Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

 

Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

I have a weakness for modern, open kitchens such as this one, photographed in a recently refurbished rental apartment in the heart of Marbella, Spain. For this image, I have added some supplemental lighting (bounced off the ceiling), and blended in the light fixtures separately to keep light temperatures under control. One flash pop for window pull, and another one on the terrace chairs.

Shot for the property owner.

Ohh, this girl is such a beautiful person inside and out. She has had so much to overcome. I don't see pain in her eyes, but I know there is hurt. I wish I could be more like her. She keeps it FRESH!

2 Corinthians 12:10

Therefore I am well content with weaknesses, with insults, with distresses, with persecutions, with difficulties, for Christ's sake; for when I am weak, then I am strong.

 

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

  

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

  

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.

A very simple and quick tag game! Simply post a pic of the sculpt that above all others you just can't resist! I am obsessed with different sculpts but Ayumi holds a particular fascination for me and try as I might I just can't resist her! I just pre-ordered this beauty!

 

I only tagged a few people but if you see this please consider yourself tagged and do play along - don't forget to tag me back<3❤️❤️❤️

Lumen print

Horsefly Facts

The horsefly gets its name after the females of the species, as the females feed on the blood of large animals like horses. This article provides more facts about this fly.

TAGGED UNDER: Horsefly

 

Horseflies belong to the tabanidae family. The other names by which they are known include breeze fly, forest fly, ear fly, or deer fly. They are considered as pests because of the bite that they inflict. Therefore, they belong to the world's largest true fly category. One interesting fact for kids is that the males of the species feed on pollen and nectar while the females suck blood of animals and in some cases, also humans. The males are therefore said to be important pollinators of flowers, primarily in the African continent, South Africa to be precise.

 

Other Interesting Facts

 

Horseflies are large and hairy. They are about 30 to 60 mm in length. Flies of this type can sometimes be known as gadflies, zimbs, or clegs. In Australia, they are called 'March flies', while in Canada, they are referred to as Bull Dog flies. There are approximately 3000 species of horseflies around the world, of which about 350 are found in North America alone. Large species like the mourning horsefly, black horsefly, etc. belong to the genus Tabanus, while the smaller and more common banded ones with either black, brown, or yellow bodies, dark markings on the wings, and brilliantly-colored eyes belong to the genus Chrysops. The deerflies, who are notorious for carrying diseases like anthrax and tularemia as well as the filaria worm infestation, also belong to this family. Horseflies are more often found in hot weather.

 

Life Cycle

Like all other files, this species also goes through a complete metamorphosis from the egg stage to the larval, pupal, and finally adult stage. The larvae are legless and are similar to maggots. They spend most of their time in water or in moist soil. They are known to spend their winters as larvae, after which they pupate in spring, and emerge as winged adults in early summer. The adults do not live longer than a few days.

 

Reproduction

Mating takes place in swarms, with many flies present at one location at the same time. Locations such as hilltops are chosen for it. The location chosen, the season, the time of day during which it takes place, all these details are said to be specific to particular species. The female lays black-colored, longish, and flat eggs, either on plants or on stones closer to a water body. On hatching, the larvae drop into the water or damp earth. This is where they live. They feed on snails or larvae of other insects. The larvae are somewhat flattened and have fleshy protuberances on each body segment which aid in locomotion.

 

Diet

As the males of the species feed on nectar and pollen, they are called the pollinators. The females suck blood. This difference is due to the fact that the males do not have the mouth parts required for blood feeding. The females more commonly feed on mammals, but in some cases can also be found feeding on birds, reptiles, as well as amphibians. The female lands on its prey silently and delivers a painful bite with its knife-like mouth parts. If the mouth parts are seen under a microscope, they look like jagged saw blades. The bite is painful because they actually cut a hole in the skin and soak up the blood which comes out. If they are plenty in number, they are known to suck as much as three ounces of blood a day from the host.

 

Behavior

These flies are very noisy when in flight. Their bite is very painful. They have tiny serrated mandibles with which they rip and/or slice flesh apart. Their bite becomes itchy, and may cause swelling if it is not treated immediately. Therefore, knowing about the treatment is necessary. It is very difficult to get a hold of these flies as they are agile and escape before the victim becomes aware of the pain signals.

 

Diseases

Apart from causing diseases such as anthrax and tularemia, these flies are also known to cause excessive blood loss in animals. There have been reports of animals losing as high as 300 milliliters of blood a day where these flies are present in large numbers. This can lead to weakness and even death. Apart from this, they can also cause anemia in animals and humans. In very rare cases, they have been known to cause anaphylaxis in humans which has turned out to be fatal.

 

Now that you are aware of these flies, you have to be careful if you stay close to swamps, marshes, ponds, and farms. Keep a look out for large, hairy flies with wings, bulging eyes, and reddish antennae.

 

link-

 

www.buzzle.com/articles/horsefly-facts.html

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Henschel Hs 126 was a German two-seat reconnaissance and observation aircraft of World War II that was derived from the stillborn Henschel Hs 122. The pilot was seated in a protected cockpit under the parasol wing and the gunner in an open rear cockpit. The first prototype was not entirely up to Luftwaffe standards; it was followed by two more development planes equipped with different engines. Following the third prototype, ten pre-production planes were built in 1937. The Hs 126 entered service in 1938 after operational evaluation with the Legion Condor contingent to the Spanish Civil War.

 

By the time the Hs 126 A-1 joined the Luftwaffe, the re-equipping of reconnaissance formations was already well advanced. By the start of World War II in September 1939, the Hs 126 served with many reconnaissance units. They were used with great success in the attack on Poland where it proved itself as a reliable observation and liaison aircraft. Its use continued after the end of the Phony War in May 1940, but with more and more Allied fighters appearing over the theatre of operations, the type’s main weakness became apparent: the Hs 126 was rather slow and could hardly avoid or even escape from fighter attacks. The losses were dramatic: alone twenty Hs 126s were lost between 10 and 21 May 1940!

 

The Hs 126 was initially produced in two versions, which only differed through their engines. 47 squadrons equipped with Hs 126 A/B participated in the invasion of the Soviet Union in 1941, and the Hs 126 was also successfully used in North Africa. However, low top speed was the Hs 126’s main weakness. To rectify this deficiency, the Hs 126 was in late 1940 experimentally outfitted with a more powerful BMW 132K which replaced the Hs 126 A’s Bramo or the B’s BMW 9-cylinder radial engine, which delivered around 625 kW (850 PS) each. The new powerplant delivered up to 809 kW (1,085 hp) with 96 octane fuel injection at take-off and as emergency power, and 705 kW (960 hp) at normal military power. This extra power, together with an aerodynamically more efficient cowling, pushed maximum speed to 400 km/h (250 mph), and after successful tests in the 1940/41 winter the RLM accepted it as the Hs 126 C for production and service.

 

Beyond the new engine the serial production Hs 126 C-1 did not differ much visibly from its predecessors, even though the internal structure was simplified and lightened by roughly 50 kg (110 lb). Various Reihenbildgeräte (reconnaissance cameras) could be installed in a compartment at the rear of the cabin, and the defensive armament was upgraded with heavy 13 mm MG 131 machine guns instead of the former 7.92 mm weapons. Sometimes, a MG 81Z 7.92 twin machine gun was alternatively fitted in the rear cockpit instead of the MG 131, which offered a higher rate of fire.

 

An interesting sub-variant of the Hs 126 C was the Hs 126 C-2, a dedicated observation and liaison floatplane for theatres of operation with difficult terrain where sufficient airfields were rare or hard to install and where alternatively bodies of water could be used for landing. Around thirty Hs 126 Cs were modified with twin floats instead of the type’s standard spatted fixed landing gear. They were, however, unlike the Arado Ar 196 shipboard reconnaissance floatplane, not capable of catapult starts and not intended for operations at high sea. Other changes included a ventral fin for improved directional stability, additional fuel tanks in the floats that compensated the loss of range through the floats’ drag, and the land-based Hs 126s optional shackles for light bombs under the fuselage were deleted to compensate for the floats’ extra weight, and there was no free space left to ensure a safe bomb release.

Another feature that was developed for the Hs 126 C after field experiences with the aircraft during winter operations was an extended cockpit glazing to better protect the observer from the elements. It covered the while rear section of the cockpit opening but still was open at the rear. It was mounted on rails and could be pushed forward, under the original glasshouse for the pilot. This canopy extension was offered as a Rüstsatz (field modification kit) for older Hs 126 variants, too, and modified aircraft received the suffix “R1” to their designation.

 

Only 150 Hs 126 Cs (32 of them C-2 floatplanes) were built between early 1941 and 1942, production of the Hs 126 A/B had already ended in 1941. Most of them were operated in Denmark and Norway, even though a few were also allocated to Aufklärergruppen in the Mediterranean where they operated in the Adriatic Sea.

The Hs 126 was well received for its good short takeoff and low-speed characteristics which were needed at the time. However, it was vulnerable and the Hs 126 A/Bs were already retired from frontline units in 1942, the better-performing Hs 126 Cs only a year later. The type was soon superseded by the light general-purpose STOL Fieseler Fi 156 Storch, which was simpler and cheaper to produce, and the medium-range two-engine twin-boom Focke-Wulf Fw 189 "flying eye" with a fully enclosed cockpit and a better defensive armament. However, many Hs 126s were still operated for some time in areas with little Allied aerial threat, or second-line duties as glider tugs or liaison aircraft.

  

General characteristics:

Crew: Two (pilot and observer/gunner)

Length: 10,90 m (35 ft 7 in) fuselage only

11,52 m (37 ft 9 in) overall

Wingspan: 14.5 m (47 ft 7 in)

Height: 4,61 m (15 ft 1 in) from waterline

Wing area: 31.6 m² (340 sqft)

Empty weight: 2,030 kg (4,480 lb)

Loaded weight: 3,090 kg (6,820 lb)

 

Powerplant:

1× BMW 132K air-cooled 9-cylinder radial engine with 809 kW (1,085 hp) emergency power

and 705 kW (960 hp) continuous output

 

Performance:

Maximum speed: 360 km/h (223 mph) at 3,000 m (9,850 ft) with floats

(C-1: 400 km/h (248 mph) with wheels)

Travelling speed: 280 km/h /174 mph)

(C-1: 300 km/h (186 mph)

Landing speed: 115 km/h (71 mph)

Range: 998 km (620 mi)

Service ceiling: 8,530 m (28,000 ft)

Rate of climb: 550 m/min (1,800 ft/min)

Time to height: 4,4 min to 1.000 m (3.275 ft)

14 min to 3.000 m (9826 ft)

Wing loading: 97.8 kg/m2 (20.1 lb/sqft)

Power/mass: 0.21 kW/kg (0.13 hp/lb)

 

Armament:

1× forward-firing 13 mm (.511 in) MG 131 machine gun

1× flexible, rearward-firing 13 mm (.511 in) MG 131 machine gun

  

The kit and its assembly:

This build was inspired by a similar project done by fellow modeler ericr at whatfimodellers.com in 1:48 a while ago: a combination of the German land-based Hs 126 observation aircraft with twin floats from an Ar 196 seaplane. This combo looked very natural and balanced, so I decided to re-create a personal interpretation in my “home scale” 1:72.

 

Basically, this what-if model is a straightforward combination of the Italeri Hs 126 A (a venerable but pretty good model, even today, despite raised panel lines) with floats from a Heller Ar 196 A (also a slightly dated but very nice model, also with raised panel lines). The selling point of both kits is their good fit and overall simplicity, even though mounting the Hs 126’s wings to the fuselage – it is held only at six points – is a tricky task. Furthermore, once the wing is in place, painting the area in front of the cockpit as well as the windscreen area is quite difficult, so that I did that ahead of the final assembly.

The Ar 196 floats feature lots of struts, and to mount them (only) under the fuselage the outer supports had to go, because they are normally attached to the Ar 196’s mid-wing section. What was a bit challenging is the struts’ attachment points on the floats: they come with square bases that offer relatively big surfaces to glue the party in place, adding stability to the whole construction. However, blending these areas into each other called for some PSR.

A similar attachment solution was chosen by Heller to mount the floats’ struts to the Ar 196 hull – again, the “end plates” had to go and the struts had to be trimmed to keep the floats parallel to the fuselage. Since the outer supports were gone, I added diagonal stabilizers between the front and rear struts cluster.

 

To add a personal twist and depict an evolutionary late version of the Hs 126, I decided to swap the engine for a donor part from a Matchbox He 115 – it is basically the same engine, but the cowling is slightly wider and cleaner. The engine part itself is simpler. Just a disc with an engine relief. But with the propeller in place (mounted on a metal axis to spin free), this is not obvious. With scratched exhaust pipes, the new cowling gives the aircraft a slightly more modern and beefier look?

 

Another personal addition is improved crew comfort: the original Hs 126 observer workplace was totally open, just protected by spoilers on the canopy that only covered the pilot’s station. Esp. at wintertime this must have been a real P!TA place, so that I tried to extend the glazing. A raid in the spares box revealed two things that created an almost perfect combo: a Hs 126 glazing from a Matchbox kit and a rear canopy section from the spurious ESCI Ka-34 “Hokum” kit. The Matchbox parts’ selling point: it fits perfectly into the respective opening on the Italeri kit and has a slightly “boxier” roof shape, which better too up the square profile of the Hokum cockpit, which, itself, perfectly fell into place over the observer station! To adapt the modern piece to the highly braced Hs 126 glazing I added fake stiffeners made from adhesive tape cross- and lengthwise. I thought that just painting braces onto the flat windows was not enough, and with some paint the tape’s 3D effect looks quite convincing!

 

Other small additions are a barrel for the machine gun the cowling, a stabilizing fin made from styrene sheet material and PE ladders from the floats into the cockpit on both sides.

 

Painting and markings:

I wanted an authentic Luftwaffe livery – but the Hs 126 and similar German recce planes of the mid-WWII era only offer a small range of camouflage options. The generic paint scheme was a splinter pattern in RLM 70/71/65 with a low, hard waterline. Africa as optional theatre of operations offered some variations with field-modifications of this basic scheme with German and Italian sand added on top – but that would not have been the right option for a floatplane, I guess?

 

Eventually I decided to locate the model’s unit far up North and to add improvised winter camouflage to the standard livery. It was applied just as in real life: first, the whole model received its standard splinter camouflage with Humbrol 30, 91 and 65, then the decals were applied. The latter were puzzled together from the scrap box, using simplified Eiserne Kreuze without black edges. The white unit emblems are fictional and come from an MPM He 100 kit with spurious PR markings. The tactical code is “plausible” (“9W” is the AufklGr. 122’s unit code, “D” denotes the 4th aircraft, and “C” is the verification letter for the Stabgeschwader of the unit’s 2nd group) and created from single letters/digits. The black and the green have no strong contrast to the camouflage, but this style was common Luftwaffe practice. The Stabflieger color green was also incorporated on the spinner, another very typical Luftwaffe marking to denote an aircraft’s operational unit.

 

The temporary whitewash was the applied with white acrylic paint (Revell 05) and a flat, soft brush. Once dry, the whole model received a light black ink washing, post-panel shading and a light treatment with wet sandpaper on the white areas to simulate wear and tear. After some exhaust stains were created with graphite, the model was finally sealed with matt acrylic varnish.

  

Well, not a spectacular what-if model, and mounting the Hs 126 on floats was trickier than one would expect at first glance. Pimping the rather dull Luftwaffe standard livery with whitewash was a good move, though, adding an interesting and individual twist to the aircraft. And the resulting whole “package” looks pretty convincing?

These colors together like this do make a powerful statement! ...Especially the way I'm wearing them!

 

I have an admission to make. I have a serious weakness for shiny, sexy, clingy, tight fitting, curve hugging women's apparel! ...and boots- hot, stiletto-heeled boots! I know its a character flaw, but as that legendary cartoon character Popeye once said, "I yam what I yam!"

 

This ensemble centers on my Baltogs hot pink wet look lycra spandex tank style leotard from nydancewear.com, a shiny purple wet look lycra spandex micro miniskirt from milanoo[dot]com, a black two buckle stretch belt from greatglam.com, pink satin opera gloves from and Leg Avenue pink fishnet hose both from electriqueboutique.com worn over shiny black Platino Cleancut 15 denier pantyhose from shapings.com and Hanes Alive Barely There support hose from onehanesplace.com along with these hot pink vinyl thigh boots with 5" heels also from electriqueboutique.com.

 

To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

 

To see more pix of me in sexy boots click here: www.flickr.com/photos/kaceycdpix/sets/72157622816479823/

 

To see more pix of me in Baltogs lycra spandex clothing click this link: www.flickr.com/photos/kaceycdpix/sets/72157617535517907/

 

To see more pix of me in clothes from milanoo[dot]com click this link: www.flickr.com/photos/kaceycdpix/sets/72157625910449261/

 

To see more pix of me in shiny wet look miniskirts click this link: www.flickr.com/photos/kaceycdpix/sets/72157622900221460/

 

DSC_2202-12

if you have a weakness for vaulted spaces, the seven kilometers (4.3 miles) of the aleppo souq will make you very, very happy as it did us.

 

though built more than a thousand years later than its roman precursor, the basic section of apollodorus' market is still visible here.

 

the place is alive with everyday trade and everyday goods and not yet a tourist trap like the bazaar we visited in marrakech.

 

...says ross burns in "monuments of syria", "it is still an animated arab bazaar city where the traditions of the arab middle ages do not seem all that remote. it still (perhaps more than any other city of the levant) works according to the conventions of commercial life unbroken since mameluke times".

 

EDIT: even to think that this has been lost is too painful. my thoughts go out to the people of aleppo and syria.

 

this photo was uploaded with a CC license and may be used free of charge and in any way you see fit.

if possible, please name photographer "SEIER+SEIER".

if not, don't.

 

more from our trip to syria.

Chocolates & pralines, I better be carefull with those. When I get them at home, I'll finish the box in no time.

A photograph which displays all of the weaknesses of the non SLR Hanimex Compact “point and shoot” camera I was using in 1974/75. Although the front third of the locomotive is reasonably sharp the relatively low light level of the station platform environment coupled to the limited lens and aperture settings on the camera has resulted in a very poor depth of field. This is not helped by the other limitation of the 40mm lens of dubious quality around the edges of the frame. If only I had the camera equipment I have today!!! Back to the photograph here we have Haymarket allocated 26022 standing in the platform at Aberdeen having arrived from the south. 11th July 1975.

 

Locomotive History

The class 26 diesel locomotives were built by the Birmingham Railway Carriage and Wagon Company (BRCW) at Smethwick in 1958-59. The class 26 locomotives proved to be the most successful of the Sulzer engined type 2 locomotive classes and apart from a couple of withdrawals in the early/mid 1970’s due to accident damage the gradual rundown of the rest of the fleet spanned eighteen years commencing with three locomotives being withdrawn during 1977, one during 1981, two during 1982, one during 1983, one during 1984, four during 1985, one during 1987, two during 1989, two during 1990, five during 1991, twelve during 1992 with the last eleven being withdrawn during 1993. 26022 entered service as D5322 in April 1959, allocated to Haymarket MPD. It transferred to Inverness in June 1960 returning to Haymarket in May 1969 and transferred back to Inverness in October 1975. Sometime between the 26th and 31st December 1980 26022 was involved in a collision which damaged No2 cab. It was moved to Polmadie for assessment and this was followed in February 1981 by a move to Glasgow works. The damage must have been significant because in April 1981 26022 was condemned and unusually broken up immediately during May 1981.

 

Hanimex Compact, Orwochrome UT18

 

Each Zodiac Can Be A Better Zodiac If It Can Fight These Weaknesses

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

August 2010

U.S. ATTACKED; Hijacked Jets Destroy Twin Towers and Hit Pentagon In Day of Terror

 

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President Vows to Exact Punishment for 'Evil'

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By SERGE SCHMEMANN

 

RELATED HEADLINES

A Creeping Horror: Buildings Burn and Fall as Onlookers Search for Elusive Safety

 

OTHER HEADLINES

Awaiting the Aftershocks:

Washington and Nation Plunge Into Fight With Enemy Hard to Identify and Punish

 

A Somber Bush Says Terrorism Cannot Prevail

 

Rescuers Become Victims

 

Search for Survivors

 

Officials Suspect Bin Laden

 

Terrorists Exploit Weakness

 

Casualties in Washington

 

Hijackers rammed jetliners into each of New York's World Trade Center towers yesterday, toppling both in a hellish storm of ash, glass, smoke and leaping victims, while a third jetliner crashed into the Pentagon in Virginia. There was no official count, but President Bush said thousands had perished, and in the immediate aftermath the calamity was already being ranked the worst and most audacious terror attack in American history.

 

The attacks seemed carefully coordinated. The hijacked planes were all en route to California, and therefore gorged with fuel, and their departures were spaced within an hour and 40 minutes. The first, American Airlines Flight 11, a Boeing 767 out of Boston for Los Angeles, crashed into the north tower at 8:48 a.m. Eighteen minutes later, United Airlines Flight 175, also headed from Boston to Los Angeles, plowed into the south tower. Then an American Airlines Boeing 757, Flight 77, left Washington's Dulles International Airport bound for Los Angeles, but instead hit the western part of the Pentagon, the military headquarters where 24,000 people work, at 9:40 a.m. Finally, United Airlines Flight 93, a Boeing 757 flying from Newark to San Francisco, crashed near Pittsburgh, raising the possibility that its hijackers had failed in whatever their mission was.

 

There were indications that the hijackers on at least two of the planes were armed with knives. Attorney General John Ashcroft told reporters in the evening that the suspects on Flight 11 were armed that way. And Barbara Olson, a television commentator who was traveling on American Flight 77, managed to reach her husband, Solicitor General Theodore Olson, by cell phone and to tell him that the hijackers were armed with knives and a box cutter.

 

In all, 266 people perished in the four planes and several score more were known dead elsewhere. Numerous firefighters, police officers and other rescue workers who responded to the initial disaster in Lower Manhattan were killed or injured when the buildings collapsed. Hundreds were treated for cuts, broken bones, burns and smoke inhalation.

 

But the real carnage was concealed for now by the twisted, smoking, ash-choked carcasses of the twin towers, in which thousands of people used to work on a weekday. The collapse of the towers caused another World Trade Center building to fall 10 hours later, and several other buildings in the area were damaged or aflame.

 

"I have a sense it's a horrendous number of lives lost," said Mayor Rudolph W. Giuliani. "Right now we have to focus on saving as many lives as possible."

 

The mayor warned that "the numbers are going to be very, very high."

 

He added that the medical examiner's office will be ready "to deal with thousands and thousands of bodies if they have to."

 

For hours after the attacks, rescuers were stymied by other buildings that threatened to topple. But by 11 p.m., rescuers had been able to begin serious efforts to locate and remove survivors. Mr. Giuliani said two Port Authority police officers had been pulled from the ruins, and he said hope existed that more people could be saved.

 

Earlier, police officer volunteers using dogs had found four bodies in the smoldering, stories-high pile of rubble where the towers had once stood and had taken them to a makeshift morgue in the lobby of an office building at Vesey and West Streets.

 

Within an hour of the attacks, the United States was on a war footing. The military was put on the highest state of alert, National Guard units were called out in Washington and New York and two aircraft carriers were dispatched to New York harbor. President Bush remained aloft in Air Force One, following a secretive route and making only brief stopovers at Air Force bases in Louisiana and Nebraska before finally setting down in Washington at 7 p.m. His wife and daughters were evacuated to a secure, unidentified location.

 

The White House, the Pentagon and the Capitol were evacuated, except for the Situation Room in the White House where Vice President Cheney remained in charge, giving the eerie impression of a national capital virtually stripped of its key institutions.

 

Nobody immediately claimed responsibility for the attacks. But the scale and sophistication of the operation, the extraordinary planning required for concerted hijackings by terrorists who had to be familiar with modern jetliners, and the history of major attacks on American targets in recent years led many officials and experts to point to Osama bin Laden, the Islamic militant believed to operate out of Afghanistan. Afghanistan's hard-line Taliban rulers rejected such suggestions, but officials took that as a defensive measure.

 

Senator Orrin Hatch, Republican of Utah, told reporters that the United States had some evidence that people associated with Mr. bin Laden had sent out messages "actually saying over the airwaves, private airwaves at that, that they had hit two targets."

 

In the evening, explosions were reported in Kabul, the Afghan capital. But officials at the Pentagon denied that the United States had attacked that city.

 

President Bush, facing his first major crisis in office, vowed that the United States would hunt down and punish those responsible for the "evil, despicable acts of terror" which, he said, took thousands of American lives. He said the United States would make no distinction between those who carried out the hijackings and those who harbored and supported them

 

"These acts of mass murder were intended to frighten our nation into chaos and retreat, but they have failed," a somber president told the nation in an address from the Oval Office shortly after 8:30 p.m.

 

"The search is under way for those who are behind these evil acts," Mr. Bush said. "We will make no distinction between the terrorists who committed these acts and those who harbor them."

 

The repercussions of the attack swiftly spread across the nation. Air traffic across the United States was halted at least until today and international flights were diverted to Canada. Borders with Canada and Mexico were closed. Most federal buildings across the country were shut down. Major skyscrapers and a variety of other sites, ranging from Disney theme parks to the Golden Gate Bridge and United Nations headquarters in New York, were evacuated.

 

But it was in New York that the calamity achieved levels of horror and destruction known only in war.

 

The largest city in the United States, the financial capital of the world, was virtually closed down. Transportation into Manhattan was halted, as was much of public transport within the city. Parts of Lower Manhattan were left without power, compelling Mayor Giuliani to order Battery Park City to be evacuated. Major stock exchanges closed. Primary elections for mayor and other city offices were cancelled. Thousands of workers, released from their offices in Lower Manhattan but with no way to get home except by foot, set off in vast streams, down the avenues and across the bridges under a beautiful, clear sky, accompanied by the unceasing serenade of sirens.

 

While doctors and nurses at hospitals across the city tended to hundreds of damaged people, a disquieting sense grew throughout the day at other triage centers and emergency rooms that there would, actually, be less work: the morgues were going to be busiest.

 

A sense of shock, grief and solidarity spread rapidly through the city. There was the expectation that friends and relatives would be revealed among the victims. Schools prepared to let students stay overnight if they could not get home, or if it emerged that there was no one to go home to.

 

There was also the fear that it was not over: stores reported a run on basic goods. And there was the urge to help. Thousands of New Yorkers lined up outside hospitals to donate blood.

 

As in great crises past, people exchanged stories of where they were when they heard the news.

 

"There is a controlled professionalism, but also a sense of shock," said Mark G. Ackerman, an official at the St. Vincent Medical Center. "Obviously New York and all of us have experienced a trauma that is unparalleled."

 

"I invite New Yorkers to join in prayer," said Cardinal Edward M. Egan as he emerged from the emergency room of St. Vincent's in blue hospital garb. "This is a tragedy that this great city can handle. I am amazed at the goodness of our police and our firefighters and our hospital people."

 

All communications creaked under the load of the sudden emergency. Mobile phones became all but useless, intercity lines were clogged and major Internet servers reported overloads.

 

The area around the World Trade Center resembled a desert after a terrible sandstorm. Parts of buildings, crushed vehicles and the shoes, purses, umbrellas and baby carriages of those who fled lay covered with thick, gray ash, through which weeping people wandered in search of safety, each with a story of pure horror.

 

Imez Graham, 40, and Dee Howard, 37, both of whom worked on the 61st floor of the north tower, were walking up Chambers Street, covered in soot to their gracefully woven dreadlocks caked in soot, barefoot. They had spent an hour walking down the stairs after the first explosion. They were taken to an ambulance, when the building collapsed. They jumped out and began to walk home. "They need me; I've got to get home," Ms. Howard said. Where was that? "As far away from here as possible."

 

In Chinatown, a woman offered them a pair of dainty Chinese sandals. Nearby, construction workers offered to hose the soot off passing people.

 

The twin pillars of the World Trade Center were among the best known landmarks in New York, 110-floor unadorned blocks that dominated any approach to Manhattan. It is probable that renown, and the thousands of people who normally work there each weekday, that led Islamic militants to target the towers for destruction already in 1993, then by parking vans loaded with explosives in the basement.

 

There is no way to know how many people were at work shortly before 9 a.m. when the first jetliners sliced into the north tower, also known as 1 World Trade Center. CNN and other television networks were quick to focus their cameras on the disaster, enabling untold numbers of viewers to witness the second jetliner as it banked into the south tower 18 minutes later, blowing a cloud of flame and debris out the other side.

 

Even more viewers were tuned in by 9:50 a.m. when the south tower suddenly vanished in swirling billows of ash, collapsing in on itself. Then at 10:29 a.m. the north tower followed. A choking grey cloud billowed out, blocking out the bright sunshine and chasing thousands of panicked workers through the canyons of Lower Manhattan. Plumes continued to rise high over the city late into the night.

 

"The screaming was just horrendous," recalled Carol Webster, an official of the Nyack College Alliance Seminary who had just emerged from the PATH trains when the carnage began. "Every time there would be another explosion, people would start screaming and thronging again."

 

The scenes of horror were indelible; people who left from the broken towers, people who fought for pay phones, people white with soot and red with blood. "We saw people jumping from the tower as the fire was going on," said Steve Baker, 27. "The sky went black, all this stuff came onto us, we ran."

 

The timing was murderous for the armada of rescue vehicles that gathered after the planes crashed, and were caught under the collapsing buildings. Many rescue workers were reported killed or injured, and the anticipation that Building 7 would soon follow led to a suspension of operatios. The firefighters union said that at least 200 of its members had died.

 

Mayor Giuliani, along with the police and fire commissioners and the director of emergency management, was forced to abandon a temporary command center at 75 Barclay Street, a block from the World Trade Center, and the mayor emerged with his gray suit covered with ash.

 

In the evening, officials reported that buildings 5 and 7 of the World Trade Center had also collapsed, and buildings all around the complex had their windows blown out. The Rector Street subway station collapsed, and the walkway at West Street was gone. World leaders hastened to condemn the attacks, including Palestinian leader Yasir Arafat and Libya's Muammar el-Qaddafi.

 

European leaders began quiet discussions last night about how they might assist the United States in striking back, and Russia's president, Vladimir Putin, joined in expressing support for a retaliatory strike.

 

But in the West Bank city of Nablus, rejoicing Palestinians, who have been locked in a bitter struggle with Israel for almost a year, went into the streets to chant, "God is great!" and to distribute candies to celebrate the attacks.

 

Many governments took their own precautions against attack. Israel evacuated many of its embassies abroad, and non-essential staffers at NATO headquarters in Brussels were ordered home.

 

In Afghanistan, the ruling Taliban argued that Mr. bin Laden could not have been responsible for the attacks. "What happened in the United States was not a job of ordinary people," an official, Abdul Hai Mutmaen, told Reuters. "It could have been the work of governments. Osama bin Laden cannot do this work."

 

Apart from the major question of who was responsible, a host of other questions were certain to be at the forefront in coming days and weeks. One was the timing -- why Sept. 11?

 

The date seemed to have no obvious meaning. One of the men convicted in the bombing of the United States Embassy in Nairobi in 1998, in which 213 were killed, was originally scheduled for sentencing on Sept. 12. But the sentencing of the man, Mohamed Rasheed Daoud al-'Owhali, had been put off to mid-October.

 

It was possible that Mr. Al-'Owhali and the others convicted with him were close witnesses to the bombings, since terror suspects typically await sentencing at the Metropolitan Correctional Center in Lower Manhattan. Officials have not confirmed that the convicted Nairobi bombers are there.

 

Many questions would also be raised about how hijackers managed to seize four jets with all the modern safeguards in place. Initial information was sketchy, although a passenger on the United Airlines jetliner that crashed in Pennsylvania managed to make a cellular phone call from the toilet. "We are being hijacked, we are being hijacked," the man shouted at 9:58 a.m. As he was speaking, the plane crashed about eight miles east of Jennerstown, killing all 45 aboard.

 

For all the questions, what was clear was that the World Trade Center would take its place among the great calamities of American history, a day of infamy like Pearl Harbor, Oklahoma City, Lockerbie.

 

The very absence of the towers would become a symbol after their domination of the New York skyline for 25 years. Though initial reviews were mixed when the towers were dedicated in 1976, they came into their own as landmarks with passing years. King Kong climbed one tower in a remake of the movie classic.

 

In April, the Port Authority of New York and New Jersey, which ran the World Trade Center through its first 30 years, leased the complex for $3.2 billion to a group led by Larry A. Silverstein, a developer, and Westfield America Inc.

 

In recent years, the complex has filled up with tenants and revenues have increased. In addition to the towers -- designed by the architect Minoru Yamasaki, each 1,350 feet tall -- the complex included four other buildings, two of which were also gone, for a total of 12 million square feet of rentable office space.

    

Sometimes you search for a clue

For a reason to walk with it through

To find a place a single ray among the sadness

To find a smile among the tears she crys !

And once I were her ! just to feel what she hides

I couldn't carry what she used to carry !

Weakness In my shoulders and many to ferry !

It's just a simple question a simple deal

And just a pretty feeling to heal

If you were me what would you feel ?

   

Written by : Sad Feeling

2\9\08

7:27 PM

  

Copyright © SaD Feeling™. All rights reserved. You may not copy,download or use any of my photos or designs in my photostream without my personal permission.

So if anyone has noticed by now, I have a weakness for sunsets, their stunning beauty gets me every time and when I miss one I sure am disappointed. So today I had some time to kill between classes, since today is the first day and we don't have any HW yet I figured I might as well have some fun with my photos. This is a single shot exposure run through mainly Nik Color Efex, I was trying to see what I can pull out of a shot so it may be a little pushed in terms of processing but its all for fun!

 

Please don't hesitate to tell me what you think, comments and constructive criticism are welcome and appreciated! :)

 

*Explored on March 26, 2012 #278! Thanks everyone! :)

One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the intellect for a pristine imaginative conception. The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design. The term 'life' as used in art is something not to be held in contempt, for it applies all of its existence, and the province of art is to react to it and not to shun it. Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again be great.

 

-- Edward Hopper

 

Lo que no te mata te hace más fuerte

I have two weakness; traveling & New York City (inc. Brooklyn) historical books. Trying to make home “me” I realize that eventually it will be turned into a library / museum with national & international artifacts. This tea set was bought in Rome. Can’t always travel but can always bring “abroad” home & enjoy it at my leisure time creating something of my own along the way. Because I do not own television have to find other home entertainment ♥️

When I was doing this star filter I didn't actually believe it will work/ So i was pleasantly surprised

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

"The natural direction of change is towards ever greater disorder, be it the disorder of location of matter or the disorder of location of energy, positional disorder or thermal disorder. Order naturally decays into disorder, energy degrades and disperses..." -Peter Atkins

 

I agree and its nice to be able to control that disorder in your favor...the inversion height hovered around 2,400 ft this morning with a weakness in the ridge. This allowed for a significant push of my favorite type of west coast fog event. The beginning of the inversion marks the top of the fog layer and allows the fog to bank up against the ridge and in this case the ridge drops below this height so the fog begins to spill over the top and in a futile act of self defense sinks and marches on against the warm dry air in the canyon....

 

Fog 0 trees and myself 1

 

"If theres one thing I've learned about life from the weather its that nature thrives on correcting imbalances.....and for photography the best view is on that edge of that gradient"- The Man in Red :)

 

Berlin, Germany

October 2014

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.

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

  

lovely-dangerzone.blogspot.de/2014/03/youre-my-fault-my-w...

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

View On Black

Add me: www.facebook.com/AurelienGPhotographie

Soy humano como todos los demas...

me he caido varias veces y siempre me levanto de cada caida...

soy ... un humano debil...

 

es dificil darte cuenta que eres sencible a todas las cosas que te rodean...

es dificil poder aceptarte en condiciones que no te dejan aceptarte...

es dificil sacarte la presion del pecho, esa sensacion que te da como cuando algo te falta...

es dificil lidiar con asuntos que te hunden y hacenn sentirte solo...

es dificil ver tu reflejo cuando crees que no existes ni en el espacio ni en el tiempo...

es dificil mirarse al espejo y verte borroso...

mas dificil de tolerar es aun el pensar que estas vacio...

 

por que el ser humano es capaz de maximizar todas las cosas aunque sean pequeñas?

 

por que el ser humano puede ser tan influenciable frente las malas energias...

 

por que existe esa debilidad cuando lo que quieres es ser fuerte ...

 

por que a mi?

 

escribir y escribir y sacar nada en limpiio?

 

y escribo y escribo y no aprendo nada..

 

y es tan dificil decir NO...

 

hasta es dificil controlar sentimientos y emociones que emanan de la mente y te hacen sentir bajo, despreciado, feo, vacio, etc... QUE HACER EN ESOS MOMENTOS, SI SE QUE YO TENGO EL CONTROL DE ELLOS PERO ... COMO CONTROLARLOS?

  

en fin ... simplemente creo que son caracteres de los debiles...

For this image I created an impression. Before looking at its illustration, it is perhaps worth pointing out several weaknesses to the image. There are issues of scale, with the verraco being clearly too big, and the tree-pole too small. There are also issues of artistic licence, where the wolfpack is also an inanimate mineral outcrop as occasional howls in the landscape blur with the pack's howling identity. Also, the image seems to inhabit both day and night, with the bird-of-prey more eagle or vulture than grand-duc owl, and the distant flock of goats still out on their hill, yet the silence of night is apparent. There are both the dark vistas and the howling wolves of night, and the active fires of day. There are also issues of authenticity - some castros present tight arrays of round houses, lets say the Castro de Baroña, whereas others offer a grid of square houses - for example La Hoya. Sites with a flexibility of space and function, such as Ullaca, also exist. In my image, the 'castro' seems almost to be a hybrid of castro and shepherd's chozos with corral (see past posts).

 

Everything in the image is intentional. It shows both night and day, both a castro and a croft and a chozos. It depicts a wolf-like element from a landscape that can also howl and birds of prey in both day and night. It is an image that has a flexibility and a need to be finished by the viewer's minds eye.

 

Pastoral man, with his herds and flocks leaves traces on the land, traces that do not clean, rather they fade into composts. The smell of wool combed by blackberry bramble, the dot-to-dot of pat and dropping clearly marking path, entrance and crossroad. And then the noise: chants of baaaa, moo and neigh: oink, grunt and bleet. Castros, villages, chozos and crofts served individuals and communities, and communities had animals for functions that spread from centralised trade down to individual winter heat. Settlements, inside and outside, towards and away, will have smelt, sound and looked interesting to the instinct and inquisitive assessments of birds-of-prey, foxes, marten and wolves.

 

Flocks and new-borns will have thus stimulated interest among predators, who are constantly tuning into signals of potential food: eyes in the day, over the wan and even through the night. An otherwise light sleeping and attentive shepherd may slip off his normal guard whilst trading through his local castro, and he might regret his jovial conversation, evening song-and-dance; and above all, his reliance on the attentiveness of others.

 

The geography of the verraco zone is crossed by deep gorges fed from the waters of regular high sierras, and for all of the long hot 'hells' of summers, central and north western Spain and Portugal do have water. Grasslands are warmed into two real growing seasons of spring and autumn, and local and migrating birds and local mammals enjoy the rich and constantly renewing stocks of dry seed. Many varieties of birds-of-prey look to exploit situations. Vultures scavenge, but can also organise between themselves to make animals run over cliffs and other shock mischiefs. Gosshawks and kites dive, eagles chance firm grips, grand-ducs eat anything from large insects up to the size of a hare, and wolves watch, learn and cooperate. Some scavengers look for the old, the ill or the young or isolated and peck to a point when the lifestyles of scavenger and predator seem to merge.

 

The Neolithic revolution was a mindset that looked at the living world and tried to observe, select and effect change. Docile, fat and milky offspring over the aggressive and lean. Big roots, sweet fruit and independent grains over the bitter and tight. By the Iron age, it is credible to expect that flacons, hawks, eagles and buzzards joined dogs in being trained to collect small animals for man, and in that then very modern world, it is very possible that people didn't register a great distinction between domestication and training.

 

Some villages and areas may have sat-back content to work with the 'Neolithic package' of ready to work domesticated animals and plants, but the system itself of "observation, selection and managed action with a target in mind" will have been a mindset and meme that inspired many into a sense of place and epoch. Here, shepherds and pastoralists were the 'computer scientists' of the late ages of prehistory, and its following protohistory.

 

Finding a way to dissuade birds-of-prey, wolves and foxes from becoming locked by their instincts and inquisitive learning into the growing nodes of society may have been an issue for this Iberian geography. The biomass of Iberian scrub and meadow-grain surely supported more predators than from further to the north, and the many steep deep valleys of the Iberian north, centre and west provided safe zones for packs of wolves away from the most organised hunting party. Getting into the mind of a predator required observation, strategy and a will to change in the wild.

 

Creating an artifice - a false animal - that could trick troublesome examples of predators, so that they could be either killed, captured or even trained to re-think the new conglomerated and urban demographys of Castro, hamlet, chozos and village, here being the push to form and create verracos.

 

Knowing that predators do not like to have been seen by the alert and watchful eyes of their potential prey, so favouring fake animals with eyes that are slight and passive.

 

Knowing that both predators and scavengers are looking out for animals that are alone.

 

Knowing that the predator's instinct and mind is excited by the rounded shape of a carcase filled with blood, flesh and bone.

 

Knowing that the predator investigates a potential prey; calculating and placing strategies in line. Knowing that doubts can be appeased by making the details of life clear, with the satiating stimuli of life's animal 'keys' visible for viscerally compulsive predatorial conceptions (eyes, nostril, sexual organs, anus, tail...).

 

Knowing that predators open carcasses by the anus, the sexual organs and the throat, and making all of these indubitable clear lines, and in so doing, adding to the attraction of the granite artifice.

 

Showing the horns and tusk as proof-of-concept without weaponizing their image with point and exaggeration, resulting in verraco horns are visible but never threatening and often atrophied.

 

A static animal with straight legs is either half-asleep, old or ill - all states that regularly occur in nature - and all at the centre of many a predators dream. Ruminating outlines rather than alert beasts about to spring to run or fight.

 

Verracos seem designed to charm and enthral the instinct of the very predators that could undermine the serenity of man's increasingly expanding and negotiating sedentary.

 

From high in the sky, the bird of prey that has over several months locked onto the landscape of the castro (and in so doing, taken several young animals), dives. The bird picks up speed with the sun behind its wings. To draw extra confidence around the proposed situation, a pile of manure has been positioned behind the back legs. From behind a temporary screen, the keepers of this verraco make the noises of the manufactured motionless animal, and pull strings to make bunches of grass first obscure and then reveal the stone form in much the same way that a fowler has always learned bird calls and employed decoys from far into hominid pasts. The verraco's team may grunt, or they moo with uncanny realism - calm, serious and unabashed. And as a fishing-rod may come-and-go to tease attention, so it might be the case that a verraco is covered from view until the desaturated landscape of dawn and dusk. Hiding and revealing the verraco would certainly be an art, and contemporary experimental archaeologists that simply place and watch a verraco from afar without a sense of timing and 'theatre', would only be akin to persons watching a magician's dummy hoping to see magic. The diving bird now includes its shadow and swoops to kill. The keepers of the verraco either witness the bird as it is instantly killed by hitting the hard stone, or, they add spear or knife to the dazed and confused. The problem predator has been neutralised and prized feathers, bones and claws are traded to the additional profit of the veracco's guardians.

 

We may suggest that the large Yaca de Yeltes castro asked that the 'best' team come once a year, and the well 'paid' verraco team have gone as far as installing a field of raised stones to, amongst other advantage, stop inquisitive landed vultures from running a gawk take-off.

 

On other occasions, the bird-of-prey swoops to catch an offering of meat, and here, with the help that the focus of a verraco provided, this bird is locked into a repeatable narrative, taking the cuts from indents made in the verraco's back. The action of feeding the bird-of-prey will ultimately lead to falconry or hawking - man and animal trained to work and hunt together. Trained birds-of-prey another source of income for the keepers of the verraco. On other occasions, clay is moulded flat into the pits, and a strip of matching back-hide is pinned into the clay so that from above, the verraco matches reality, and from the oblique shaded sides it silhouettes with close proximity. Both utilities from one addition.

 

Pits in clapper-bridge stones and on carved steps (4:8) had been used aside rivers to focus and attract birds and animals to key spots for generations in the local area, and finding elegant new applications involved simple steps and bridges of creativity in the mind's eye.

 

Even if they could never attack a large animal, foxes would simply be too inquisitive to the hyper-reality of sound, shape and smell, and in-turn fall prey to the managed situation.

 

Some localities arranged for a permanent verraco to guard their dynamic community, and this sense of guarding became part of their symbolic importance, with some veraccos just guarding as emblems of mind over wild. Some of these would be smaller and less refined, but still visibly verracos (6:8).

 

Verracos of bears could be made to attracted naturally short sighted real bears, and the smell of acorns coupled with the sight and sound of an apparent hog could be made to attracted wild boars - unconstrained creative applications, and all for watching local eyes and their vivid stories, as many verracos would move from place to place.

 

We might imagine that the Yacca de Yeltes verraco stayed on

with the aim of teaching a returning pack of wolves a lesson (wolves can have vast territories and wander the crests and vales as winter pinched the Sierras, Picos and Pyrenees). The associated field of 'standing stones' here stopping the wolves from collecting a definitive line of sight.

 

Over the period, the specific verraco team had been fed by the population of the castro. They have been offered shelter, and have collected fur and other items for trade. They also handed over a trained eagle in exchange for metal goods and assured contacts. They had been merry, helping with odd jobs of heavy lifting, as these keepers of the verraco are people who have phase-changed from a megalithic heritage and they are strong and liked to be known as strong. During their stay, conversations led to a demand from a new village 5 kilometres away. The village had been having a problem with vultures and a fox. The villagers also believe that a veracco brought luck to their settlement, symbolic security and even social status and credibility. Verracos were seen as more 'intelligent' than the foils of nature.

 

The village was accessed by a cart track and the verraco team strapped timbers to its side, and with a heave, they lift and sing off to their next 'job'. The verracos pedestal kept the centre of gravity low, and made it easier to transport the weight on and off the cart, and then into the rocky terrain aside the gully behind the village that was funnelling problems. The sedentary life is good, but it is not for everyone. And every time the team puff the verraco back onto the ground, some of its granites crumbles away. On more occasions than they would like to mention, as they walk it towards its new scene of theatre, someone stumbles, and the animal falls onto its face. And as they try to position the verraco between stone outcrops to create natural nuance to its outlines, they trip again, stumble, bash, and jam the forward facing verraco ... and onto pedestal ... then onto legs: again and again. Chips and 'crumbs' falling as granite-sand to never be recognised or counted.

 

The team had seen time worn and travelled verracos covered with pelts of stitched realism to the detriment of clean lines and silhouettes and apparent details, and on the day they finally stopped to either make or trade for a brand new example, they exchanged their now battered companion to a 'lesser' team, or for use in a competition of strength during a summer festival.

 

Predators were suspicious of lone sheep and goats, and local people liked to see powerful and vivid animals.

 

Verracos offered leverage over issues related to the living landscape. Maybe they were paraded once a year and once again fell from the shoulders of young teams with minds stronger than muscles. Maybe some eventually guarded over graves, here still thought to be capable of attracting and dominating the surprise elements of the wild world in controlled and intelligent ways. Confronting powerful 'elements' is seen elsewhere in Iberian culture. Drawing-in spirits of mischief and ill fortune being one of the elements principle of the 'akelarre'. Drawing in the danger of the most powerful bull, being one of the principles of 'La tauromachie'.

 

And if the main function of the verraco can be summarised as to attract unreasonable wild agitators into situations of weakness, then when the Romans landed on the eastern side of the Iberian peninsula, and when topics of conversation changed and adjusted for this new breed of predator, it is very possible, and indeed perhaps typically human and wry, that a verraco was made of a Roman soldier on all-fours with his detailed behind in the air. In this scenario, the verraco of 'San Felices de Los Galegos' (pictured below) may just have carried Roman costume plundered from battle to the south or east. And as the verracos were positioned aside new urban plots, by natural crags, small creeks and slight gullies, Romans didn't see them as examples of power and social hierarchy, and left them untouched as pastoral inconsequence, to their minds, naturally belittled aside the new Roman columns.

 

I shall call this hypothesis the 'managing the wild' theory of verracos. Readers should contrast this hypothesis with others.

 

My last post in this series (8:8) will look at a potential deep root to the principle of drawing-in troublesome elements rather than running after.

 

AJM 18.11.21

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

You know my weakness for the Regent's canal. So i shoot a few night views to sort of complete the picture. This school is relatively new. I was talking about it there.

 

Wish you all great weekend!

i need to get a typewriter before i off myself. will exchange sexual favours for fully functioning typewriter.

On the right 16/08/20 25°C and 92% humidity in my home gym. On the left 05/09/16..... I was better 4 years before. And could lift more weight, check out the photo for less dumbbell plates in 2020.

 

What a shit year 2020 has been......

Mirit Ben Nun: Shortness of breath

'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual.

This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting.

In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset.

Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'.

This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant

 

Tali Tamir

 

I am-What you fear most

I am-What you need

I am-What you made me

I am-The American dream

 

I'm not selling out

I'm buying in

 

I will not be forgotten

This is my time to shine

I've got the scars to prove it

Only the strong survive

I'm not afraid of dying

Everyone has their time

Life never favored weakness

Welcome to the pride......

 

Tune: Five Finger Death Punch - The Pride

www.youtube.com/watch?v=zuQGx1H1Qh8

 

If I'm being honest, flowers are probably my least favorite photo subject... yet I am drawn to their flaws.