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I discovered very quickly that the Pentax 645 was much easier to use than the Hasselblad 500c. I got more photos per roll, too, even though they were smaller than the 6-by-6cm of the 500c. The were/are 6-by-4.5cm, which is where the 645 comes from in the name. One thing I did notice was the clarity and sharpness of that prime lens. To my eyes, it was just as good if not a tiny bit better than the renowned Carl Zeiss Planar 80mm f/2.8 prime lens. I started shooting with the Pentax 645 a lot because unlike the 500c and the two Mamiyas, it isn t a pain to use. It acts a lot like a 35mm SLR or even a DSLR, much more so than my three other medium-format cameras.
Phenomenal Stories #09 features the classic story, `The Dark Eidolon' by one of the Weird Tales "Big Three," Clark Ashton Smith, as well as the final installment of Richard H. Nilsen's fantasy serial, `The Book of Power.' Dunces & Dragons continues its exhausted and exhaustive adventures of put-upon reporter/columnist J.D. Hayes-Canell, known endearingly as Intrepid, as he navigates Isengard and gets his own intern! Richard H. Nilsen's column, The Write Stuff, is designed to help novice writers out there to get writing. This installment focuses upon classic side characters as a means of story telling for writers. Future parts will go into other specifics to help the budding writer write. The editor takes a look back at a still relevant novel from legendary science fiction writer, Arthur C. Clarke. Phenomenal Stories is a modern-day tribute to the science fiction/horror/fantasy/speculative pulp magazines of the 1920s, 1930s and 1940s.
Phenomenal Stories #08 features the origin story, `Secrets,' and continuing the theme, we present Henry Kuttner's classic `The Secret of Kralitz.' H.P. Lovecraft contributes his classic tale, `The Temple,' and PS presents the next installment of Richard H. Nilsen's fantasy serial, `The Book of Power.' Dunces & Dragons continues its exhausted and exhaustive adventures of put-upon reporter/columnist J.D. Hayes-Canell, known endearingly as Intrepid, as he navigates Minas Tirith and gets his own stalker! Richard H. Nilsen's column, The Write Stuff, is designed to help novice writers out there to get writing. This installment focuses upon discipline for writers. Future parts will go into other specifics to help the budding writer write. The editor quotes Dorothy Parker in his views about `Having Written.' Phenomenal Stories is a modern-day tribute to the science fiction/horror/fantasy/speculative pulp magazines of the 1920s, 1930s and 1940s.
Phenomenal Stories #07 features the first part of the new serial, `Time: Book 01: Timenami,' which may have a silly name, but is a solid, time travel adventure. PS also presents the continuation Richard H. Nilsen's fantasy serial, `The Book of Power.' Dunces & Dragons continues its exhausted and exhaustive adventures of put-upon reporter/columnist J.D. Hayes-Canell, known endearingly as Intrepid. Richard H. Nilsen's column, The Write Stuff, is designed to help novice writers out there to get writing. This installment focuses upon atmosphere. Future parts will go into other specifics to help the budding writer write. The editor considers the genius of C.M. Kornbluth, and 'Gosh! Wow! A Personal History of the Pulps' continues with part 7. Phenomenal Stories is a modern-day tribute to the science fiction/horror/fantasy/speculative pulp magazines of the 1920s, 1930s and 1940s.
We press on with the second volume of Phenomenal Stories Quarterly, a collection of the first three issues of Phenomenal Stories for 2019. As a special bonus, there's a new piece titled `From the Desk of... GEOD' not found in any issue of Phenomenal Stories. Phenomenal Stories Quarterly is a companion magazine to Phenomenal Stories in the tradition of the science fiction/fantasy/horror pulps of the 1920s, 1930s and 1940s. It's also a somewhat cheaper means to get all the issues together. This issue contains stories by Richard H. Nilsen, Haldor R. Hallum, J.D. Hayes-Canell, Bridget Flynn-O'Leary, Henry Martin and a classic reprint by Frank Belknap Long Jr. Phenomenal Stories Quarterly is a modern-day tribute to the science fiction/horror/fantasy/speculative pulp magazines of the 1920s, 1930s and 1940s.
Outside was crazy. The thick, coming storm weighed me down. It could come any minute: thunderous, hurricane rain, followed by all kinds of hell. I dashed across the lawn, into The Lab and up the stairs. The bookcase was locked. Most of our books anyone can look at. Some, we don t think would be wise to let out. I fumbled the key chain, looking for the tiny key that could open the door. I managed to get it near the keyhole when the electricity died. Cara may curse my pipe, but right then, I think she d have been glad I had a lighter. The lighter helped me again. The deep, old books were a window to the past. We had read few. That would entail things like dying horrible deaths. Instead, we had a collection of about books, essays written anywhere from last year to a thousand years ago. The one I was looking for was deep red, 'Aichlan s Deimos.' In it I hoped to sort out how to send Xith back to wherever the hell it came from before it ate Lily Dale, or whatever it does.
One Sunday morning in August 2014, I was looking at maps and Google satellite images of the general area where I live. I was looking for a new, interesting place to photograph. Earlier that year, I had started the discipline of taking photographs every day. Which is great and all, but sometimes a new location can re-inspire. I d already found several new places using the satellite images posted on Google and had taken some good photos there. The images showed me Central Park in Schenectady where I d had a lot of fun as a child centuries before. Then I noticed the words Rose Garden. I shot close to 600 photos in the Rose Garden, then went home, uploaded them and started to see what I got. What I got turned out to be an epiphany for me. It changed the way I approach photography. It changed the way I see through the viewfinder and it gave me an appreciation for roses and other flowers.
You ve never been here before? Wanekia asked. No, Chloe said. Your father won t fly. He never even told me about this place until he was delirious after that wound. I m glad he did. Do you think we ll make it? Wanekia asked, obviously scared. Do you think they ll come after us? We will make it, even if they do come after us, Wanekia, Chloe said. I don t think they ll pursue us all the way, anyway. It s a long way to go. Is Father going to be alright? Wanekia asked, looking back at Martin again. Yes, of course, Chloe said, not sure of her words. He s been hurt worse before. The skinner is working. It won t even estimate how long, though, Wanekia said. It s done that before, too, Chloe said. He ll be fine. We just need to get him someplace safe. We could have gone back to England, Wanekia said. We couldn t, and you know it, Chloe said. The way things are going, they could trace us through Time and then we d drag the Burnsides into this and they d die. I won t do that."
Just like me to never have any money when the end of the world comes, thought Martin Fahy as he walked through the bitter, ceaseless rain. He laughed slightly and wondered what he was going to do now. Sure, he had been the one who always knew The End was coming soon, but he just couldn t convince anyone else. He wasn t a religious fanatic or anything and his predictions of the coming doom had nothing to do with apocalyptic visions or cultist beliefs. It was based largely on his continual observation of scientific predictions. And now, it all was happening. Fahy realized what he d always said was his prime philosophy still was true: The only way out is through
A lot has changed since I wrote and published this first volume of what became this guide series. One thing hasn t. I still have the same enthusiasm and joy in photography I had way back at the beginning of the series. I have a lot more knowledge and experience now and, occasionally even get close to taking good photographs. That s the thing, see. I didn t know a lot when I originally wrote this guide. I had been working in photography since 1982 professionally. Everything I knew, pretty much, was self-taught. In general, that s still true. There s no need for you to do it all by yourself, too, though. This book and this series are meant to help you get going with the basics fast. Yes, OK, I tend to relate my own experiences, but that, too, is meant to help you avoid some basic mistakes I made. And, perhaps, I write in a tad too friendly manner, but think of it as sitting down with me to have a friendly talk about a passion we share: Photography!
There s a rose garden in Central Park. No, not that Central Park. The other one, in Schenectady, the Place Beyond the Pines. In the midst of a city trying to rebirth itself, revive itself from its industrial past, there is a patch of beauty most of the residents don t know exists. It is a magnet for young lovers, for school trips and, especially, for photographers. Shawn M. Tomlinson, armed with two cameras, entered the gates and found the beauty. It was his fourth year of annual pilgrimages.
The designers at Nikon in 2004-05 were looking for a way to reach the semi-pro photographer. The semi-pro is someone who has another job but shoots photos often at weddings as a part-time job. They re sometimes called weekend warriors. They tend to be serious and dedicated, but they had no need for the pro digital single-lens reflex behemoths like the Canon EOS IDX Mark II or the Nikon D5. What they needed then and now is a DSLR camera that is built strong, is always reliable and can handle their workload. That led to the first true semi-pro camera from the company, the Nikon D200. The D200 may have been overshadowed by its successor, the Nikon D300, but it s still a great camera. A great camera that can be had relatively cheaply, and that makes it an even better camera.
The Nikon D7000 was aimed at the Enthusiast photographer when when it was released in 2010, but it proved to be such a tough, reliable camera, it became the darling of semi-pro photographers everywhere. At 16.2 megapixels, this APS-C/crop frame DSLR has great resolution and handles nearly every Nikon lens ever made. In this volume of Shawn M. Tomlinson s Guide to Photography, the Nikon D7000 proves itself to be one of the best mid-range DSLRs available for the budding photographer at the Enthusiast and Semi-Pro levels.
I have been somewhat reluctant to write about the absolute best digital single-lens reflex camera I have ever used, the Nikon D800E. The reason is that I like to write about older cameras that have become cheaper to buy and use for the frugal photographer. Although some of the cameras I have written about were terribly expensive when first released, by now they are reasonably cheap. For example, I ve written books about the Canon EOS 1DS/1DS Mark II, the Nikon D1 and the Nikon D2X. These all are pro DSLRs and as such were released at prices ranging from $6,000 to $8,000. By now, however, the most you will pay is around $400 for any of them. In a few years, the Nikon D800E, too, will be much cheaper and an obvious choice for the frugal photographer. No matter the price, the D800 and D800E are two of the best DSLRs ever made. Either will change you as a photographer in fantastic ways.
The folks at Nikon produced the first practical digital single-lens reflex camera with the Nikon D1 in 1999, but Canon was hot on their heels, reaching out to the Enthusiast photography market first with the Canon EOS 30D. Always in direct competiion with Canon, Nikon pushed to get its first Enthusiast DSLR on the market by 2002, the Nikon D100. It may be old now, but it still is a viable choice for the frugal photographer starting out. In this volume of Shawn M. Tomlinson s Guide to Photography, Nikon D100 takes center stage, showing exactly how good this camera is and why it makes a great first DSLR.
Sometime in 2015, I got the idea through conversations with my friend and photographic colleague, Gary W. Ziroli, that I really should write a book about film photography. We both had film cameras and at the time it seemed like film itself might become extinct. When I started shooting color and black & white film again, I had to relearn virtually everything. I still need to learn a lot more. Some of my best early examples of my reintroduction to color film are presented here.
The Nikon D70 was Nikon s third revolution just in the digital photography age. (Never mind the major one in 1959 with the Nikon F that changed professional film photography) The first was the Nikon D1 started pro digital photography, the end of mainstream film. The second was the Nikon D100, the first DSLR to reach the lofty heights of 6.1 megapixels. Then there was the D70. It looks and feels like a modern DSLR, and Nikon released it in 2002. It was, in its own way, as revolutionary as the D1 and the D100. I ve taken some of my best photos with it. The thing is, there really is little negative to say about the Nikon D70/D70S. You can come up with many reasons to spend more money on a newer DSLR, but if you want a great camera for little money, the Nikon D70 or D70S is a good bet.
Tommy guns blasting, the trucks swooped in toward yet-to-be-elected Franklin D. Roosevelt. There were screams from the crowd. Martin, on the running board, pushed FDR down, Eleanor following suit. Chloe shot the driver in the first truck. The truck swerved, tipped over. Chloe was shooting at the driver of the second truck, but it had bullet-proof glass. She kept firing, but the truck kept coming. Drive! Martin shouted. The driver squealed the wheels. The four hung on, protecting FDR. The truck was following with men leaning out the back, firing. Tommy guns didn t have much range, but they could kill close up. Martin shot the tire under the driver. The tire was tough, but finally it went. The truck swerved and rolled. Martin saw men pulling themselves out of the the truck. Chloe told the driver to get behind the green car and stop. She told Daniel and Joseph to help get Roosevelt into the gangster car. They were going to make certain FDR became president, no matter what.
In the Realm of the King is volume four of my complete shorter fiction collection. It contains some finished stories, but largely it contains a collection of unfinished pieces. Either I got stuck at certain points of the pieces or just stopped writing them. I first collected some unfinished tales in my chapbook titled 'Tales Without End Vol. 1' way back in 1995. It was, in fact, one of the last few chapbooks I published. This volume is an attempt to get most of my unfinished tales into one book. Who knows? I may complete some or all of them one day, or I may not. In any event, they are here for what they re worth.
Be wary, ye who Sorry. Just wanted to warn you up front that some of these stories don t have conclusions. Most of them do, but some I just never could finish. Oh, yeah, and some of them are parts of series that are here published alone because I just was unable to find the other stories. I swore when I was young that that would never happen to me. It did. I m dealing with it. The reason that such stories those without endings and those for which there are other, connected stories is that, well, I m getting old. I wanted to collect the majority of my writings before I m dead. Some of these are very early stories. The earliest, I believe, is Counterterrorist. Yes, the main character s name is Jack, but it was written many years decades before Jack Bauer, counterterrorist, made it to TV in 24. That should be obvious, but I thought I d mention it. Just try to enjoy the stories.
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