Railway
Working Discovered Deep Detritus Dump with, “Yes, wonderful
things!” and Me looking like I am ready to give way to the
Detritivores Trimontium Museum Melrose Scotland
I
am fortunate that my companions will sometimes take my portrait. Here
I have been captured in Alternative Focus, (not the AF as listed in
Manufacturer’s Manuals and Gear Guides). The in camera adjustments
may not be what I believed was happening as I posed, but it has
delivered some superb share worthy images. The Film Tiles have been
cropped from 4.3 to 16.9 Format to fill the screen without reducing
the width in any way at all. The Film Title Screen is comped of a
single image cropped and edited into four versions.
All
text is rendered in Arial Font to please the photographer who is
enamoured of Arial above all other letterset manufactured iconic
meaningful symbol shapes. Photographer prefers not to be credited. I
did set the camera ready for my 15 Frames of Fame and as such can be
indicated as failing to express my vision and in so doing receiving
Alternative Focus, (not the AF as listed in Manufacturer’s Manuals
and Gear Guides), which here in these images I appreciate with
grateful thanks, thank you for picturing me. I look forward to MF AF
and AF in the future.
MF
Manual Focus
AF
Auto Focus
AF
Alternative Focus, (not the AF as listed in Manufacturer’s Manuals
and Gear Guides)
Local
or Legionary asks the notice next to four archaeological exhibits two
skulls and two heads in The Trimontium Museum Melrose Scotland
A
silent face recreated from out of an excavation at Trimontium Fort,
bones left in a possible rush maybe discarded, or revered given a
voice from modern testing.
Yorick,
no, alas this is not a known individual. Hamlet to the skull of Yorik
state he was, “a fellow of infinite jest, of most excellent fancy;
he hath borne me on his back a thousand times;... Here hung those
lips that I have kissed I know not how oft. Where be your gibes now?
Your gambols? Your songs? Your flashes of merriment, that were wont
to set the table on a roar?” William Shakespeare in his play Hamlet
druring Act V Scene i has Hamlet remember the Jester and can see his
memory align with the skull so famously brought to light and
theatrical acclaim as new grave being dug discovers the fleshless
head of Yorick.
The
flesh has been put back on this skull now in The Trimontium Museum
with scientific exact reconstruction. My quickly taken pictures are
not accurate representations of the exhibits and have no relevance,
or reflection of the superb work completed.
This
skull excavated from deep within a pit inside the Roma Fort of
Trimontium ask questions that may never be answered and it is also
the source of modern examination and scientific revelation. The
information given in the exhibit states that a tooth from this find
has shown that the individual was between 35-46 years old and he
lived locally from around Moffat in Scotland just South of Trimontium
Fort site and also South of the Trimontium Museum.
Description
Fully reconstructed head of skull found in pit at Trimontium.
Use
The purpose of this reconstruction was done to give a face and
partial identity to the individual's skull found during the 1905 -
1910 excavations at Trimontium by James Curle. The reconstruction was
carried out by Professor Caroline Wilkinson in 2003. His skeleton
was found almost erect with a spearhead by his side. It has been
speculated whether he was a Roman soldier or a native, in which case
he might have adorned the ramparts as a warning to the enemy, a
practice which can be seen in such places as Trajan's column in Rome.
Further
DNA analysis of the skull was carried out recently and results will
be published soon.
“A
man found down a well - these images show the facial reconstruction
by Professor Caroline Wilkinson taken from the skull of a man found
in one of the pits at Trimontium. He might be a Roman soldier &
his skeleton was found almost erect with a spearhead by his side.”
“The
name Yorick has been interpreted as an attempt to render a
Scandinavian forename: usually either Eric or Jørg, a form of the
name George.[3] The name Rorik has also been suggested, as Saxo
Grammaticus wrote that this was the grandfather of Amleth, who served
as the inspiration for Hamlet.[4] Alternative suggestions include the
ideas that it may be derived from the Old Norse name of the city of
York (Jórvík),[5] or that it is a near-anagram of the Greek word
Kyrios and thus a reference to the Catholic martyr Edmund
Campion.[6]”
“David Tennant used the cranium of pianist
André Tchaikowsky for Yorick's skull in a 2008 Royal Shakespeare
Company production.”
“Tchaikowsky
died of colon cancer at the age of 46 in Oxford.[1][7] In his will he
left his body to medical research, and donated his skull to the Royal
Shakespeare Company, asking that it be used as a prop on stage.[8]
Tchaikowsky hoped that his skull would be used for the skull of
Yorick in productions of Hamlet.[9] For many years, no actor or
director felt comfortable using a real skull in performances,
although it was occasionally used in rehearsals. In 2008, the skull
was finally held by David Tennant in a series of performances of
Hamlet at the Courtyard Theatre in Stratford-upon-Avon.[10]
After
the use of Tchaikowsky's skull was revealed in the press, this
production of Hamlet moved to the West End and the RSC announced that
they would no longer use Tchaikowsky's skull (a spokesman said that
it would be "too distracting for the audience").[11]
However, this was a deception; in fact, the skull was used throughout
the production's West End run, and in a subsequent television
adaptation broadcast on BBC2.[12] Director Gregory Doran said, "André
Tchaikowsky's skull was a very important part of our production of
Hamlet, and despite all the hype about him, he meant a great deal to
the company."[12]”
New Asgard and Thorn not likely, I look so different today that this
looks like someone else and neither of us are Thor likely
Erm, so the interior
in the St Abbs Visitor Centre. Everything is a Seagull’s cry into
the abyss. I am loading this for the photographer that took these
pictures and put up with my many mumbles and un-appt abbservations.
This visitor centre
is on the road to Coldingham from St Abbs.
The Priory is just
out of the picture, it is linked below. It is just inland from
Coldingham Sands and St Abbs.
This as close as can
be to New Asgard from Marvel films including Thor enjoying a new
place by the sea.
The John Gray Centre
brings together East Lothian Council’s Archaeology, Museum, Archive
and Local History Services, alongside Haddington’s branch library.
In
here there’s a rhythmic almost heart beating door A secret sauce to
improve the light source RSPB Scotland Loch Leven nature reserve
A
Secret Source to improve the Light Source.
The
camera settings record a brighter scene than that which is seen by
the human eye and I can be heard saying the above, “A Secret Source
to improve the Light Source,” at the end of the film. Pixel power
searches into the dark to treasure receive the waiting wonders so as
to best record them for later and for further enjoyment. Almost
nothing to see here and what is to be seen is scene generated by A
Secret Source to improve the Light Source with a wider eye to take in
what is flying by and an electronic ear saving the wings on air and
on water with hidden honk and silhouetted cry and a more sensitive
sensor for experiencing the loch the shore listening in without reply
and everything and all together under the intense colours of the sky.
The
whole experience is the whole experience, with wonky horizons and
shaky movements. I am now an ambassador of the wonky as I am at the
permanent potential to go to the wonk and to glory in the results as
age and injury grip me tighter and longer than loved ones ever have.
The bad filming here is intentional for this to be a true record of
the experience that still stirs me as I look back on it like a slice
of repeatable immersive Electro Shamanism.
The
end of the day is a fabulous break down. Everything of light that has
been completed and the gentle encroach of night offers some respite
before the glorious wonders woken before dawn all start again into
the more active hours of the day. Please be gentle on my
classification of, “repeatable immersive Electro Shamanism,” that
is what I am experiencing on looking back into the fantastic after
glow and fabulous sound garden of twilight. This is after sunset at
RSPB Scotland Loch Leven nature reserve.
Carn
Liath Broch Near Golspie Sutherland Murmuring and Mutterings upon an
entrance and life well defended and shared
There
is a cloud with an unbelievable luminescence, you may wish to watch
the proceedings witch include the progress in and up the Broch all
the way to view the both amazing and as stated unbelievable cloud.
This is an awe inspiring place, passed by many on the busy A9 and
also enjoyed by lots too as these time worn stones are in a prime
location now from the busy highway for the motor vehicle traveller
and always upon the sea routes for raiding and trading, for living
and loving within this once vibrant community firmly established
here. Visible from the structure is the bay that most likely caused
the Broch to be built and just a little further along from some
centuries later there is the still imposing Dunrobin Castle &
Gardens in view just to the South weaving a fantasy air bourne
drifting notions of lineage from Brochs to Castles via shared safe
dwellings to Clan Centres of influence and strategic importance
throughout a much changing history shaped out potential history.
Now
is the film-time of our Garderobe of discontent adjunct to the now
sealed Garderobe of discontent Rosslyn Castle in Roslin Glen Scotland
There
have been modifications and new building work at Rosslyn Castle in
Roslin Glen and the heavens above are no longer visible up through
the Garderobe of discontent from the former midden below. The
Sallyport contains root words of jump and door and the jump door was
close to this dump shute. From former midden and possibly the
groaning moat sometimes answered with a wash of the Roskelyn the
swirling waters that carved out the foundational rock for the castle
all the way with a fall to the stars.
It
might be too late for many and far too early for some. The quiet bird
noises have been left quiet and distant. The window movement is
mentioned before the sound of the movement, not at all dissimilar to
an indicated Musical Movement and stop there on movement comparisons
please. The whole experience is the whole experience, with wonky
horizons and shaky movements. I am now an ambassador of the wonky as
I am at the permanent potential to go to the wonk and to glory in the
results as age and injury grip me tighter and longer than loved ones
ever have.
The
end of the day is fabulous break down. Everything of light has been
completed and the night offers some respite before the glorious
wonders all start again. This is after sunset at RSPB Scotland Loch
Leven nature reserve.
Saint
Columba is also known as Saint Colmcille of Iona.
Saint
Ninian is also known as the Apostle to the Southern Picts, further he
is also known as Ringan in Scotland and as Trynnian in Northern
England.
Abercorn
Church and the site of a noted Anglian Monastery are recorded in the
small stone museum. The building is made of stone and it houses
stone. Records left in stone speak through symbols and style across
history to inform our minds.
In
looking for further information I did find this,
COLUMBA AND
NINIAN: TWO SCOTTISH SAINTS
Thesis
: St. Columba is commemorated for having a greater influence on the
spread of Christianity in Scotland than St. Ninian because Columba
died better than Ninian.
Cindy
Turner, 1758 Prof.
Brad Doerksen HIST 237 A
26
November 2012
Outlander
locations - Abercorn Church and Cemetery / Graveyard
“Filming
for season 4 took place at this churchyard in Linlithgow. The
graveyard played the part, in ‘Down the Rabbit Hole’, of Frank’s
final resting place after his fatal car crash. We see Bree visiting
Frank’s grave shortly after his death.”
“Abercorn
Church and Graveyard is one of several Outlander locations in the
surrounding locality. Barely a mile south is Midhope Castle
(Lallybroch), and the much used Hopetoun House is an equal distance
to the east. Blackness Castle, used as Fort William in season 1, is
also nearby, less than 5 miles away.”
Was
there a tripod used, did I remember which lens took which pictures?
There
are pictures and they do tell me something, not in any science way as
the pictures have been edited beyond testing the lenses. Now to go
back and do it all for science and the opportunity to quest on a test
and discover what is expressed not confessed.
There a fantastic bird noise between The Roman Antonine Wall sites much further North than Hadrian’s Wall and nearby The Carriden The Witches Stone
There really was.
There is a bird flying Centre Dark on Bright Right to Left at 22 Seconds.
This film was shot between the two outcrops of The Roman Antonine Wall in sight of The Firth of Forth much further North and Hadrian’s Wall and nearby The Carriden The Witches Stone.
Title in description is, “There a fantastic bird noise.”
Title in film, “There was a fantastic bird noise.”
Both are correct, one is issued more emphatically than the other. If you like one better then that is the title that works for you. If the titles do nothing for you then who needs a title, to this presentation?
This day was a slice of beauty and history with intricate involvement with Sun and Sky, Woods and Birdlife galore.
You sir are a magnificent Bull in Bo’ness near Carriden The Witches
Stone and Roman Antonine Wall Sites here with Pictish Burghead in
Moray overlay
This magnificent
Bull in Bo’ness had me thinking of Pictish Art and their Symbol
Stones. Their animal symbols survive to this day where their language
is now none existent. The wonderfully evocative decorated stones are
found at Pictish Sites with the striking lines flowing and curling
like waves of energy form both the outlines and internal structure of
the subjects. At Burghead in Moray several Bull symbols were found
leading some to believe that the Bull was a symbol venerated here,
maybe a marker not unlike those later used in Heraldry to tell a
story of identity that is linked to landscape and to those who
control it. The notion of totems as good luck and potent identifying
markers of person and of people, of individual and of tribe to set a
motif of identity within this material world and an icon within all
spiritual realms too.
This particular
carved stone is displayed in London in The British Museum and thought
so highly of that a replica cast is held in Edinburgh at The National
Museums Scotland. This Bull is also incorporated into the current
Logo for The Moray Society Elgin Museum. There is a cast in The
Elgin Museum amongst other Pictish Symbol Stones. The symbol stones
from Burghead are numbered 1-6 and this one is catalogued as,
Burghead 5, Moray,
Pictish symbol stone
Measurements: 0.53m,
W 0.53m, D 0.08m
Stone type:
sandstone
Place of discovery:
NJ c 109 691
Present location:
British Museum, London (1861.10-24.1) (cast in Elgin Museum)
Evidence for
discovery: one of many bull carvings said to have been found during
quarrying of the wall of the upper citadel to find building stones
from around 1800 onwards, of which six have survived (Macdonald
1862). This stone was found sometime before 1809, when it was
exhibited at a meeting of the Society of Antiquaries of London, and
it was in private hands in London for many years before being
presented to the British Museum.
Present condition:
good.
Description
The triangular shape
of this slab may indicate the preferred form for these bull stones
from Burghead. One broad face is incised with the most ferocious
image of a bull to have survived, pacing angrily towards the right
with his head lowered far down and his tail swishing across his rump.
Date: seventh
century.
This is a cast of a
stone found at Burghead in Moray. It is one of a number of stones
carved with bull symbols, found in and around the site of the Pictish
fortress at Burghead. They date from between 500 and 800.
Like the other
stones, the bull is naturalistically depicted, with scrolls defining
the joints where the limbs meet the body.
The large fort at
Burghead was a major Pictish settlement. A number of carvings have
been found there, many depicting bulls. Various theories have been
put forward to explain their significance, including religious,
territorial emblems or clan totems.
“Interpretation of
the stones' original role has varied. Some scholars have suggested
they were displayed on the fort's ramparts as symbols of power;
others have seen them as having a votive role in a frieze as part of
a pagan fertility cult; while others argue they were standing stones
lining a processional route through the ramparts, a role suggested by
their likely original kite-shaped form.”
Noble, Gordon
(2019). “Fortified settlement in northern Pictland,” Noble,
Gordon; Evans, Nicholas, The King in the North: The Pictish Realms of
Fortriu and Ce, Birlinn, Edinburgh. Quote p.54, ISBN 178027551X.
1788851935, 9781788851930
The British Museum,
reference below, records,
Exhibition history
Exhibited:
2001-2002 12 Dec-28
Feb, Leeds, Henry Moore Institute, The Unidentified Museum Object
1998 18 Apr-12 Jul,
Japan, Tokyo Metropolitan Museum of Art, Celtic Art
Camore, reference
below, records.
Exhibited at the Society of Antiquaries in
London in 1809.
A
moment in the tower of the church erected upon Egil’s island,
Egilsay, Egilsey and even Eagleshay where Saint Magnus Erlendsson an
Earl of Orkney was martyred
The
island has been recognised under several names and the church here
has been venerated as the site of the martyrdom of Saint Magnus. The
legend of Saint Magnus Erlendsson an Earl of Orkney born in 1080 and
died on 16 April 1117 has been passed down to us even if some
believed it more and less. Please see the quote below for those that
found a proof to substantiate the legend into history, the vita that
is the living even holy writings of a hagiography.
“The
island is largely farmland and is known for St Magnus Church,
dedicated or re-dedicated to Saint Magnus, who was killed on the
island in 1117 by an axe blow to the head. For hundreds of years the
story of St. Magnus, part of the Orkneyinga saga, was considered just
a legend until a skull with a large crack in it, such as it had been
stricken by an axe, was found in the walls of St. Magnus Cathedral in
Kirkwall.”
Maybe a Manic either Bunny or Bear Shadow Feature Creature on the
wall with Fujinon 75mm f5.6 - f45SWD Super Wide Deluxe EBC Electron Beam Coating
I do
not wish to dwell on the traits and fates of Gladiators. The history
of Murmillo and their opponent does show the Roman attitude of
barbarian til the Gauls in this case were subdued and turned into a
Client Kingdom so their former bestial character was withdrawn from
the Arena and the Murmillones needed a new opponent in their live
action and potential death games. The helmet here has a history and a
continuing present.
Using
a Sinar camera with artistic lens and a Sony digital mirrorless
camera gives a warm feel to to the pictures. The Fujinon 75mm f5.6 -
f45
SWD Super Wide Deluxe EBC Electron Beam Coating is great older lens.
It has features and characteristics developed from previous models
and made wonderful in this incarnation of the lens. “Fujifilm also
pioneered Electron Beam Coating (EBC) which according to Fujifilm,
represented a new high in lens precision and performance*.” Up to
18 coatings can be applied by Fujinon to improve lens capabilities
reducing and even eliminating flare whilst improving contrast. In old
lens debates the coatings are heated topics of conversation,
discussion and complete disagreement. The coating debate can get
hotter and less controlled that Fujinon’s once fame platinum
crucibles designed and used to obtain the purest glass. Many
photographers are finding that old lenses and camera enclosures can
work marvellous well with new digital cameras. Old cameras, lenses
and equipment are current enjoy a second, third, fourth and more life
as they are looked to again to produce the detail they were imagined
for and the production of wonders that they were never designed for.
Murmillo
The
murmillo (plural murmillones) or myrmillo wore a helmet with a
stylised fish on the crest (the mormylos or sea fish), as well as an
arm guard (manica), a loincloth and belt, a gaiter on his right leg,
thick wrappings covering the tops of his feet, and a very short
greave with an indentation for the padding at the top of the feet.
They are heavily armoured gladiators: the murmillo carried a gladius
(64–81 cm long) and a tall, oblong shield in the legionary style.
Murmillones typically fought a thraex, but occasionally the similar
hoplomachus.
Thraex
The
Thraex (plural Thraeces, "Thracians") wore the same
protective armour as the hoplomachi with a broad rimmed helmet that
enclosed the entire head, distinguished by a stylized griffin on the
protome or front of the crest (the griffin was the companion of the
avenging goddess Nemesis), a small round or square-shaped shield
(parmula), and two thigh-length greaves. His weapon was the Thracian
curved sword (sica or falx, c. 34 cm or 13 in long). They were
introduced as replacements for the Gaulish gladiator type after Gaul
made peace with Rome. They commonly fought myrmillones or hoplomachi.
Hoplomachus
The
hoplomachus (Romanised Greek for "armed fighter", Latin
plural hoplomachii) wore quilted, trouser-like leg wrappings,
loincloth, a belt, a pair of long shin-guards or greaves, an arm
guard (manica) on the sword-arm, and a brimmed helmet that could be
adorned with a plume of feathers on top and a single feather on each
side. He was equipped with a gladius and a very small, round shield.
He also carried a spear, which he would have to cast at his opponent
before closing for hand-to-hand combat. The hoplomachi were paired
against the myrmillones or Thraeces. They may have developed out of
the earlier '"Samnite" type after it became impolitic to
use the names of now-allied peoples.
Some
Sinar Camera Details
“The
name SINAR is an acronym that encompasses the prime applications in
the fields of still, industrial, nature, architectural and
reproduction photography.”
At
times the name SINAR is rendered into different titles the above
quote and link is from an English version of a 2011 press release,
“Sinar Photography AG Acquires the Brand Rights of Sinar AG,”
Zürich: Sinar Photography AG. April 2011. The S in Sinar has also
been stated as standing for studio, Sache, or science.
Whilst
Sinar still make amazing cameras this is an older version and it is
not the latest and greatest. In fine age it is still a picture taking
marvel, but not easy, not handy and not great to transport. Then you
luxuriate into the results and suddenly the struggles of lifting and
moving of the all manual operation and friendly challenges of light
metering seem to be gone for a few treasured moments of appreciation
and even longer still as you think where next for a Sinar experience.
Artistic gentle focus lens Rodenstock Imagon 300 mm H=5.6 with a
little history of the Murmillo Thraex as Gaulish replacement and
Hoplomachus Gladiator
I do not wish to dwell on the traits and fates of Gladiators. The
history of Murmillo and their opponent does show the Roman attitude
of barbarian til the Gauls in this case were subdued and turned into
a Client Kingdom so their former bestial character was withdrawn from
the Arena and the Murmillones needed a new opponent in their live
action and potential death games. The helmet here has a history and a
continuing present.
Using
a Sinar camera with artistic lens and a Sony digital mirrorless
camera gives a warm feel to to the pictures. The Rodenstock Imagon
300 mm H=5.6 gives several versions of itself through itself without
additions and then through aperture and diffusion discs sometimes
referred to as sieve apertures and they are also called sink
strainers. Many photographers are finding that old lenses and camera
enclosures can work marvellous well with new digital cameras. Old
cameras, lenses and equipment are current enjoy a second, third,
fourth and more life as they are looked to again to produce the
detail they were imagined for and the production of wonders that they
were never designed for.
Murmillo
The
murmillo (plural murmillones) or myrmillo wore a helmet with a
stylised fish on the crest (the mormylos or sea fish), as well as an
arm guard (manica), a loincloth and belt, a gaiter on his right leg,
thick wrappings covering the tops of his feet, and a very short
greave with an indentation for the padding at the top of the feet.
They are heavily armoured gladiators: the murmillo carried a gladius
(64–81 cm long) and a tall, oblong shield in the legionary style.
Murmillones typically fought a thraex, but occasionally the similar
hoplomachus.
Thraex
The
Thraex (plural Thraeces, "Thracians") wore the same
protective armour as the hoplomachi with a broad rimmed helmet that
enclosed the entire head, distinguished by a stylized griffin on the
protome or front of the crest (the griffin was the companion of the
avenging goddess Nemesis), a small round or square-shaped shield
(parmula), and two thigh-length greaves. His weapon was the Thracian
curved sword (sica or falx, c. 34 cm or 13 in long). They were
introduced as replacements for the Gaulish gladiator type after Gaul
made peace with Rome. They commonly fought myrmillones or hoplomachi.
Hoplomachus
The
hoplomachus (Romanised Greek for "armed fighter", Latin
plural hoplomachii) wore quilted, trouser-like leg wrappings,
loincloth, a belt, a pair of long shin-guards or greaves, an arm
guard (manica) on the sword-arm, and a brimmed helmet that could be
adorned with a plume of feathers on top and a single feather on each
side. He was equipped with a gladius and a very small, round shield.
He also carried a spear, which he would have to cast at his opponent
before closing for hand-to-hand combat. The hoplomachi were paired
against the myrmillones or Thraeces. They may have developed out of
the earlier '"Samnite" type after it became impolitic to
use the names of now-allied peoples.
Lens
details Rodenstock Imagon 300 mm H=5.6 (for 13×18 cm)
In a
joint effort with the pioneering photographer Heinrich Kühn, who, as
a pictorialist, was artistically seeking for "romantic softness
without sugariness, blurring without a woolly effect"[1] in
images and had been experimenting with binocular lenses and soft
filters and rasters in the 1920s already,[1] the lens was technically
designed by Franz Staeble [de],[1][2] founder of the optical company
Staeble-Werk [de] in Munich, Germany.[1] The resulting lens was
marketed as Anachromat Kühn. Later in 1928,[1] the lens became the
Tiefenbildner-Imagon, which was introduced by Rodenstock in 1930/1931
and produced up into the 1990s. The unusual term Tiefenbildner is a
German composition, which can be best translated as "depth-of-field
creator, modulator or painter" in an artistic sense; this
designation was later dropped.
“The
name SINAR is an acronym that encompasses the prime applications in
the fields of still, industrial, nature, architectural and
reproduction photography.”
At
times the name SINAR is rendered into different titles the above
quote and link is from an English version of a 2011 press release,
“Sinar Photography AG Acquires the Brand Rights of Sinar AG,”
Zürich: Sinar Photography AG. April 2011. The S in Sinar has also
been stated as standing for studio, Sache, or science.
Whilst
Sinar still make amazing cameras this is an older version and it is
not the latest and greatest. In fine age it is still a picture taking
marvel, but not easy, not handy and not great to transport. Then you
luxuriate into the results and suddenly the struggles of lifting and
moving of the all manual operation and friendly challenges of light
metering seem to be gone for a few treasured moments of appreciation
and even longer still as you think where next for a Sinar experience.
Too much eye colour, I put my iris into some mono pictures and so now
obviously I have gone too far with the process
There is a film file with 15 of these loch side portraits without the
coloured eyes. After initially setting my iris from the original
colour pictures into 7 of the mono versions I should have stopped
having gained all the information required. The original pictures are
taken with the selfie camera and in processing they have been resized
to that of the front camera. From 2880 x 3840p they have been
enlarged to 3060 x 4080p. Yet dpi is down from 96dpi to 72dpi. The
quick cut original colour iris of the eyes with a touch of brightness
is not very fitting to a calm portrait, but it does show the edge of
detail and the strength of separation in contrast and definition. If
the pictures were from either a better lit scene, or from a better
resolution lens and camera then the iris would be easier to select
and better to view. By using the small iris as the target in the
pictures the quality of the image is shown when a viewer enlarges the
image to look just how well fitting the coloured iris appears in the
images. Overall for a selfie camera on a phone the selective colour
on the portraits is very good indeed.
Loch
Ness quick self portraits taken in between experiencing the wonders
available in, on and around this iconic location. The location chosen
here was the near anonymous car scene, rather than the amazing beauty
and of course the changeable wonderful views available just beyond
the confines of the near anonymous vehicle. Of course we saw the
monster(s) and they were very friendly and also maybe most
importantly there was no ‘chompy chomp chomp’ whilst in the loch.
They requested no pictures please at this time as they were scale
moulting for their Winter Sheen coat, so instead you have images of
the monstrous elusive me. My eyes as pictured have been edited in
Adobe Lightroom both ‘Sclera’ and then ‘Iris and Pupil’
functions were jiggered with. There are 15 portraits in total in the
film version, I will not load them all as JPEG files, rather a I will
just share a couple of examples. The tests mentioned are to jog my
memory of settings and functions and to learn how best to record a
scene for my digital memories that are my proposed ‘ones and zeros’
for future viewing happiness. Tech can be kind and emotionally
supportive as we all finding out, it can also fail drastically.
Meanwhile momentarily meandering if that is at all personally pose
possible
Loch Ness quick self portraits taken in between experiencing the
wonders available in, on and around this iconic location. The
location chosen here was the near anonymous car scene, rather than
the amazing beauty and of course the changeable wonderful views
available just beyond the confines of the near anonymous vehicle. Of
course we saw the monster(s) and they were very friendly and also
maybe most importantly there was no ‘chompy chomp chomp’ whilst
in the loch. They requested no pictures please at this time as they
were scale moulting for their Winter Sheen coat, so instead you have
images of the monstrous elusive me. My eyes as pictured have been
edited in Adobe Lightroom both ‘Sclera’ and then ‘Iris and
Pupil’ functions were jiggered with. There are 15 portraits in
total in the film version, I will not load them all as JPEG files,
rather a I will just share a couple of examples. The tests mentioned
are to jog my memory of settings and functions and to learn how best
to record a scene for my digital memories that are my proposed ‘ones
and zeros’ for future viewing happiness. Tech can be kind and
emotionally supportive as we all finding out, it can also fail
drastically.
Panorama by Panning Shot video movie file versus still image mp4 v.
JPEG also ‘Option 4.’
Let
me first of all mention low light conditions, that being said I
should introduce this as the third part of my, “How best to record
a place by mobile phone?” The first part consisted of three images
made using the Panorama function. The second section consisted of 7
images made in Photoshop from JPEG image file off the phone.
Option
1.
The
Panorama files looked superb, when enlarged they appeared to be made
up of small parts to convey light and shape in the image, a look that
could appear very well in certain circumstances.
Option
2.
The
original JPEG image files off the phone looked sharp and more
photographic than the Panorama function created files which looked
very painterly. The Photoshop Panoramas were superior photographic
files, but they were created with monthly fees to Adobe for both
Lightroom and Photoshop Cloud.
Option
3.
These
video files are three quick representations of the scene and show the
climatic condition and more of the scene in great photographic
detail. To many this could be the best solution to record something
of the moment that best displays that moment.
Option
4.
Finally
if you have recorded and edited the above three options you can make
‘Option 4.’ which is a combination of the above three edited into
a video file and if you wish you can share that files to the places
that you prefer.
If
you have read this far and seen the film footage you maybe wondering
when I am going to mention Tilting? Only here in the description am I
mentioning that Tilting and Panning gives a film file a massive
advantage for recording the scene. There could also be a question of
why no Landscape Format Footage in Letter Box Settings? Again the
test I am looking at is limited and the Letter Box to fit say 16.9
ratio and many screens currently in use would be superb and it is
‘Option 5.’ which of course demands another visit and a complete
remake of all footage with suitable breakfast loch side wearing and
including my cherished ‘Pictish Trousers’. The breakfast footage
is the backdrop to the still images, this footage includes the
hopefully cheery, “Hello,” just before the film files play with
their backdrop being a stretched version of themselves, unfortunately
their focus is superb on the close shore and that gets stretched out
of view.
The
text below was written to accompany both, ‘Options 1.’ and
‘Options 2.’
The
constant movement on the Loch helped generate the changes that direct
sunlight and cloud also shape moving around the vast body of water
and over and through the stunning scenic valley. The changes bring
thousands of views worthy of pictures and of grand panoramas. Here I
was trying out the Panorama function on my phone and also taking
individual pictures to stitch into panoramas in Photoshop. I would
have taken some pictures of myself at the loch side, but no panorama
neither phone function, nor individually stitched could have captured
my smile.
If
you look briefly at either set of panorama they make for a good quick
look. If you zoom in on 3 phone made panoramas you will see that the
details are rendering as if with heavy oils and either a dabbing
technique with a brush, or by using a palette knife. The individual
pictures retain a lot more photographic detail. For all sorts of the
reasons the two effects could each be considered perfect for
different purposes. For me there was a quick test and now there are
some results that I enjoy as they are great memory revivers. Just a
few glances at the wider pictures brings back the open wonders of the
landscape and it also starts a process of me remembering some of the
fine details including loch side breakfast and star gazing. Thinking
of Highland Hobbit Life has me generating a glow that is awe-mazing,
yes amazing and somehow even more than amazing.
The dark cross suddenly revealed inscribed in shadow by the Sun along
the way to Hawthornden Castle
There are some good links below. My reflected images don’t get many
views, here they are though. Some pictures I take I see the
reflection opening up the scene. Here the dark cross caught my eye
and the potential to extend the original image from a landscape
orientation and then from a portrait orientation fired my mind and
then, and then someone rose from their lower perspective photography
and stood in my scene. Suddenly I was woken from my image making
dream. They were a great photography companion and the only reason
that I was there and out and about with a camera. No shade on them
for elevate themselves from a close-up photography Yoga pose focused
on a flower I believe. They can puncture my composed dream frames
anytime, also in any place and in all space and none, even if their
puncture power means the dream scene has gone.*
The
Sun will shine and cast shadows and in inspecting them we can tell
the time. We can see line and with a care we can watch the minutes
and hours pass as the line moves. If we wish we can look at light as
the generative creator of life and we can see shadow as an opposition
a place that will not respond to the clarion call of the Sun. Shadow
and shade bring about their own distinct wonders and Shadow is
created and directed in constant movement by light of varying
intensity. We humans have considered good and bad omens from the
force of the Sun and from the reaction of shade, shadow and
subterranean sunless places as well as the phase of the Moon
displaying reflected radiance of the Sun and at times the Moon
shrouds the Sun in eclipse of amazing exactness gifting sight of the
edge the immediate crown of the star that illuminates us and leaves
us to the further distant view of the other stars and planets by
night. All this to say Sun and Shadow, direct light and reflection
and refraction all the time in world seemingly making and recreating
signs and symbols that we divine as the language of light and the
symphony of dark. Light is light and lack of light is either less, or
even total darkness with no need to try to read the light and to
listen to the dark. After this mention of omen and even prediction
everything below this is information about the absolutely stunning
location.
Hawthornden
Castle stands atop several layers of caves that have been extended
into amazing chambers visited by many famous people on their Scottish
tours. The castle is one of three close together all taking advantage
of the steep escarpment that offers natural rock protection above the
North Esk river flowing swiftly below. Roslin Glen is home to Rosslyn
Castle and many believe the Holy Grail resides here too, there are
wonderful legends and fantastic natural formations throughout the
glen, plenty enough to enjoy even beyond the quest for the Holy
Grail.
Linked
below are Hawthornden Castle, near Edinburgh by Alexander Nasmyth
from the Google Art Project and both Roslin Glen cared for by Rosslyn
Chapel Trust, as well as Roslin
Glen Country Park and
also Wallace’s
Cave, the
other cave
and prehistoric
rock
carvings.
The
Hawthornden
Foundation
is
linked below they are a part of bigger project with events and
hosting writers to stay in places such as Hawthornden
Castle
for a month of focused literary working days.
*The
Dream Scene Puncture Repair Kit is currently available from the
Akashic Records at wherever you usually Yoga access them. They can
help you achieve stone solid results and icon Sphinx like waking
scenes and also avoid all frame puncture at every photographic
juncture. Higher State close lens search for Dream Scene Puncture
Repair in Khemtastic Pack IV Pharaoh Awakes near potential pyramid
lakes. If you have not found The Dream Scene Puncture Repair Kit then
join the rest of us that either have to recompose and take another
dream scene, or move on literally figuratively and even spiritually
if your dream close to fulfilment was such a wondrous scene.
Roslin
Glen
Rosslyn Chapel Trust is responsible for the conservation
and care of part of the picturesque landscape known as Roslin Glen,
which is adjacent to Rosslyn Castle and Rosslyn Chapel.
