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About spacecadet

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  • Joined Alamy
    19 Oct 2006

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  1. Rochefort trappist beer in Rochefort- the abbey is a mile and a half up the road. Or if you prefer something you can see through... The White Cross at Richmond- the door up the steps is how you get in at high tide. Or use a boat.
  2. Just passed, 90 minutes. All jobbed before walking out the door. That's it for a month.
  3. Ooh. My latest 6 are "awaiting QC" Maybe the party's over, or they're still hoiking out a few to check. Well, they'll be awaiting till 2020 because we're off to NZ. Bye all.
  4. You can get rid of a lot of it just with crop and rotate- orientation doesn't matter much in that image. It often would- next time think twice and shoot once.
  5. Could you try putting up some more and seeing how they're treated? IT would be handy to know if 5 star ratings are failure tolerant.
  6. slow sync,, or fill flash, or whatever, can work, to lift the shadows. But I agree, straight on-camera flash isn't attractive.
  7. Mille Miglia in Ravenna. Hand-held at 2000 RAW. Still the A58 SLT. Actually, I'm not sure it really counts as "night" at 1/60sec. Still, I like it.
  8. Hornsey town hall, by Reginald Uren, 1932, first modernist building in the UK HMI light on a scissor lift rigged for a film shoot, which is why the windows are blacked out. They rented my Steenbeck, so I made far more out of this gig than the images ever will. "Art" in Stockton in August- I'm playing catch-up with the new instant QC. Beamish museum- driving the replica Puffing Billy Pink fashion in Hull More modernist edging in to brutalist by Frederick Gibberd, panel by William Mitchell, 1962
  9. That as well. Items acquired by certain means that had to be covered up with camouflage netting at the end of the day in case anybody was looking from above, that sort of thing. Items with funny writing inside.
  10. The fact that I worked at Proof & Experimental Establishment, Shoeburyness isn't, at least, I don't think it is. High-speed 16mm cine, trials recording, video, and all the stills work because no-one else could lawfully take photographs. All the processing, including cine, for reasons of confidentiality. Blowing stuff up, helicopter rides, the works. We spent millions.
  11. A design has a shorter protection, yes, but IMO a layout with artwork and images, etc., would still be protected by copyright for the full term. You might need to rely on design right if there were no other material in the poster protected by copyright. Abiyoyo's example has an image of Lou Reed for a start.
  12. Indeed and it's covered by the contract- you give a warranty that you're the rights owner or have permission therefrom. It doesn't mean that the contributor is legally safe. I wouldn't do it and I daresay a lot of us wouldn't- your private material is a bit different though and at least you're asking the question.
  13. Yes, I'm surprised the finder didn't ask the question of how they came to be there. Another thought. KGB used to confiscate films from people who went somewhere they weren't supposed to. Perhaps they're confiscated films, processed, found to be innocuous and not returned. It happened while I was working at the weapons range in the 90s- a public beach adjoins it and somebody took photographs over the fence. We processed and printed them but there was nothing they shouldn't have seen. So they were returned. At least they got free processing and some prints- I'm guessing the KGB didn't bother with that..
  14. They were all at least 25 years old- my guess is, a bunch of very old stuff chucked in a drawer. I still have spare prints that were never delivered, replaced or whatever from the 90s. These go back to the 40s. Forgotten, is my guess. Some are obviously professional work- easy enough to see how that gets left in a studio.
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