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Posts Tagged ‘10000’

10,000 Headshots initiative saw 200 photographers give free headshots to unemployed workers

28 Jul

Photographers from across the United States joined together on July 22 to participate in the ‘10,000 Headshots’ initiative, a group effort that involved offering free professional headshots to unemployed workers with the goal of helping them secure new jobs. The initiative was coordinated by Headshot Booker, which explains on its website that these sessions were offered to anyone who was unemployed as of July 22 when the sessions took place.

The initiative was a success, according to Headshot Booker. Participants interested in getting headshots were required to pre-register for a 10-minute session and each location was limited to 50 total appointments. More than 200 photographers participated across 50 states and used Brookfield Properties retail locations with pop-ups as their studios.

The agency notes that every location used proper social distancing and safety measures to keep everyone safe, including contactless delivery of images and having photographers wear masks.

Headshots are an important aspect of finding work, the agency points out. Career-centric social platform LinkedIn claims that profiles featuring professional headshots are nine times as likely as other accounts to receive connection requests. Paying for a headshot while unemployed is particularly difficult, however, making it harder for those in need of a job to find one.

Professional photographer and Headshot Booker co-founder Peter Hurley explained:

Unfortunately, many job seekers underestimate the value of a professional headshot, instead opting for a snapshot taken by a friend or even worse a selfie. The headshot has become the cornerstone of one’s digital brand identity and we want to empower people as they go through the process of procuring a new job and getting back into the workforce.

The initiative was launched in partnership with Canon, MySpotPhotos and several other companies. Ultimately, every registered participant left the pop-up studios with a professional headshot for their resumes. Headshot Booker says this was the ‘largest, single-day photo initiative’ of its kind, one that comes amid widespread unemployment caused by the pandemic.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Nikon’s $10,000 Nikkor AF-S 120-300mm F2.8 lens

15 May
Aaron of Lensrentals uses his new, specialized driver to carefully remove screws from the Nikkor AF-S 120-300mm F2.8 FL ED SR VR lens.

Roger and Aaron at Lensrentals are back again with another lens teardown; this time, the Nikkor AF-S 120–300mm F2.8 FL ED SR VR lens.

While no reason is needed to take apart another lens to see what goodies lurk within, Roger specifically notes he chose this lens because he wanted to see if the new modern design of Nikon’s Z-mount lenses is being carried over to newer F-mount lenses as well. In the introduction paragraph of his teardown post, Roger says:

‘We were interested to see if newer F lenses would pick that up, or if they would continue in ‘classic’ format. While it’s pure speculation on my part, I thought that if F lenses were starting to pick up Z characteristics, it would, perhaps, signify a unified approach going forward. If not, maybe then Nikon is maintaining separation of the Z and F design teams.’

Roger notes Lensrentals only has ‘a few of these,’ almost all of which have been rented out. However, one came in with dust inside and although it wouldn’t affect the image quality of the lens, Roger thought it’d be a perfect opportunity to do a teardown. Plus, ’t customers like to receive really sparkly clean lenses, and we didn’t want to deal with the inevitable “I can’t believe there’s dust in this $ 10,000 lens” complaint,’ he says.

The disassembly started in the front, as that’s where the dust was located. The first notable observation is that Nikon has made the front filter barrel fairly easy to remove—and therefore replace—as it slides out after removing half a dozen screws and a bit of tape.

From there, it was onto removing the first group of lenses, which Roger believes consists of 3–4 elements (Nikon is yet to publish an optical diagram for this lens yet). After a brief moment of concern that the dust was lodged between these elements, he and Aaron discovered the dust was instead on the next group of lenses—the optical zoom group. As you might expect for a 120–300mm F2.8 lens, this group has quite a bit of travel in it.

Upon diving further into the lens, Roger found the answer to the initial question he had for this teardown. When looking underneath the rubber grip of the zoom optical group, he saw an aluminum cover; a discovery that made him ‘sad.’ He elaborates:

Note the clear plastic tape and aluminum shielding beneath the zoom ring rubber.

[The aluminum covers are] what Nikon uses to cover old-time position-sensor brushes, which means this lens has ‘classic’ brush position sensors, not newfangled optical sensors. They work just fine, don’t get me wrong, but this is a strong hint we’re not going to find new ‘Z- style’ electronics inside this lens.

At this point, no further assembly could be done from the front of the lens, so he and Aaron turned it around and started taking off the rear bayonet mount, which was ‘thoroughly weather resistant with both hard rubber and foamed rubber gaskets.’

From there, Roger and Aaron break it down all the way to the aperture assembly, carefully maneuvering through a messy array of soldered wires, ribbon cables and enough glue that it might just give Roger nightmares. In wrapping up the teardown, Roger says:

‘We had seen what we most wanted to see. The lens is well built in the old, classic Nikon F way. Obviously, we don’t think that’s pretty, and it’s not fun to work on. But it’s been an effective method of manufacturing for decades. The moving parts are solid, the chassis and assembly are solid, the weather resistance is as good as anything, maybe better.’

While the teardown was done, Roger also ran an optical test on the lens to see how this copy performed. He notes ‘there will be better or worse copies’ out there ‘but given the price of the lens, I assumed it should be clearly better than the Sigma 120–300mm F2.8 lens.’

His assumption ended up being correct, with the MTF curves looking much cleaner than the Sigma (which he notes is a great lens in its own right) and ‘at least as good as, perhaps better than’ Nikon’s own 300mm F2.8 lens.

Nikon AF-S Nikkor 300mm F2.8G ED VR II Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF Sigma 120-300mm F2.8 DG OS HSM Sport (@300mm) Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF

When all was said and done, Roger concludes that ‘Roger’s Law,’ which states ‘that Zooms Are Never as Good as Primes has at least one very expensive exception. At one of its focal lengths. This zoom is ‘prime good’ at 300mm.’ Other lessons learned include that the 120–300mm F2.8 is incredibly well-build and ‘spectacularly good optically, particularly at the long end.’

You can see more images and read a more detailed breakdown of Roger’s thoughts over on the Lensrental blog post.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GFX 100 offers 100 Megapixels, phase-detect AF and 4K video for $10,000

25 May

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We’ve known about the Fujifilm GFX 100 since it was shown at Photokina last fall, and in about a month, you can get one of your own.

The GFX 100 features a medium-format (44 x 33mm) BSI-CMOS sensor with 102 million effective pixels. The camera is powered by a quad-core X-Processor 4 and offers a native ISO range of 100-12,800 (which expands to 50-102,400) and support for 16-bit Raw files. In-body 5-axis image stabilization reduces shake by up to 5.5 stops according to Fujifilm, and the entire sensor is mounted on springs to reduce shutter shock.

If the GFX 100 uses the Sony IMX 461 sensor, which we strongly suspect it does, we expect significantly improved low light and high ISO performance thanks to the sensor’s dual gain architecture.

The DSLR-styled body is incredibly well-built, with the durability you’d expect from a high-end camera. About the same size as a professional DSLR, the GFX 100 weighs in at 1.4kg (3.1lbs). The camera has a built-in grip for portrait shooting that can hold one or two NP-T125 batteries, for up to 800 shots per charge. The camera has twin SD card slots with UHS-II support, along with ports for USB 3.2 (Type-C), an external mic and headphones, a wired remote, and HDMI.

Fujifilm has put a hybrid autofocus system on the GFX 100, with 3.76 million phase-detect pixels spread across nearly 100% of the frame

The GFX 100 has a dual-hinged, 3.2″ touchscreen LCD with 2.36 million dots that can tilt in both landscape and portrait orientations, just like on the GFX 50S. The camera comes bundled with a removable, tilting OLED EVF that has a whopping 5.76M dots. There are also a pair of OLED displays – one on the top, another below the LCD – that display various camera settings, battery life and shots remaining.

Fujifilm has put a hybrid autofocus system on the GFX 100, with 3.76 million phase-detect pixels spread across nearly 100% of the frame. The company claims that AF speeds are 210% faster than on the contrast-detect-only GFX 50R, and our early experience suggests that autofocus is indeed vastly improved.

The last of the major features on the GFX 100 is its video capabilities. It can capture DCI and UHD 4K video at bit rates up to 400Mbps, with your choice of H.265 or H.264 codecs. It supports Fujifilm’s Eterna Film Simulation mode and can output 10-bit 4:2:2 F-Log video to an external recorder.

The GFX 100 will be available at the end of June for $ 9999.95.

Go hands-on with the GFX 100 for more


Pre-production sample gallery

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Press Release:

FUJIFILM INTRODUCES THE GFX100, A GAME CHANGER IN DIGITAL CAMERA TECHNOLOGY AND CAPABILITY

-100+ megapixel sensor in a 55mm diagonal length large format offers highest resolution in the history of mirrorless cameras
-Fast, accurate autofocus with the world’s first phase detection system, 4K video capability, and in-body image stabilization in a large sensor format1.

Valhalla, New York, May 23, 2019 – FUJIFILM Holdings America Corporation today announced the upcoming release of its flagship GFX100 mirrorless digital camera, incorporating a newly-developed 102 megapixel (MP), 55mm diagonal length large format image sensor that is designed to deliver image clarity and capability previously unheard of in the photography and video industries.

The GFX100 features several ‘world firsts’ for a large format camera with an image sensor larger than the 35mm (full-frame) format: including its 102MP back-side illuminated sensor (BSI), in body image stabilization (IBIS) and on-board phase detection hybrid auto-focus (AF) with near 100% coverage. In addition to pioneering features, the GFX100 is fully equipped with Fujifilm’s unparalleled color reproduction technology and film simulations. Resulting from years of research and technological innovations, the GFX100 will provide photographers with exceedingly high-quality imagery and best-in-class camera responsiveness for filmmaking and photography in a simple-to-use large format system with a growing selection of lenses.

Offering large-format video capability, the GFX100 is the world’s first mirrorless digital camera with an image sensor of this size to offer 4K, 30p video recording capability (4:2:2 10-bit). These groundbreaking features make the GFX100 a camera of unparalleled innovation and versatility, fulfilling photography’s intrinsic mission of capturing and recording precious moments that may never be repeated with the utmost image quality.

Resolution Redefined: World’s First 100 MP BSI CMOS Sensor in a Mirrorless Camera
The GFX100 pairs a newly-developed back-illuminated 102MP CMOS imaging sensor with Fujifilm’s blazingly fast X-Processor 4 processing engine to create a combination capable of outputting 16-bit images with amazing color fidelity, rich shadow detail, and incredible dynamic range. Its back-illuminated structure promotes crisp image quality by bringing the exposure plane in extremely close proximity to the color filter array, which results in ultra-low noise levels and a native ISO of ISO 100.

1. First for a camera with image sensors larger than the 35mm full-frame format

Noteworthy Stability When It Matters: World’s First Five-axis IBIS in a Camera Featuring an Image Sensor Bigger than the 35mm Format
High-resolution image sensors require high-level stability to ensure image sharpness. With built-in 5-axis image stabilization, GFX100 users are reassured that vibrations won’t interrupt the capture process. The function offers up to 5.5-stop image stabilization (when using the GF63mmF2.8 R WR lens)2. The entire shutter unit is suspended with four springs to minimize the effect of shutter shock. This dramatically broadens the scope of situations where a user can hand-hold the camera and still enjoy the world of 100MP+ ultra-high resolution, pushing the boundaries of photographic expression.

Practical Auto-Focus for Large Format: World’s First On-Board Phase Detection Hybrid AF with approximately 100% Coverage
Compared to traditional medium format digital systems, the GFX100 raises the bar in AF performance by utilizing phase detection pixels across the sensor to help photographers obtain focus wherever they choose to position their subjects in the frame. With 3.76 million phase detection pixels, at approximately 100% coverage, near perfect auto-focus performance with speed and accuracy is now a reality for photographers needing optimum performance in subject tracking, face/eye detection and low-contrast environments. The effect is particularly notable when using fast prime lenses, achieving speed improvement of up to 210% over the conventional contrast AF system used in GFX 50R.

Pushing Creative Boundaries for Filmmakers: Large Format Camera with 4K video at 30p
With a sensor size of 43.9mm x 32.9mm, the GFX100 supports filmmakers in achieving their creative visions. The new sensor and processor combination support 4K video recording at 30p with a unique cinematic look. It’s now a breeze to explore shallow depth-of-field, wide tonal reproducibility and extra high ISO sensitivity, producing high- quality video footage with detailed textures while reproducing three-dimensional definitions and even capturing the atmosphere of the scene. With the ability to apply Fujifilm’s highly respected Film Simulations (including ETERNA cinema film simulation mode), record in F-Log Rec 2020, and capture 4:2:2 10-bit uncompressed footage through the HDMI port, GFX100 should certainly be coming soon to a screen near you.

Dust-resistant, Weather-resistant, Lightweight and Highly Robust Magnesium Alloy Body with Integrated Vertical Grip
Maximizing its use for even the toughest conditions, the GFX100 has weather sealing in 95 locations across the camera body and detachable EVF to ensure an exceptionally high level of dust and moisture resistance. Photographers will have the opportunity to capture moments in even the most remote locations as the GFX100 can maintain reliable operation even under tough natural conditions.

2. Based on CIPA standard. Pitch/yaw shake only. With GF63mmF2.8 R WR lens mounted.

Although it sports a large image sensor, the GFX100’s body is equivalent to that of a flagship 35mm full-frame DSLR camera in terms of dimensions (6.15” (W) x 6.44” (H) x 4.05” (D), measuring 1.93” at the thinnest part) and weight (approx. 3 lbs. including two batteries, memory card and EVF).

Designed for protection, the GFX100’s core imaging unit, consisting of the lens mount, image stabilization mechanism and image sensor, has been structured completely separate from the main body panels. This “double-structure” is designed to ensure a high level of precision and robustness while minimizing resolution degradation caused by external stress to the body. To maximize usability, the GFX100 incorporates a vertical grip, enabling effective use of in-body space.

Advanced Color Reproduction Technology, Delivering Astonishing Quality in Stills
The combination of the newly-developed image sensor and the fourth-generation X- Processor 4 processing engine means the camera supports the 16-bit RAW capture requested by many professional photographers seeking files that tolerate heavy post- processing. The GFX100 also features the newly-developed “Smooth Skin Effect” function, which automatically smooths the skin tone of the subjects, as is often performed in portraiture. It allows the photographer to skip a portion of post-processing work so that images captured with this function can be finished at an extremely high level of perfection, faster.

The GFX100 will be the flagship model of the GFX Series of mirrorless cameras, which have garnered strong praise from professional photographers and photo enthusiasts for their use of 55mm large format image sensor, measuring 55mm diagonally (43.8mm x 32.9mm) and providing approximately 1.7 times the area of the regular 35mm full-frame sensor.

The GFX100 digital camera body will be available on June 30, 2019 at a suggested retail price of USD $ 9,999.95 and CAD $ 13,299.99.

For details of product support and other information please visit https://fujifilm-x.com/en- us/special/gfx100.

Fujifilm GFX 100 specifications

Price
MSRP $ 9999
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 11648 x 8736
Image ratio w:h 1:1, 5:4, 4:3, 3:2, 16:9
Effective pixels 102 megapixels
Sensor size Medium format (44 x 33 mm)
Sensor type BSI-CMOS
Processor X-Processor 4
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-12800 (expands to 50-102400)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 102400
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization Sensor-shift
CIPA image stabilization rating 5.5 stop(s)
Uncompressed format RAW + TIFF
JPEG quality levels Super fine, fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (14/16-bit RAF)
  • TIFF (8/16-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 425
Lens mount Fujifilm G
Focal length multiplier 0.79×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2
Screen dots 2,360,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic (optional)
Viewfinder coverage 100%
Viewfinder magnification 0.86× (1.09× 35mm equiv.)
Viewfinder resolution 5,760,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe or flash sync port)
Flash X sync speed 1/125 sec
Continuous drive 5.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264, H.265
Modes
  • 4096 x 2160 @ 30p / 400 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 25p / 400 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 24p / 400 Mbps, MOV, H.265, Linear PCM
  • 4096 x 2160 @ 23.98p / 400 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 30p / 400 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 25p / 400 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 24p / 400 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 23.98p / 400 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.265, Linear PCM
  • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.265, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types Dual SD/SDHC/SDXC cards (UHS-II supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via wired remote or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description Built-in grip holds one or two NP-T125 batteries
Battery Life (CIPA) 800
Weight (inc. batteries) 1320 g (2.91 lb / 46.56 oz)
Dimensions 156 x 144 x 75 mm (6.14 x 5.67 x 2.95)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Video: This DIY ‘$10,000 selfie stick’ holds a cinema camera and boom mic

04 May

Filmmaker, photographer, and self-professed coffee addict Peter McKinnon has created his own rendition of the infamous selfie stick… on steroids. Meet the $ 10,000 Selfie Stick. This fun, gimmicky DIY creation is McKinnon’s upgrade from the much-maligned (and for a time ubiquitous) pole used to hold a smartphone for self-portrait purposes.

In his video of the project, McKinnon heads to the local hardware store where he purchases bolts and other hardware, as well as a pair of goalie sticks for hockey. The sticks are combined together using tape, and the bolts are used to mount a $ 6,000 cinema camera and $ 400 boom mic (and three Canadian flags) onto the sticks.

The end result? A massive, heavy “selfie stick” that outshines anything you can get off the shelf, but has absolutely no practical use.

Articles: Digital Photography Review (dpreview.com)

 
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£10,000 of Sigma lenses up for grabs in Amateur Photographer of the Year competition

21 Mar

The UK’s Amateur Photographer magazine has launched its 2017 Amateur Photographer of the Year competition and is offering a total of £10,000 worth of Sigma lenses in prizes. 

The competition is run over the course of eight rounds with monthly closing dates from the end of April to the end of November. Each month has a different theme and winners are picked by the Amateur Photographer judging panel and through an online voting system run by Photocrowd. At the end of the year, an overall winner will be selected to win the top prize.

Anyone can enter, but AP points out that entrants who live outside the UK would need to pay any applicable import tax on their winnings.

Monthly prizes will amount to approximately £1000 of Sigma lenses, cameras and flash units each, while the final winner will take away £2000 worth of kit in the shape of Sigma’s 85mm F1.4 DG HSM Art and the 35mm F1.4 DG HSM Art, along with a Sigma USB Dock. Monthly winners of the Photocrowd vote get a year’s subscription to the magazine.

Weekly magazine Amateur Photographer has been running this competition for 26 years, but this is the first time entry has been allowed via an online system. For more information see the Amateur Photographer website and the competition’s Photocrowd page. Entry is free.

Monthly themes:

MARCH
Magical monochrome – Black & White
Sigma 50mm f/1.4 DG HSM | Art (£749.99) + Sigma EF-610 Super Flashgun (£259.99)
Total Prize Value: £1,009.98

APRIL
Hit the streets – Street Photography
SIGMA dp2 Quattro (£899.99) + VF-41 Viewfinder (£199.99)
Total Prize Value: £1,099.98

MAY
Small wonders – Macro
105mm f/2.8 EX DG HSM Macro (£649.99) + SIGMA EM-140 DG Macro Flash (£379.99)
Total Prize Value: £1029.98

JUNE
City clickers- Cityscapes / Architecture
SIGMA sd Quattro + 30mm F1.4 DC HSM Art (£1049.99)
Total Prize Value: £1,049.99

JULY
Into the wild – Wildlife
Sigma 150-600mm f/5-6.3 DG OS HSM | Contemporary (£999.99) + Sigma USB Dock (£39.99)
Total Prize Value: £1,039.98

AUGUST
Creative eye – Abstract Art
SIGMA 24-35mm f/2 DG HSM | Art (£949.99) + SIGMA 82mm WR CERAMIC PROTECTOR (£104.99)
Total Prize Value: £1,054.98

SEPTEMBER
Land lovers – Landscapes
SIGMA dp0 Quattro (£899.99) + VF-51 / Viewfinder (£199.99)
Total Prize Value: £1,099.98

OCTOBER
Face to face – Portraiture
SIGMA 85mm F1.4 DG HSM ART (£1,199.99)
Total Prize Value: £1,199.99

GRAND PRIZE
SIGMA 85mm F1.4 DG HSM Art (£1199.99) + SIGMA 35mm F1.4 DG HSM Art (799.99) + SIGMA USB Dock (£39.99)
Total Prize Value: £2,039.97

Overall Prize Value = £10,624.83

Articles: Digital Photography Review (dpreview.com)

 
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Trinity River Park: Huge New 10,000 Acre Urban Nature District for Dallas

18 Dec

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

green-park-dallas

Designed to restore and augment the city’s floodplain, this new green recreation space features thousands of acres of forest as well as playgrounds, lawns and trails. Upon completion, it will be one of the biggest urban green space initiatives in the country.

park-view-flood-plain

In a state not exactly known for its greenery (or environmentalism), this project in Texas by Michael Van Valkenburgh Associates is designed in part to address a critical and ongoing issue: flooding damage during severe weather events.”I believe we can create the most value and the greatest benefit to our citizens when we complete projects around nature,” said mayor Mike Rawlings  of the project.

trinity-park-paths

trinity-park-renderings

The park aims to serve both recreational and engineering purposes, shoring up the city against future floods while creating a great green asset for citizens and visitors. Developed in collaboration with government engineers, it will be part community resource but also (and critically) part infrastructural insurance against the effects of climate change.

dallas-flood-plain-present

dallas-flood-plain-project

The development is part of a larger series of projects along the flood plain and will link into over seventy miles of regional trails. At an estimated cost of $ 50 million, the park is not cheap but surprisingly inexpensive given its scope and aims. So far, a private donor has stepped forward offering $ 20 million of the funds needed, leaving a smaller bill for the city and state governments as well.

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[ By WebUrbanist in Architecture & Cities & Urbanism. ]

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Starling vortex wins £10,000 Landscape Photographer of the Year prize

25 Oct

2016 Take a View Landscape Photographer of the Year winners

Landscape Photographer of the Year 2016 Matthew Cattell – Starling Vortex, Brighton, East Sussex, England

The winners of the 2016 Take a View Landscape Photographer of the Year competition have been announced, with a shot of a flock of starlings flying in front of Brighton Pier taking the top prize. The competition, which accepts entries from around the world of pictures taken in the UK, is in its tenth year, and is run by landscape photographer Charlie Waite.

There are ten main categories for manipulated and un-manipulated images taken by adults and by those 17 years and under, as well as additional competitions for supported by sponsors – such as railway company Network Rail’s Line in The Landscape, Adobe and the Visit Britain tourist service. The top prize is £10,000 and category winners receive £1000 or £500 for the youth prizes.

Commended and runner up photographers get their images published in the Landscape Photographer of the Year book, and an exhibition of selected images runs at London’s Waterloo station for 12 weeks from 21st November.

For more information and to see more of the winning images visit the Take A View website. You can also read our interview with Charlie Waite.

2016 Take a View Landscape Photographer of the Year winners

Adult Classic view – Winner Dougie Cunningham – Shelter from the Storm, Loch Stack, Sutherland, Scotland

2016 Take a View Landscape Photographer of the Year winners

Adult Classic view – Highly commended Scott Robertson – Binnein Beag through Steall, Scottish Highlands

2016 Take a View Landscape Photographer of the Year winners

Adult Classic view – Runner-up Scott Robertson – Stob Dearg, Buachaille Etive Mor, Glencoe, Scotland

2016 Take a View Landscape Photographer of the Year winners

Network Rail ‘Lines in the Landscape’ Award – Winner Francis Taylor – Sunshine breaks through, Ribblehead Viaduct, North Yorkshire, England

2016 Take a View Landscape Photographer of the Year winners

The Sunday Times Magazine Award – Winner Rachael Talibart – Maelstrom, Storm Imogen, Newhaven, East Sussex, England

2016 Take a View Landscape Photographer of the Year winners

Adult Living the view – Winner Martin Birks – Chrome Hill, Peak District, Derbyshire, England

2016 Take a View Landscape Photographer of the Year winners

The GREAT Britain #OMGB Award – Winner Mark Gilligan – Finding Gold, Wast Water, Cumbria, England

2016 Take a View Landscape Photographer of the Year winners

The Adobe Prize – Winner Damian Ward – Caister-on-Sea, Norfolk, England

2016 Take a View Landscape Photographer of the Year winners

Adult Your view – Winner Tony Higginson – Shifting sands, Silverdale, Lancashire, England

2016 Take a View Landscape Photographer of the Year winners

Adult Your view – Runner-up Daniel Pecena – A82, Glen Coe, Highland, Scotland

2016 Take a View Landscape Photographer of the Year winners

Young Landscape Photographer of the Year 2016 Hannah Faith Jackson – Mirror Bar, Glasgow, Scotland

2016 Take a View Landscape Photographer of the Year winners

Youth Living the view – Winner Rowan Ashworth – Sunset Explorer, Hushinish, Isle of Harris, Scotland

Articles: Digital Photography Review (dpreview.com)

 
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£10,000 Landscape Photographer of the Year 2015 prize winner announced

20 Oct

A picture of the Dorset coastline on a snowy day has won a UK photographer the £10,000 top prize in the ‘Take A View’ competition. Andy Farrer, a professional photographer from Dorset, England, has become the ninth Landscape Photographer of the Year with his image of ‘Bat’s Head In The Snow’. Read more

Articles: Digital Photography Review (dpreview.com)

 
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IKEA to Produce & Ship 10,000 Flat-Pack Emergency Shelters

12 Apr

[ By WebUrbanist in Architecture & Houses & Residential. ]

ikea shanty village

With 40 test units created and deployed since 2013, IKEA is now ready to begin mass-producing its $ 1,000-per-unit temporary flat-pack house to destinations in need around the world. Much like IKEA’s everyday products, these shelters are ready to use right out of the box – some assembly required but all assembly tools included.

ikea flat pack home

ikea emergency housing

Recognizing the need for more robust shelters in refugee camps and disaster areas, where temporary housing often has to hold up to severe weather and longer-than-expected durations, IKEA developed Better Shelter as a low-cost alternative to conventional equivalents.

ikea modular solution

Supplied to the United Nations Refugee Agency (UNHCR) by the Ikea Foundation, these new units will find homes in places they are currently used (like Ethiopia and Iraq) as well as other destinations.

ikea emergency shelter design

ikea house interior

At close to 200 square feet per unit, these are perhaps not spacious but some standards but are much larger than most emergency housing solutions. Panels, pipes, connectors, wires as well as solar power panels for the roof are all packed flat in boxes for easy shipping. While standardized, the modules are also designed to be adapted to regional climate conditions.

ikea house parts

ikea flat pack house

Shaun Scales, UNHCR’s chief of shelter and settlement, said in a statement: “The refugee housing unit (RHU) is an exciting new development in humanitarian shelter and represents a much needed addition to the palette of sheltering options mobilised to assist those in need. Its deployment will ensure dramatic improvement to the lives of many people affected by crises.”

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Long Now: Future-Proof 10,000 Year Clock Built into Mountain

26 Dec

[ By WebUrbanist in Gadgets & Geekery & Technology. ]

longnow clock face

Founded by futurists to engage in truly long-term thinking, the Long Now Foundation is best known to many for Long Bets or its recent placement of a Rosetta Disk on a comet, but the organization has an array of amazing projects designed to last hundreds of generations, including a 10,000 Year Clock. Something to consider before we go any further: civilization as we know it is arguably only around 5,000 years old – we are talking here about an technologically sophisticated endeavor aiming to span (and keep track of) twice that period of time.

longnow clock top

longnow clock tunnel

Designers and builders are used to thinking in terms of decades, perhaps even centuries, but are rarely called upon to consider millennia in their plans and calculations. In the case of the 10,000 Year Clock, environment is critical – in addition to robust materials and geological stability, predictable temperatures and relative isolation are key ingredients in siting the mechanism. Towering 500 feet vertically and with gears weighing up to 1,000 pounds each, the first clock is being built high and dry inside a West Texas mountain on property owned by Amazon CEO Jeff Bezos. Another is planned for Nevada – both are sited to avoid excessive rain or freeze-and-thaw cycles that could damage it over time.

longnow clock design sketch

longnow clock path

In the conceptual design stage of the project, polymath inventor Danny Hillis said of his aspirations: “I want to build a clock that ticks once a year. The century hand advances once every 100 years, and the cuckoo comes out on the millennium. I want the cuckoo to come out every millennium for the next 10,000 years.” Indeed, the experience of the clock has even more unique twists than initially envisioned: each time it chimes the sound is unique – with 3.5 million melodies in store, it will not repeat itself for the next ten thousand years.

10000 year clock face

piece of long now clock

Located in a separate space from the clock’s inner workings, the face of the clock “displays the natural cycles of astronomical time, the pace of the stars and the planets, and the galactic time of the Earth’s procession.” Prototype parts of the clock are on display in some places, like the Long Now’s bar and event space in San Francisco known as The Interval, where this author recently saw Kevin Kelly, board member of Long Now and founding editor of Wired, speak about his book and history with the organization.

Perhaps most impressive of all: the clock can keep itself going for the entirety of is planned existence. While it will not display the time unless wound it will continue to keep track, using the sun and stars for guidance and temperature differentials for power. “Thermal power has been used for small mantel clocks before, but it has not been done before at this scale. The differential power is transmitted to the interior of the Clock by long metal rods. As long as the sun shines and night comes, the Clock can keep time itself, without human help. But it can’t ring its chimes for long by itself, or show the time it knows, so it needs human visitors.”

longnow clock prototype design

While this kind of working technology over such a long time period has almost no precedent, there are many examples of things surviving for such long periods – human-made ceramics have lasted up to 17,000 years along with other artifacts. The biggest worries? Some moving parts will not shift for generations, so making them able to work after a millennium without motion may be tricky. And then there are human visitors, well known for vandalizing and stealing from historical sites over time – we may, once again, be our own worst enemies.

As shown in the video above, “This system will be suspended 400ft down in the 500ft deep shaft that was carved using a raise bore drill last year. The large structural elements and gears are made from marine grade 316 stainless steel, most smaller pins and rollers are titanium, and the bearings are all made from an industrial ceramic. The entire system uses no lubrication, but the first tests have shown that over 93% of the energy put into the system, comes back out to go to the Clock.”

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