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Planes, Trains and Automobiles

V

Vivek

Guest
At >€30 million Euros each, pretty expensive “drones”.

(They are Apache AH-64D Longbow)
 

bensonga

Well-known member
At the 2013 Anchorage Park Strip "Show and Shine" car show. I have rarely seen a car like this in Alaska.

Gary

Fuji X-E1, 18-55 lens.


 

pegelli

Well-known member
Indian official (or governmental) staffcar


NEX6 + E10-18/4

I especially like the impressive dagger on the hood
 

bensonga

Well-known member
The Bimmer and de Havilland Beaver.

I counted 5 (possibly 6) "no touching" zones based on Sam Abell's rules of composition (a friend who recently attended one of Sam's workshops here in Alaska confirmed these).

I unintentionally scored 4 of 5 (or 6)....beginner's luck I guess.

Sony A7r2 and FE 55/1.8 lens
 

Knorp

Well-known member
The Bimmer and de Havilland Beaver.

I counted 5 (possibly 6) "no touching" zones based on Sam Abell's rules of composition (a friend who recently attended one of Sam's workshops here in Alaska confirmed these).

I unintentionally scored 4 of 5 (or 6)....beginner's luck I guess.
So the Bimmer and the Beaver share a couple of "no touching" zones.
Indeed, I think I can count 4 or 5 too of what I regard as such zones ... :)

But now you made me curious, so here's my 'burning question': what's the significance of having such zones ?

TIA

Best regards.
 

bensonga

Well-known member
So the Bimmer and the Beaver share a couple of "no touching" zones.
Indeed, I think I can count 4 or 5 too of what I regard as such zones ... :)

But now you made me curious, so here's my 'burning question': what's the significance of having such zones ?

TIA

Best regards.
Hi Bart. I'm just getting this second hand of course, but from what my friends told me, Sam Abell's workshops are primarily about composition "in camera", including attention to the smallest details of spatial separation between important subjects or even the edge of the frame in a photo. He talked at length about looking for and creating even small spatial separations between objects in some of his most famous photos. It was interesting to hear his views and then think about his photos with that background. It caused me to look at a few of my own photos with a new perspective. I may take more care in the future to explore small changes in my position re those spatial separations. I experimented with that approach this weekend on a few trivial subjects.

In my photo of the Bimmer and Beaver, I think three of the most important "no touching" areas between the car and the plane are:
1) the right wing of the plane and roof of the car (left side of the image)
2) the belly of the plane and hood of the car (I got just a hint of separation there...sheer luck!!)
3) the tire of the plane and front of the car (right side of the image)

Two other spatial separations that I think are important are between the tires of the car or the plane and the edge of the frame.

Two less important (to my eyes) no touching zones are between the tip of the propeller and the roof of the car and the tip of the propeller and the air intake on the belly of the plane. I got one of those.

Gary
 
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Knorp

Well-known member
Hi Bart. I'm just getting this second hand of course, but from what my friends told me, Sam Abell's workshops are primarily about composition "in camera", including attention to the smallest details of spatial separation between important subjects or even the edge of the frame in a photo. He talked at length about looking for and creating even small spatial separations between objects in some of his most famous photos. It was interesting to hear his views and then think about his photos with that background. It caused me to look at a few of my own photos with a new perspective. I may take more care in the future to explore small changes in my position re those spatial separations. I experimented with that approach this weekend on a few trivial subjects.

In my photo of the Bimmer and Beaver, I think three of the most important "no touching" areas between the car and the plane are:
1) the right wing of the plane and roof of the car (left side of the image)
2) the belly of the plane and hood of the car (I got just a hint of separation there...sheer luck!!)
3) the tire of the plane and front of the car (right side of the image)

Two other spatial separations that I think are important are between the tires of the car or the plane and the edge of the frame.

Two less important (to my eyes) no touching zones are between the tip of the propeller and the roof of the car and the tip of the propeller and the air intake on the belly of the plane. I got one of those.

Gary
Thank you, Gary.
I think I understand what the point is here.
However, to my eyes a 'near touch' (beaver belly and bimmer bonnet) is far worse, so to speak, than a 'positive touch' (beaver propeller and bimmer windscreen).
But interesting stuff and thanks again for the heads up: this is definitely something I'll try to remember next time.

Kind regards.
 

MGrayson

Subscriber and Workshop Member
The 917: limited in luggage and passenger space, but still my favorite car ever.
:toocool:
Matt
 

gandolfi

Subscriber Member
The 917: limited in luggage and passenger space, but still my favorite car ever.
:toocool:
Matt
At Brands Hatch in 1970 I stood in the rain and the wind and the cold for 6 hours 45 minutes and 29.6 seconds watching Pedro Rodriguez drive the Gulf 917 for the best part of 1000kms.

Was a drive for the history books.
 

JoelM

Well-known member
+1 to that. I'll never forget the photo of all the 25 cars that were lined up on 20 April 1969 (my birthday actually).

Wow, that's a good memory. The only thing I can remember is being evicted from my nice, warm home and then the whole physical abuse to my arse and the breathing thing.

Oh well,

Joel
 

gandolfi

Subscriber Member
Hawker Hunter.

In 1958 22 Hunters from the RAF 111 squadron Black Arrows formation team did a formation Loop-the-Loop at Farnborough:wtf::thumbs:

(but this one is a splendid model).
 

gandolfi

Subscriber Member
A Short Scion aircraft,

features in a short film I saw at Bristol Museum and Art Gallery by Emily Jacir,

titled Lydda Airport (at the time in the late 1930s the largest airport in the world),

weaving a narrative about arrival and departure, myth and fact, past and present,

and a story about the Imperial Airways Hannibal aircraft which disappeared without trace over the Gulf of Oman,

and a story told to the film-maker about a man who was delegated to take a bouquet of flowers to the airport to meet the arrival of aviatrix Amelia Earhart, who never arrived,

(and possibly the consequences of drawing too many lines in the sand).
 
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