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Mon 1er encadrement que je dédicace à Alain, merci de ton aide !
(j'espère qu'il sera à la hauteur de ton tutoriel ... ;-)))
Loire rive droite, quai Châtelet (11 octobre 2014)
ORLÉANS
Changement de look avec un duit St Charles complètement arboré en comparaison avec la version 1900 en carte postale, et l'école de natation n'est plus qu'un lointain souvenir du siècle dernier - cliquer sur photo ci-dessous.
From Boruto Next Generation
Trying to draw again... Take it slowly .... YOu may as well follow me on my youtube channel, Alemway
The Narcissus from Alien where Ellen Ripley leaf the Nostromo in a smaller version.
For plans look on my repbrickable account
"L'individuo, il grande artista, quando viene, adopera tutto ciò che si è scoperto o conosciuto nella sua arte fino a quel momento [...] e poi va oltre ciò che è stato fatto e conosciuto e crea qualcosa di suo."
Ernest Emingway
Different version with blurred out background.
Evangeline, in the style of "You Press the Button..."
1961 Kodak Brownie Starlet 127 camera. This is my first camera I got in 1961 for Christmas. I cut a round mask out of 120 film, with a diameter of 1.5 inches, then blackened it with a marker and taped it into the camera. The film is 120 HP5-Plus, slit to 127 size. An orange filter is taped onto the lens. A #3 close-up filter (a #1 and a #2, stacked, actually...) was held over the lens as well, the distance was 13 inches from lens to the tip of her nose. About 1/30th of a second at the b&w setting which equals f16. D-76 for 7.5 minutes at 68 f.
My fellow PennLUG clubmate Josh and I have been working on trying to come up with an acurate LEGO model of a Bettendorf freight truck. The is my original version first seen in RAILBRICKS issue #1. The problem with my old version has always been the lack of journal boxes. So how do you add journals and still keep that Bettendorf trapeziodal shape to the side frame?
Loving the extra megapixels over the D90!
Nikon 70-300mm VR @ 300mm (450mm DX) 100% crop
Live View / 1/30 / ISO 100 / ƒ9 / CW Metering / A mode / Mup mode NEF developed in Lightroom/PS CS5
I recognized her as Bulma (a Dragonball Z character) but she clarified that she was an alternate manga version of the character.
I made a smart-ass comment just before I took this photo which brought out a very nice and natural-looking smile.
Replacing an earlier scanned print with a better version 18-Nov-18.
Taken through glass from the old Emirates offices in the Control Tower Block Extension.
This aircraft was delivered to CSA Czechoslovak Airlines as OK-OBL in Nov-84. It was leased to Air Moravia in Dec-91 and returned to CSA in Jun-92 (presumably why it has no titles in my photo). The aircraft operated CSA's last IL-62 flight in Oct-94 and was stored at Prague. It was sold to Bemoair in Apr-96 and sold to Egretta in May-97. The aircraft was leased to Air Cess (based at Sharjah, UAE) in May-98. It was sold to Yana Air as XU-229 (Cambodia) in Jan-99 and operated out of Ras Al Khaimah, UAE with additional Sin-Sad titles. It was stored at Ras Al Khaimah in mid 2001 and broken up there in Oct-06.
Superpoteri: Con la potentissima forchettona venusiana, prepara e divora qualsiasi cibo in brevissimo tempo.
Elaborato su www.cpbintegrated.com/theherofactory/
Exposure: 30 minutes, 18mm, f/3.5, ISO 100, plus light painting with a couple of flashlights. (The startrails look better large, they look too pixelated in the smaller versions).
Ever since I saw this waterfall, this is the one shot that I envisioned, but it has not been easy. Not only does this shot require a low tide during the night with clear skies (which is difficult enough on the Oregon Coast), but Mother Nature has also picked her battles with me carefully. Most of the time she stands there smiling as I photograph her..., but for some reason, whenever I choose to photograph at hug point, she turns on me! Now..., I'm not one to complain. I feel blessed to be able to take photographs at all, so it's not such a bad thing having a photographic nemesis...
It all started about a year ago..., I had a half day off, so I said to myself, "why not take a drive on some coastal mountain back roads, and hit up hug point for sunset?" It seemed like a good idea at the time. Well..., about 4 hours later I was lost, and beginning to wonder if I would ever find my way back to the coast before I ran out of gas. This was of course a serious blow to to my masculine ego. And as if being out of cell phone reception, getting short on gas was not enough..., I started to see the most spectacular sunset EVER begin to develop in the West. No amount of nascar driving, yelling at nature, or whimpering could get me there on time. And yes..., I did go through all of those phases. I finally ended up emerging onto hwy 101 at Garibaldi, gas tank nearly empty, and with absolutely zero chance of making it to hug point in time for the show. I pulled out my camera just in time to watch the spectacular light slip away. It has been that way every since...
Whenever I make plans to go to Hug Point.., I miss the light, or the light doesn't show up. Mother nature has also attacked me in more physical ways..., I've left soaked and defeated almost every time I've shown up (which is probably mostly my fault, but I still think hug point has it out for me). I've been scraped, bruised, and one time I even ended up walking around the point in waste deep water, holding my camera gear over my head (long story). But worst of all, my shots have not turned out! All my rookie mistakes have shown up at the point (yes, my fault again, but all at hug point!?). These mistakes include exposure compensation issues, focus mistakes, not having the right filter on at the right time, etc, etc...
Well, a couple of weeks ago, I finally had a chance to try to shoot this shot with my friend Gary Loveless. As usual, our hug point experience was full of peril and botched shots (botched for me, but not for Gary). I still maintain that I made Gary fully aware of all the dangers of accompanying me on this trip, but you can read his side of the story here: www.flickr.com/photos/gaarfoto/5310368213/ . But two nights later, we went again, and I finally nailed the shot!
Victory at Last! I checked my LCD twice for sharpness..., I can't believe it! Yes, I actually got the shot! As I walked back to my car, I couldn't help but be overwhelmed by feeling the thrill of photographic victory! We hiked back to our vehicle.
"Now all I have to do is call my wife and tell her I'm heading home" I thought to myself,.... But wait, where is my cell phone? Answer....., you guessed it: lost in the Pacific Oceane at Hug Point. I guess Mother Nature couldn't let me leave without getting in one more sucker-punch!
Thanks for looking! As always, your comments and suggestions are much appreciated!
Figura del 2009 realizado con el molde original de los años 60's
Si dice que esta es la 2da version de la figura del Santo. Investigue entre amigos aficionados a la lucha libre y entre mis revistas viejas y no encontre algun luchador con esta mascara.
Asi que posiblemente sea un luchador "X" o realmente como dicen una 2da version del Enmascarado de Plata
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)
Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also.
All Exa 0 produced between 1951-62
35mm SLR film camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting: via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: by a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer: none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Tripod socket: 378'' w/1/4'' adaptor
Strap lugs
Body: metallic, Weight:557g (wo/ the lens)
serial no. 545089 (inside the camera)
LENS:
Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,
preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no. 4082192, (introduced in 1962)
Aperture: f/3.5-f/22, setting: ring and scale on the lens
Focus range: 0.33 - 6m +inf
+Original leather ever ready case
+ Waist level finder, Ihage Dresden, w/original leather case
+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case
+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia