View allAll Photos Tagged Concepts
Actually I really have enough ideas floating around my mind that I'd want to realize. This one had been bugging me for some time now and today I finally had some time to tackle it.
Nikon d50, 62mm, 1/6s, f/7.1, ISO 200. A little postprocessing done on the skin, for a slightly plastic look.
Concepts/WIP Barracks "C"
LDD concepts I'm currently working on creating with real bricks.
Module to include into larger MOC. I'm trying to decide which barracks works the best.
This was from this morning when I just couldn't get a good concept. It was frustrating and that's what it turned out to reflect using this perfect dreamstime.com RF stock image.
This photo best fits in concept because it is hard to know what the subject is feeling and can provide a different meaning depending on the interpretation.
Der Sportwagen der Zukunft spielt die Hauptrolle im neuen Marketing-Film, der an die beiden Appetithappen mit KTN anknüpft. Unsere jüngste Fiktion lässt Träume wahr werden. Damit läuten wir die Weltpremiere des Opel GT Concept auf dem 86. Genfer Automobilsalon ein.
www.opel-blog.com/2016/02/25/gt-concept-ein-traumauto/
© GM Company.
Toyota has had some very interesting concept cars at the Auto Show over the past few years (I might point out, more interesting than what the Big 3 are showing). This one is no exception... not sure what to make of it, but it is thought-provoking (which is what concept cars should be.
A good showing this year for Toyota, I would say.
Cadillac concept rendering created in Adobe Illustrator CS and tweaked in Adobe Photoshop CS.
I created this for a design competition last year in December.
Explore #341 May 8, 2006
This photo was taken near the corner of Barrow and Hudson Street in Greenwich Village.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing vanything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Lamborghini Egoista Concept
An emotional moment in Sant'Agata Bolognese at the culmination of the gala celebrating Lamborghini's 50th anniversary: Walter De Silva's incredible vehicle made its entry in front of a thousand invitees, the Head of Design for the Volkswagen Group's homage to celebrating the House of the Raging Bull's half century. "I am very attached to this Italian brand, being an Italian myself. I wanted to pay homage to and think up a vehicle to underline the fact that Lamborghinis have always been made with passion, and with the heart more than the head," said an emotional De Silva.
Indeed the Egoista, as the vehicle has been christened, is a car forged from a passion for innovation and alternative solutions, the same passion which has always set the Lamborghini brand apart. "This is a car made for one person only, to allow them to have fun and express their personality to the maximum. It is designed purely for hyper-sophisticated people who want only the most extreme and special things in the world. It represents hedonism taken to the extreme, it is a car without compromises, in a word: egoista (selfish)," De Silva further explained.
The supercar's debut was equally spectacular, with a cinematic entry announced by a trailer projected onto the nine big screens in the room. The stage was transformed into a landing strip, with a top model in a flight suit guiding the Egoista's arrival with ground crew light paddles, and the roar of the V10 engine shaking the 20-meter-tall tensioned event structure: this is the spectacle the VIP guests were treated to when Lamborghini President and CEO Stephan Winkelmann entered at the wheel of the Egoista, before inviting its creator, Walter De Silva, to join him on stage.
Lamborghini Egoista Concept (2013)
2013 Lamborghini Egoista Concept
Concept and technology
Powered by a 5.2-liter V10 engine supplying it with 600 horsepower, the Lamborghini Egoista is an intentionally extreme and unusual vehicle with absolutely unique characteristics, created by the Volkswagen Group design team - Alessandro Dambrosio responsible for the exterior and Stefan Sielaff for the interior, in particular. De Silva's team chose to create a single-seater, pushing all the characteristics in Lamborghini's make-up meaning pure driving pleasure, performance and style beyond their limits. The cockpit, designed like a tailor-made suit for the driver, is a removable section which, once combined with the rest of the vehicle, creates a perfect technical, mechanical and aerodynamic unit. Inspiration, as per Lamborghini tradition, once again comes from the world of aviation, and in particular the Apache helicopter, where the cockpit can be ejected in an emergency.
"The cockpit, made completely of carbon fiber and aluminum, represents a sort of survival cell, allowing the driver to isolate and protect themselves from external elements," De Silva explained."We kept an eye on the future when designing the Egoista, with the idea that its cockpit could have been taken from a jet aircraft and integrated into a road vehicle, to provide a different travel option."
The design
The exterior is characterized by two fundamental aspects: its architecture, and the materials used. The design is determined by a highly muscular structure, in which empty and solid areas fit together with strength and vigor. The bodywork is dominated, on its sides, by the stylized profile of a bull preparing to charge, its horns lowered. The bull is driving towards the front wheels, conferring a futuristic dynamism and lines which are already, in themselves, highly aggressive. Naturally, this is a homage, a bold stylistic citation which can only be a reworking of the Lamborghini brand icon, the well-known raging bull. The challenge of efficiently inserting the Lamborghini symbol as an integral part of the bodywork was met courageously and artistically. The plan view reveals a trimaran profile, where the central hull forms a unique section with the cockpit, underlined by the carbon-fiber cover on the front hood.
The upper part of the vehicle does not have aerodynamic appendages, but rather flaps integrated in the bodywork profile which act automatically depending on the driving conditions. Two rear flaps activate automatically at high speeds to increase stability, while a series of air intakes on the back of the engine hood provides the cooling air flow to the powerful V10 power plant. While the front of the vehicle has a profile intended to increase downforce, the rear is fully open with the mechanics in view, reducing weight but also with the result of creating a more aggressive look. The Lamborghini Egoista's lights are more like an aircraft's than a road vehicle's. It does not have traditional headlights, rather LED clearance lights which determine its position not just on a single plane such as the road, but rather in three dimensions, as is required in airspace. Two white front lights, two red rear lights, a red flashing light in the upper part of the tail, two orange bull's eyes as side markers, and a further two lights on the roof, red on the left and green on the right, make this four-wheeled UFO unique even in the dark. Finally, hidden behind the front air intakes at the base of the join between the central body and the two side sections, are two powerful xenon headlamps, two eagle's eyes able to scan the darkness for great distances. As it is made from lightweight materials such as aluminum and carbon-fiber, the vehicle has no-walk zones, duly marked like on airliners. The parallels with the world of aeronautics do not end here, however, as the body is made from a special antiradar material, and the glass is anti-glare with an orange gradation. The rims are also made from antiradar material, flat and rough, embellished with carbon-fiber plates to improve their aerodynamics.
Interior
The cockpit's interior is extremely rational, its functionality taken to the extreme. There is a racing seat with a four-point seatbelt, each strip a different color, the airbags, and the bare minimum of instruments. The focal point of these is a head-up display, typical of jet fighters. To get out of the vehicle, the driver must remove the steering wheel and rest it on the dashboard, open the dome with an electronic command, stand up in their seat, sit down on a precise point of the left-hand bodywork, then swivel their legs 180 degrees from the inside of the cockpit to the outside of the vehicle. At this point they can set their feet down and stand up. Even in getting out of the vehicle, the Lamborghini Egoista requires a pilot more than a driver, a real top gun.
The philosophy
The Egoista contains, in Walter De Silva's opinion, all the product criteria which are part of Lamborghini's make-up. "It's as if Ferruccio Lamborghini were saying: I'm going to put the engine in the back, I don't want a passenger. I want it for myself, and I want it as I imagine it to be. It is a fanatical vehicle, Egoista fits it well."
If Lamborghinis are cars for the few, this one goes further. It is a car for itself, a gift from Lamborghini to Lamborghini, resplendent in its solitude. The Egoista is pure emotion, Never Never Land, which no one can ever possess, and which will always remain a dream, for everyone.
First generation (1950–1954)
For 1950, Chevrolet came up with a revolutionary style that would set a pattern for decades. The Bel Air Hardtop was styled as a convertible with a non-detachable solid roof. Models like this had been around since the 1920s, including early Chevrolets, with no degree of success. But the newly revised idea, sweeping the GM line from Chevrolet to Cadillac, had finally found its era. First year production reached only 76,662 as buyers cautiously tested the revised concept. The car cost $1,741 and weighed 3,225 lb (1,463 kg). Front suspension was independent, named "knee-action".
The first Bel Airs of this era shared only their front sheetmetal ahead of the A pillar with the rest of the range. The Windshield, doors, glass, and trunk were common with the Styline DeLuxe Convertible Coupe, however the roof, rear quarters and rear windows (3) were unique. The chassis and mechanicals are common with the rest of the passenger car range, and the overall appearance is the same as the rest of the range except that the roof line is lower and the unique three piece rear window give it a longer and more balanced look. The first Bel Airs were only available with the "DeLuxe" premium trim level and specification.
Apart from the usual annual grille and trim changes the 1951–1952 Bel Air differs from the earlier 1950 model with introduction of the higher and squarer rear guards that were across the whole range.
In 1953 Chevrolet renamed its series and the Bel Air name was applied to the premium model range. Two lower series, the 150 and 210, also emerged (as successors to the Special and Deluxe series, respectively). The 1953 Chevrolet was advertised as "Entirely new through and through," due to the restyled body panels, front and rear ends. However, essentially these Chevrolets had similar frame and mechanicals to the 1949–1952 cars. The 1953–1954 Chevrolet range had a unique and somewhat awkward look about it and much of this stemmed from its role as a transitional model to introduce a raft of changes that were necessary to pave the way for the introduction of the 1955–1957 range that really established the Bel Air as a cultural icon. The pre-war technology: such as torque tube drive, six-cylinder splash feed engines, knee action suspension, split windshields, etc., of the early models was phased out and the foundations for the first post war modern Chevrolet passenger car were finalized in this 1953–1954 model. Of all the Bel Air variants available across the 1953–1954 range, the two door hardtop and convertible remain the stand outs in terms of style. The Bel Air series featured a wide chrome strip of molding from the rear fender bulge, to the rear bumper. The inside of this stripe was painted a coordinating color with the outside body color, and "Bel Air" scripts were added inside the strip. Lesser models had no model designation anywhere on the car, only having a Chevy crest on the hood and trunk. 1953 was the first year for a curved, one-piece windshield. Bel Air interiors had an optional massive expanse of chrome across the lower part of the dashboard (most were painted), along with a deluxe Bel Air steering wheel with full chrome horn ring. Carpeting and full wheel covers rounded out Bel Air standard equipment. For 1954, the Bel Air stayed essentially the same, except for a revised grille and taillights, and a revised engine that had insert bearings and higher oil pressure, needed for the full-flow oil filtration system that was not available prior to 1954. Prior to 1954, the 235 and 216 cubic inch six cylinder engines had babbit bearings and scoops to create oil pressure at the bottom of each rod and the oil pressure was standard at 15-30 PSI. During these years, there were three engine choices, depending on the transmission ordered. Both 235 cubic inch engines were "Blue Flame" inline six cylinder OHV engines, featuring hydraulic valve lifters (in 1953 with automatic transmissions) and aluminum pistons. The 106 hp (79 kW) 235 cubic inch displacement engine was standard on stickshift models, with solid lifters and splash plus pressure lubrication including babbit bearings. Powerglide cars got a 115 hp (86 kW) version which had hydraulic lifters and full pressure lubrication.
In 1953 and 1954, Bel Airs could be ordered in convertible, hardtop coupe, two- and four-door sedans, and, for 1954, the Beauville station wagon which featured woodgrain trim around the side windows. Many new options, once available only to more expensive luxury cars, became offered starting in 1953, including power steering and the Guidematic headlight dimmer in 1953; and power brakes, power 2-way front seat and power front windows in 1954. All 1954 models equipped with the standard transmission used the 1953 Powerglide engine.
[Text from Wikipedia]
en.wikipedia.org/wiki/Chevrolet_Bel_Air
This Lego MotorCIty 1953 Chevrolet Bel Air Police Cruiser has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 68th Build Challenge, - "A Baker's Dozen" - a challenge to build a vehicle to various subthemes. This Bel Air is built to subtheme 9 - "Any emergency vehicle...police, fire, ambulance, etc."
Shoot for "Narcissus" concept based on Cree Summer song "Life Goes On." Model: Nashawndre Moore. Light: one ARRI 650 tungsten
This was actually hanging from a wall at the Larz Anderson Museum, which made it difficult to photograph. I think it dates from about 1980.
200m2 is the UK leader in exhibition trussing. Find out more about our complete range of exhibition trussing solutions at 200m2.co.uk/exhibition-trussing/
Concept Travel was owned by a former UC employee who ran various older coaches and deckers on some tendered work for Beds CC, his fleet never contained more than 2 vehicles at a time. By Sept 89 former Barton PTV 600X a Bedford/Plaxton Supreme express was part of the fleet. He disappeared for a while but has returned with a new venture.
I know I deserve to be arrested for Crimes Against Diecasts for buying this but surely I'm allowed a guilty pleasure purchase once in a while? :-0
I truly despair at the domineering force of HTI generics and was hoping that buyer indifference would see this rapidly growing toy company rethink its strategy on the 1/64 models it supplies but alas no, they have just gone ahead and brought out some fresh new generics! I bought this one simply because it has more than a passing resemblance to the aborted VW Microbus Concept vehicle from the early 2000's. More than a passing resemblance in fact judging by the fake VW esque badge on the front and its two tone colour scheme! Charming in a nasty cheapo cynical kind of way though as ever I will credit HTI for making the bodies in sturdy weighty metal and giving the majority of their castings a flawless paint finish and clear plastic lenses for headlights. Bought from ASDA where they are sold under the Adventure Force brand. Mint and boxed.
CREDITS:
Models: anne Dakun & Cattiva Vita
First Part @ I ♥ My Avatar [by: Cattiva Vita].
cattivavita.wordpress.com/2011/09/10/lg-concept-for-modav...
Second Part @ Suicide Cabinet [by: anne Dakun].
suicidecabinet.wordpress.com/2011/09/10/lg-concept-for-mo...
Marks 19/20
Tutors Comments
Quality of concept board to relate to the brief:
Concepts can often be hard to get your head around initially but you’ve done particularly well, this is lovely. It conjures up a real sense of calm and space. The Ferris Wheel and dandelion seed pictures are fantastic.
You can afford to be quite abstract with concept images and you’ll find the more abstract the easier they are to work from. Concentrate on colour, texture and mood as these are the elements of the pictures you will be working with to create a scheme.
Often the most successful concepts are very simple, I would suggest restricting yourself to a maximum of 5 good quality large images.
Presentation of concept board:
Professional presentation, well done.