JamesT

Less taken:

I've delayed responding here to try to make sure that I at least think that I understand how the zone system works (even though I've been using it at some level for my LF work for a while). Originally it was devised for B&W negatives, and although Adams did shoot colo(u)r slides, which are much more similar to digital, I've never seen any description of how he managed exposure there. Essentially the "Zones" refer to the latent image on the undeveloped negative, the developed negative and final print have "Values". Each point in the scene has a luminance, which is mapped by choice of film, exposure and aperture to a zone, thus a given part of the image may be placed on a particular zone and all other points fall onto zones in a linear fashion. The mapping to values is then controlled by development and printing. To aim with the zone system is to generate developed negative that are relatively easy to print. It is probably easiest to understand if we consider setting the exposure for the shadows (which is normal for negatives -- slides and digital are better metered for the highlights). Suppose the shadow region reads 8 on a spot meter, and we want this on Zone II (detail just visible), then to get the exposure we would read off the exposure for 11 on the meter (the meter reads for Zone V, 3 stops brighter than Zone II). Now consider the highlights which we want to have Value of VIII. If they read 13 on the meter then they will only be on Zone VII, which with normal development will give a Value of VII, therefore to move the value to VIII we need longer development (in Adams' terminology N+1) this will have little effect on the shadows, in more typical modern parlance this is a 1-stop push. Similarly if they meter at 16, then the development must be reduced to move Zone X to Value VIII (N-2 development or a 2-stop pull). I think the biggest difference with digital is the existence of a hard saturation limit, beyond which NOTHING can be recovered, although even with film is is possible to get completely blown highlights (see Ansel Adams' "Martha Porter, Pioneer Woman").

Great idea. When I saw the thumbnail I thought it was going to be from one of our Australian members! Great shame that she associate you with the bad times of her life though.

On the Kennet & Avon Canal at Newbury (actually I think that since it's below Newbury Warfe it's the Kennet Navigation)

Ginger cookies

I am reminded of the proverbial futility of setting a net to catch the wind. Not sure where it comes from, probably Italy or Austria seeing as I recall it from one of Don Alfonso's arias in Cosi fan Tutti.

Another lovely capture. I always think that their yellow feet on black legs look weird, I can't think of another bird with that sort of contrast.

The second mono for me, it has more luminosity that the first. It looks as if his fur gets in his eyes though -- poor fellow, imagine having an eyelash in your eye all the time.

It's the first time I've seen them doing it, basically: there's a ramp up to the coalling stage (hidden behind King Edward here), and they push a coal wagon up that with a diesel shunter, then the hand carts are used to move the coal to the tipping points (the barrier on the near side is an identical lowerable track). Because Didcot went straight from being an active steam-era shed to a "Living museum" in the 60's a lot of the infrastructure is still there.

Saint

Thanks, Didcot is actually a relatively easy place for photos as the line is short so they shuffle up and down quite frequently, and also when they are moving locos on and off the "main line" and around the shed and yard it is possible to get close up.

Thanks guys. It's really only used to spin the star attraction around for photos on gala days, as it's way off behind the shed. BTW: I saw at least 5 or 6 others with film cameras!

Well caught, with the plumes blowing in the wind. They're even more awkward-looking at the nest, as they really aren't built for perching in trees!

Coaling up King Edward II, for his first running

Last weekend was the first running of the reconstructed Churchward Saint Class locomotive "Lady of Legend" at the Didcot Railway Centre. Consodered by some to be the first "modern" steam locomotives in Britain, none were preserved when they were withdrawn. The Lady was built from a "Hall" class (which was basically a Saint with smaller wheels) bought from Barry Island in the 1970's for that purpose although serious building did not start until about 10 years ago. Passing the mail drop Posing on the turntable Going back on Passing the King (Edward II) (which was the last of the classic Churchward -Collett 4-6-0's Three Generations