:28PM The Safety Car was Out again While Another KA Somewhere on Track was Being Recovered and The Leading car Number 36 IP Racing's (Adam Blair Scott Parkin Oliver Wilmot and Mark Witherington's Lead Evaporates as the Field is Once again Bunched up.
Behind Them are KA's Number 44 (Mini Challenges Max Coates Dominic Wheatley Lewis Saunders and Dan Zelos) Looking to Make a More Once the Safety Car Period Ends The 14 of (Frugal Racing) and 51 of (Barwell Autosport's Taylor Norton Kamran Tunio Ryan Brinsted and Kester Cook) Also Looking to Take the Lead of This Endurance Race.
At 15:36PM The Car that Had Caused The Safety Car was Seen Being Recovered into the Outer Garage Area where cars are Held Before the Start of Each Race. KA Number 46 (JDC Motorsport) Had Made Contact Somewhere on the Circuit and Looked to Have a Broken Front Left Steering Arm with the Wheel Being Completely Bend Backwards into The Car with the Car Heading Back to the Garage for Repairs Before Rendering The Race Quite a Few Laps Down.
15:38PM and The Two KA's of Positive Motorsport's Andrew Rogerson Samuel Rendon and Ryan Frith Battle it Out with Number 13 Deranged Motorsport Through Westfield Towards Dingle dell with The Number 13 Beautifully Sweeping Around the Outside to Take The Position Away.
Another Battle was Seen at 15:38PM with (Alex Read Motorsport) Number 4 Battling Number 64 (Auto Teach Motorsport's Reece Kellow Andrew Howell Luca Ataccini Anzanello and Megan) through Westfields Side by Side on Towards Dingle dell.
Finally at 15:57PM Another KA Had Fallen Victim to an Issue with the Number 23 Car of (PSR's Carl Beresford Russel Danzey Tom Gilbert and Jack Wood) Being Taken on the Back of the Recovery Truck to The Garages for Repairs Before Going back Out into The Race as Night Began to Fall Upon The Indy Circuit.
Hour 6 (16:15PM)
As The Light Slowly began to Fade Away from the Indy Circuit Many Drivers were Now starting to use their Headlights as The Lighting Conditions got Darker and Darker as Time went by.
At 16:15PM A Massive Group of Cars came Flying Down Through Paddock Hill Bend with KA Number 55 Al Most Racers on the Inside Line 127 Fat Boys Racing on the Middle Line and 39 Kameleon Racing's Chris Bright Richard Cox Steve Goldsmith and Leigh Youles Michael on the Outside Line as they Fought their way Through the Bend and Up Towards Druids.
At 16:21PM Piston Heads Racing KA Number 98 was Seen Leading another Group of Cars Through Paddock Hill Bend with Numbers 41 52 33 and 2 All Fighting for Places as they Came Towards Paddock Hill Bend.
16:24PM and The Paddock Hill Bend Gravel Trap Claims Another Victim This Time the Number 131 KA of Team Viking Had Ended up Taking a Trip Through it Before a Half Spin Left Him Facing the Marshalls Post Opposite before Returning to the Track after Losing a Few Places. Recovery Teams set to work Once Again with The Safety Car Being Called into Action for The Third Time.
16:40PM and at The Top of Paddock Hill Bend a Three way Fight Becomes a Two Way Fight as The Number 127 KA of Fat Boys Racing Goes for a Spin after Trying to Get a Run on the Number 19 KA of LDR Performance Tuning with The Number 14 Car of Frugal Racing Just Narrowly Missing The Spinning Car.
16:42PM and a Final Intense Battle Between the Number 44 KA and The Number 1 KA of Burton Power Racing's Andy Burton Kyle Sagar Tom Valentine and Sammy Venables as They Fight Hard to try and Take that Position away from Mini Challenge to Round off The 6th Hour.
Hour 7 (16:50PM)
The Seventh Hour and at The Bottom of Surtees a Massive Crash is Heard as The KA's of Number 42 The K Teams (Paul Simmons Edward Simmons Glen Woodbridge Damo) is Seen Running off Track with Number 13 Deranged Motorsport Onto The Grass and Number 81 GM Performance Being Spun Out Trying to Avoid The Carnage in Front. All Drivers Okay and They Get back on Track and Continue on As Day Turns into Night.
17:02PM and a Top of Druids The Ka's of Number 72 Misty Racings (Adam Bonham and Simon Bonham) are Fighting Hard to Keep their Position from the Number 49 Car of LDR Performance Tuning as well as Number 7 of G and B Finch Trying to Find a Way Through on the Outside of Druids. The 98 of Piston Heads is also Closing in by This Stage with Headlights A Blaze.
17:05PM and Coming Towards Druids is a Sea of KA's All With Headlights A Blaze as they Fight for Positions Cars Number 60 3 19 and 39 All in Different Positions and Yet Still Fighting to try and Gain an Advantage that Could Swine this Endurance Race in Any of the Teams Favours. Further Back 127 and 140 Are Doing Battle on the Run Up Towards Druids.
17:09PM Once Again Another Battle at Druids This Time its The Trio of Number 127 36 and 60 That are All Trying to Better One Another in their Attempt to Gain a Place with Number 36 IP Racing Leading The Way.
17:14PM One Final Battle is Seen Coming Up towards Druids with The Number's 18 44 55 and 2 Fighting it Out Number 2 Kastrol's Has The Lead of This Group of Cars with Blazing Bright Headlights to Aid the Drivers Around The Circuit.
17:27PM and Now Darkness was Everywhere Making Visibility Very Difficult and Yet this did not Stop the Likes of Cars Number 128 JTR's Eliot Mason Nick Tandy David Mason and James Rhodes from Battling with Car Number 16 M and D Racing's Alex Martin Daniel Martin Tony Perfect and Mathew Rowling. In a Daring Move in the Pitch Black Darkness The Two Cars Go Side by Side Trying to Gain One over The Other Before JTR's Takes The Inside Line and The Position.
17:30PM Another Daring Battle is Captured Between The Number 180 Car of (Shine Auto motive's Colin French Mathew Eldridge and Wayne Clelland) and Number 44 (Mini Challenge's Max Coates Dominic Whitely Lewis Saunders and Dan Zelos) Defending The Outside Line as Best as they Can but Ultimately Shine Automotive Makes their way Through.
17:51PM A KA is Seen Flying Down Through The Bottom of Druids and into a Cloud of Dust Caused by Another KA Going off The KA is Just Barely Visible Showing The Dangers of what can Happen at Night When Visibility Becomes Low or Obstructed. Other KA's Soon Followed Through the Dust Cloud as Well with Many Backing off Slightly In case a Car was Stuck out on The Track but Thankfully All was Good as Hour 7 Ended.
Hour 8 (17:56PM) (THE FINAL HOUR)
The FINAL Hour of The 8 Hour Indy KA 500 and With Every Driver Now Getting into a Rhythm it was Up to Each Teams Last Driver to Strap in and Go for it to the Checkered Flag. However not All had gone to Plan for every Driver as The Number 29 KA of LDR Performance Tuning Found Out Slipping into the Gravel and Costing Them a Ridge Back to the Pits for Repairs with Less than 1 Hour to go.
18:00PM and The Number 2 KA of Kastrol's was Captured Racing Through Paddock Hill Bend During The Night Pushing Incredibly Hard to Ensure a Good Top 25 Finnish in the Points with Headlights Illuminating their way Around Paddock Hill Bend as The Car Flew Through The Bend.
18:30PM The Safety Car was Out for The Last Time During The Race and was Captured Leading a whole Train of KA's Through Pilgrims Drop and Onto Clearways with Each Driver Poised and Ready to Get Going Once the Safety Car Had Come In.
19:07PM An Amazing Sight to Behold with Just 15 Minutes Left on the Clock a Huge Rush of KA's Flooded their way Down The Main Straight and Past The Start Finnish Straight with Headlights on Full Beam to Aid in Visibility. The Number 8 KA Leads The way in This Group of Cars with The Number 18 CHR Hoonikan Car of Stratton MacKay Dave Mayer and Paul Robson Closing in Behind.
19:09PM And The Green Flag is Dropped for The Final Time as The Safety Car Comes into the Pitlane All 44 Remaining KA's Race Towards Druids with the Field so Bunched up this is Anyone's Race to both Win or Lose at This Stage.
The Number 42 KA of The K Teams Paul Simmons Edward Simmons and Glen Woodbridge Damo takes off Leading from Number 20 A Reeve's Motorsport Aron Reeve Stuart Lane and Andy Godfrey while The Number 127 of Fat Boys Racing Chases Them Down into a Nail Biting Finnish at The Centre of The Field.
19:13PM A Group of Six KA's are Captured Having an Intense Battle with Only 5 Minutes Left to Run The Likes of KA Number 127 36 and 128 All Putting Up One Hell of a Good Fight in The Closing Stages of The Endurance Race with Some Drives Having Driven for 4 Hours Straight.
19:21PM and after 8 Hours of Continuous Racing and 5 KA's Out of The Race The Checkered Flag was Ready and Waiting as The Number 81 KA of GM Performance's Gary Mitchell and Ian Mitchell Takes the Victory at The 2021 8 Hour Indy Car 500!!!! Followed Closely by The Number 72 Car Misty Racing's Adam Bonham and Simon Bonham in Second Place with KA Number 14 Frugal Racing's Jim McDougal Callum McDougal Mike Marais and Leon Bidgeway Taking Third Place.
A Huge Congratulations to The Overall Top Three Winners and to All of the other Teams and Competitors for Showing some Incredible Racing To End of The 2021 Motorsport Season. From
Historic Formula 1 to Classic Touring Cars To The Indy KA 500 This Season Has been One of The Best to Date.
See You All Again Next Year Where We Will do it All Over Again.
Usei duas camadas sobre uma camadinha fininha do Fagulha Colorama, só pra fechar a cor.
Esmalte MUITO LINDO, coleção muito linda, surtei, quero todos. Só não consegui o Maleficent ainda...
Foi meio difícil de limpar bem os cantinhos. Não por culpa do esmalte, mas as minhas cutículas estão bizarras atualmente.
The use of modern technology helps peacekeeping missions establish and maintain situational awareness, implement their mandates, and protect themselves and vulnerable populations. Here, a Brazilian peacekeeper serving with the Maritime Task Force (MTF) of the United Nations Interim Force in Lebanon (UNIFIL) works in the operations room of the flagship ‘Independencia’, off the coast of Beirut, Lebanon.
31 May 2016.
Credit: UN Photo/Pasqual Gorriz
The Chapel Royal
A beautiful chapel in continuous use for over 450 years. Everyone is welcome to attend religious services in The Chapel Royal at Hampton Court Palace.
Sumptuous Ceiling and Important Historic Site
Outstandingly rich, colorful and layered with history, the chapel’s ceiling is the grand culmination of the Tudor interiors at Hampton Court.
Kings and queens used the private pew which looks down upon the main body of the chapel.
It was here in the chapel, in 1540, that Archbishop Cranmer handed Henry VIII a letter outlining various accusations against the King’s young new wife, Catherine Howard.
She was accused of unchaste behavior before her marriage. Henry VIII had been besotted with his young wife, which is why he turned against her all the more viciously. She was executed at the Tower of London soon afterwards.
Henry VIII’s Crown, an accurate replica of the crown worn by Henry VIII, is on display in the Royal Pew of the Chapel Royal where Henry himself would have sat wearing it.
Her Majesty’s Chapel
“Her Majesty provides this beautiful place of worship and its establishment of a Chaplain, a full-time Choir, and a Verger, for all who may wish to attend its services or visit it.”
—Denis Mulliner, Canon of The Chapel Royal
Hampton Court’s royal chapel remains in active use today. In fact, it has been in continuous use ever since Thomas Wolsey built it almost 500 years ago. It was Cardinal Wolsey who had the Chapel extended to its current size. Henry VIII installed the magnificent vaulted ceiling here in 1535. There are clear signs that the ceiling was built by a Tudor monarch. The red and white rose of the house of Tudor as well as Margaret Beaufort’s portcullis—which Henry had chosen to take over after his grandmother’s death—have been carved out at the very top of the walls.
The East end of the chapel once contained a great double window filled with stained glass: Henry VIII’s patron saint—Saint Henry the Emperor—was joined by Saint Catherine, Saint Thomas Becket and Saint Anne. The royal family itself is also featured—Henry VIII, his wife Catherine of Aragon, and Cardinal Thomas Wolsey are kneeling in prayer. It was originally created for Wolsey by Erhard Schön of Nürnberg but he fell from favor before he could enjoy it. The glass was destroyed in the Commonwealth and the window eventually bricked up. It is now completely hidden by the large oak reredos carved by Grinling Gibbons for Queen Anne in the early 1700s. The monarch and his family would sit in the Royal Pew above the rest of the congregation.
The Chapel at Hampton Court Palace witnessed many important events during the Tudor time. Among other things, it was here that Archbishop Cranmer secretly handed Henry VIII a letter containing all the details of Katherine Howard’s affairs. Prince Edward was baptized here shortly after his birth in 1537.
A History of the Chapel Royal
One feature of Wolsey’s house, distinguishing it from the houses of other courtiers, was the Chapel and the grand procession route to it. In a king’s or cardinal’s household, the stately procession from his own chambers to Chapel to hear mass on feast days was an important ritual. Passing along the gallery, accompanied by his officers, the king or grandee could see and be seen by the throngs of courtiers and visitors. At Hampton Court, Wolsey constructed a magnificent double-height chapel, with an estoppel window at its east end filled with stained glass. Remains of this great double window survive behind Queen Anne’s eighteenth-century reredos, which dominates the east end of the chapel today. The stained-glass windows, designed by Erhard Schön from Nuremberg, included figures of a king and queen praying. Wolsey’s Chapel choir was excellent, so fine that in 1519, Henry VIII insisted that some of its members transferred to the King’s own singers; the choristers who still practice in the chapel today are their successors.
It is possible to work out that the Royal lodgings, Wolsey’s own lodgings, and the Chapel were built in one campaign because they share similar bricks. The soft red brick of Wolsey’s building was enhanced by patterns in “diaper-work”. Diamond -shaped designs picked out in black or over burnt bricks. This subtle decoration once covered most of the Palace, although later repairs have erased or spoiled much of it. However, on the external east wall of the chapel, one patch of what appears to be diaper-work survives in good condition because it has been sheltered from the elements by later buildings constructed against it. Here, the builders tried to deceive the eye by continuing the diaper pattern in black paint rather than by using actual blackened bricks.
On feast or holy days, the King would hear mass from the Holyday Closet, a room overlooking the Chapel. On other days, he was often keen to leave the palace early to reach the hunting field and would hear mass at seven o’clock in his Privy Closet within his own lodgings, sometimes reading state papers throughout the service. On feast-days, the Kingwood process in a stately manner to the Chapel, as Wolsey had done, along what is today known as the Haunted Gallery. The most important procession took place at Epiphany, the 12th day of Christmas, for which Henry would wear his crown and ropes. By 1535, the Holyday Closet and Chapel itself were now far superior to the simpler structure that Wolsey had built.
The Chapel, Henry’s last great building project at the Palace, was begun in 1535. The most important change was the addition of the fantastical ceiling, which still survives. The designer was probably William Clement, and its virtuosity clearly demonstrates his qualifications for his next task, which was to create another new Palace for Henry not far from Hampton Court: the largely wooden structure of Nonsuch. Although little remains Nonsuch Palace today, we can imagine its complexity and flamboyance from Hampton Court’s Chapel ceiling. Like the great Hall roof, the ceiling has many decorative flourishes on trusses, vaults, and pendants decorated with angels blasting their trumpets. The craftsman John Hethe and Henry Blankston added color and gilding.
At the same time, the Royal Pew was refitted to create the Holyday Closets at the west end of the chapel. Previously, there had been one large room for the King’s use; now two were created, with a painted screen incorporating stained-glass separating the King’s private pew from the Queen’s. Here it was that Henry first received the fateful news of Catherine Howard’s adultery. Henry VIII married his sixth and last wife in the Queen’s Closet. Catherine Parr was a good mother to Henry’s three children; she outlived her husband.
In 1643, the Parliamentarian forces seized Hampton Court. Motivated by the radical Puritanism that sought to strip the church of its frivolous trappings, they removed all the fine fittings from the Chapel: “the Altar was taken down … the Rails pulled down, the steps leveled; and the Popish pictures and superstitious Images that were in the glass windows were also demolished”. Only the elaborate ceiling remained above a white-painted room for preaching, with twelve long hard forms laid out for the congregation.
The greatest impact the Queen Anne had upon the fabric of the Palace was in the remodeling of the Chapel Royal is a firm upholder of the Anglican feet and royal tradition, she maintained a full complement of chapel musicians. As a sick woman who did not care for the elaborate etiquette of the Bedchamber, she saw her daily attendance at Chapel as her main opportunity to make a public appearance. In 1710, Sir Christopher Wren and Nicholas Hawksmoor successfully presented schemes for remodeling the body of the Chapel; these included a grand timber reredos at the east end with a painted scene by Sir James Thornhill above, the removal of the Tudor window tracery and the addition of paneling, box pews, an organ, and new sanctuary fittings. The Tudor windows were replaced with large casement windows. A trompe l’œil window painted by Thornhill on the south wall of the chapel, next to the organ, preserves the appearance of the eighteenth-century windows. A staircase was added leading down from the Royal Pew, where Thornhill also painted the central ceiling with a playful scene of cherubs in the heavens holding aloft a crown and a sword. The work was completed in 1712.
In the Grace and Favor Period, there was continuing rancor over the seating arrangements with the Chapel Royal. Seating for the worshipers was strictly by rank and social standing, policed by the resident housekeeper. There was sometimes unseemly behavior when elderly ladies tried to pull rank over their neighbors or over the visitors who tried to come into the Chapel. The problem seating had become so urgent that in 1866, the architect Anthony Salvin reordered the pews and added a block of box pews in the center. Even with these enhancements, the disputes continued, until the Lord Chamberlain decreed that no longer were those attending services in the Chapel to sit by rank.
Queen Anne’s casement windows were replaced with copies of the original Tudor windows in 1894.
During the Grace and Favor Period, famous Antarctic explorer Sir Robert falcon Scott was married in the Chapel Royal in 1908; his bride, Kathleen Bruce, a famous sculptor in her own right, was living in the grace-and-favor apartment at the time with her aunt, Mrs. Zoë Thomson.
Under the supervision of Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, the ceiling of the Chapel Royal was repainted in its original rich blue coloring and gilded with gold stars. (The ceiling had been painted white in the reign of Queen Anne.) The design was further enhanced with mottos.
In the 1920s, the roof of the Chapel Royal was found to be in a decayed and dangerous state. Here new structural supports were introduced to bear the weight of the Tudor timber ceiling.
The Cloister
The cloister outside the main doors of the Chapel Royal has remained much as it was in Cardinal Wolsey’s time. He had the present Chapel built on the site of the thirteenth century chapel of the Knights Hospitaller of St. John of Jerusalem. The traces of a doorway opposite the entrance to the Chapel suggest that there was access at one time to the courtyard on the west side. Wolsey’s Chapel was taken over as a Chapel Royal with the Palace by King Henry VIII, and has been much altered since the sixteenth century, but its dimensions are still those of the Chapel which Wolsey built. The coats-of-arms flanking the doors of the Chapel Royal contain the heraldic achievements of King Henry VIII and his third Queen, Jane Seymour. The supporters are angels, and it has been suggested because of their religious subject that they may have belonged to Wolsey’s coat-of-arms; but it is more likely that they were integral to the Royal Arms of King Henry VIII and his Queen.
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Brenda.
I belong to this set - ~Candles~
Random postings of photos I have taken over the last few years. Explore the photo set to find other work by the artist or of the same theme or event.
All photos © Ian Cox. If you would like to use this image please ask first. Best viewed as a set here
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A pile of sweaty lycra undershorts. Each pair has been worn for one game or training session. I am not going to wash them, of course. They are disposable, wear once and throw away
Uses zero electricity.
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Shot for Shadow IP31
1) - 188 - A light bulb
2) - 119 - A transitional state
3) - 198 - Tatami perspective
HDR. AEB +/-3 total of 7 exposures processed with Photomatix. Colors adjusted in PSE.
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
Bride writes a love message to the groom on their wedding day.
© 2011 Matilde Berk, All Rights Reserved. Do not use without a permission, please.
Using the light from the sun roof to illuminate my hair. I am prioritizing myself more these days and it is sometimes very difficult. But, but, but my inner critic yells at me after I paid at the hair salon today.
via PhotoToaster
Using the Carol Zilliacus technique, I placed thin strips of clay over a similar background. The white bands are a very thin layer of pearlescent clay.
I used to collect these newspaper movie ads for all the movies I watched in the '80s. For years I had an entire Trapper Keeper folder filled with them. Every one of them were cut out of the Birmingham News. At some point in high school or college, that folder was lost and only a few of the ads remain.
This one is from Back to the Future Part II. Judging by the "Starts Today!" blurb it looks like I cut it out the day it opened on November 22, 1989.
welcome to the zoo!
this book has lots of detailed and adorable animals to make using the technique of needle felting.
it includes lots of zoo animals, as well as some farmyard animals that maybe you can see at a petting zoo. 24 animals in all, and every one is cute.
the projects are: rabbit, lesser panda, prairie dog, red kangaroo, sheep, cat, donkey, white tiger, duck and ducklings, pig, hippopotamus, chipmunk, brown bear and cub, panda, african elephant, owl, paddybird, goat, frog, chimpanzee, giraffe, lion and cubs, brussels griffon, emperor penguin,
the titles of the projects are written in english but all other written instructions are in japanese. don't worry though, there are tons of step by step pictures and diagrams showing how to put the wee animals together using just a felting needle, and some sewing for details. this book also has line drawing diagrams showing the size and proportion of the parts and features. many of these projects use the technique of using a wire inside the limbs.
this is a great book for some who has already tried needlefelting and understands the basic method, especially felting around a wire armature. the photos alone are great inspiration for what you can create with needle felting.
109 pages
ISBN 978-4-309-28133-9
Please do not use the photos without my permission.
لطفا از عکسها بدون هماهنگی استفاده نکنید
Kish (Persian: کیش) is a 91.5-square-kilometer (35.3 sq mi) resort island in the Persian Gulf. It is part of the Hormozgān Province of Iran. Due to its free trade zone status it is touted as a consumer's paradise, with numerous malls, shopping centers, tourist attractions, and resort hotels. It is also known for its smuggling activities and organized crime. It has an estimated population of 20,000 residents and about 1 million people visit the island annually. Kish Island was ranked among the world’s 10 most beautiful islands by The New York Times in 2010, and is the fourth most visited vacation destination in Southwest Asia after Dubai, U.A.E, and Sharm el-Sheikh. Foreign nationals wishing to enter Kish Free Zone from legal ports are not required to obtain visas prior to travel. Valid travel permits are stamped for 14 days by airport and Kish port police officials.
جزیره کیش یکی از جزیرههای خلیج فارس و از توابع بخش کیش، شهرستان بندر لنگه در استان هرمزگان و از نقاط دیدنی استان هرمزگان در جنوب ایران است. در گذشته این جزیره را به نام « قیس » میخواندند. شکل این جزیره بیضوی مانند است و در ۱۲ کیلومتری کرانه شیبکوه جای گرفته است. این جزیره یک میلیون نفر گردشگر را سالانه به خود جذب میکند.
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Used a slightly longer focal length on this but you can see the amount of decay in this old stone farm house - no windows or doors, half the roof missing. Would have been a great home in its day.
This one uses the bright field illumination technique described in the book "Light: Science & Magic" (p. 154). A 300W flash (set to 1/32th) was fired behind the white acrylic backdrop. The sides were covered with black cloth. The floor is a charcoal colored plastic sheet I used to achieve a visible horizon. The 300W flash was triggered with a Speedlite 430EX on the camera that was bounced by the ceiling (set to 1/8th). To avoid a reflection of the Speedlite it was equipped with a cardboard snoot. The images was converted to b/w in Photoshop, no further adjustments.
Diese Aufnahme nutzt die Bright Field Illumination Technik, die im Buch Light: Science & Magic ab Seite 154 beschrieben wird. Die Dunklen Seiten geben dem Glas Kontur. Von hinten wird es durch eine milchig-weiße Plexiglasscheibe angeblitzt. Der 300W Studioblitz auf 1/32 Leitung wird durch einen Speedlite auf der Kamera ausgelöst. Der ist mit einem Snoot aus Karton ausgestattet, damit man keine direkte Reflexion des Lichtes sieht. Das Bild wurde in Photoshop s/w-konvertiert. Darüber hinaus ist es unbearbeitet.
Use this ridiculous Moleskine hack and you will no long have to worry about your Moleskine's privacy.
We at Molecover wanted to help get the ball rolling on this contest. We did not want to sacrifice a real Moleskine, so we did this on a 3 dollar imitation Piccadilly (also accepted during this contest).