View allAll Photos Tagged Digitization
PictionID:53813244 - Catalog:14_031271 - Title:GD/Astronautics Models Details: Model - Filename:14_031271.tif - - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
SDASM.CATALOG: Denbo_00040
SDASM.TITLE: Richard M. Denbo
SDASM.DATE: 1914-1919
SDASM.ADDITIONAL INFORMATION: Addressed to Belle Denbo, Texas. Damaged on left and bottom edges
SDASM.COLLECTION: Richard Denbo Collection
SDASM.MEDIA: Glossy Photo
SDASM.DIGITIZED: Yes
PUBLIC COMMONS.SOURCE INSTITUTION: San Diego Air and Space Museum Archive
Custom design for koozies for a wedding gift. Digitized flower motif from save-the-date in Adobe Illustrator, converted to vectors, then into embroidery file in Embird. Embroidered purchased blank navy koozies and backed with waterproof glue to seal stitches against wear.
Digitization Lab in O'Neill Library where the holdings of The Sacred Heart Review were recently cataloged. Team members who saved the Boston publication included William Donovan, David Richtmyer, Naomi Rubin, Thomas Wall, Bridget Burke and Betsy Post. Read more at bc.edu/chronicle (Photo by Lee Pellegrini)
The DPG staff worked with Conservation to digitize extremely large 1:1 scale painting/collages done for large scale tapestries often displayed in airports by artist Mark Adams. The large scale items required shooting from a 2nd story loft and extreme care in handling.
Diversity: Digitized In The Game Tour @ Capital FM Arena, on April 03rd, 2012 in Nottingham, United Kingdom
A LOT more photographs of Diversity to come soon....
© Ollie Millington.
All rights reserved. Use without permission is illegal !
You can see my best photographs of 2011 by clicking
here .
My Website currently undergoing a facelift...
This is a test of the new negative color film Harman Phoenix 200 with my Minolta XD5 SLR camera (years 1979-1984).
The Minolta XD5 body was equipped with a Minolta MD (III) 1:2.8 f=28mm lens with a protective Hoya 49mm UV HMC Expert filter and the original shade hood for the 28mm lenses.
The camera was loaded with the 36-exposure color film and exposed for 200 ISO using either the body light meter in the three modes available (M, A, S) and/or checked with a Minolta Autometer III equipped with a 10° viewfinder for selective measuring and privileging the shadow areas.
Jardin Botanique de Lyon, March 18, 2024
Parc de la Tête d'Or
69006 Lyon
France
After exposures the film was processed using a local lab service using the C-41 process. The film was then digitized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The duplication light was set to 4800K instead of 8600K for regular negative color film with the classical orange mask. The RAW files obtained were then processed without intermediate files in LR and finally edited to the final jpeg pictures.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
The results shows that this experimental film by Harman is prone to strong halation in the hight lights giving a yellow halo. The film is also and characterized by a strong contrast.
About the camera : Minolta XD5 was manufactured in Japan and released in 1979, two years after the XD7 (XD11 in certain markets). The camera was resized to the "gold dimensions" of the Barnack Leica (approx. 13x3x5 cm) as Olympus did for its OM1 several years before. Minolta XD5 is very closed to the XD7 body with only a few features suppressed. It has the same electronic shutter made of vertical metal shutters and offered for the first time the double mode of automatism with aperture priority (A) and shutter priority (S) with a new series of MD series. XD bodies served has basis for the Leica R4 to R7 SLR and was developped consequently with Leitz. XD camera were more expensive than Minolta X-700 and X-500 famous SLR and co-existed in the catalog from 1981 to 1984.
I found this XD5 from my local photography shop with its likely normal original lens a Minolta MD (III) 1:2 f=50mm. The Minolta MD 1:2.8 f=28mm wide-angle lens is part of my collection of Minolta lens. So far it the time I use this lens for film photography.
"Name Dropper" Digitized ink and photo oil tint, and spraypaint on board. Originally it was just the hand with the name-dropper & name drops in ink on bristol board, Then I made a photo-print and used Marshall Oils to tint the hand and sleeve and dropper. Then I digitized that stage and added the gray cityscape with the Moon in the background. Voila!
¬AFFINITY x KENZO MINAMI = DIGITIZER
A CINECYCLE PRODUCTION
Affinity Cycles, one of the most respected independent bicycle brands in the world, is not only seen raced in velodromes by professional cyclists, but also ridden on the city streets by fashionable commuters, elite bike messengers, and passionate cyclists. The signature Affinity “Kissena“ track frame is the key component of the “Digitizer” project and represents the pinnacle of bicycle frame technology.
Kenzo Minami is an artist and designer who grew up in Japan in the 80’s. During this time, Japan experienced a huge economic boom fueled by the country’s technological supremacy. The graphic design that dominated this era was one that underscored the “more is more” attitude. Japanese design embraced a euphoric idealism of the new digital frontier where design became a fantastic reflection of all technology could be. Kenzo’s inspiration for “Digitizer” came from this nostalgia of his childhood. However, this inspiration is tempered with a practical purpose. “Within the chaos of visual information found on city streets it is important that the design allows the bicycle to stand out and be recognized by both pedestrians and cars alike,” reflects artist Kenzo Minami. “The colors and patterns on the bicycle were carefully conceived and laid out with the understanding that they will not only be seen when the frame and wheels are static but more importantly how they will be transformed when the bicycle is in motion."
Cinecycle curated this project, with the goal of producing an item of extreme beauty and quality, which explores the intersection of form, function and design. To that end, Cinecycle is proud to have brought together premiere artist Kenzo Minami and Affinity Cycles to create the "Digitizer" project. “Digitizer synthesizes concepts that are fundamental to our culture with regard to how technology can inform and transform our perception of space. Affinity Cycles, Kenzo Minami, and Cincecyle have come together to create a project that expresses how the cyclist, even in our modern digital age, still represents the most simple and effective union of man and machine," says Daniel Leeb, CEO,
Cinecycle.
The Digitizer bicycle is on display at the Wired Store
Location: 692 Broadway in New York City.
Days & Hours: Wednesday - Sundays 11am - 7pm
Dates 11.19 - 12.26
To purchase go to www.affinitycycles.com or www.wiredstore.net
¬
For more information about the artist go to www.kenzominami.com.
For more information about Cinecycle go to www.cinecycle.com
Music Composition for this video
"Climb High" by Softcircle
check out the band's site here
Watch this video on Vimeo. Video created by Cinecycle.
Digitized with Negative Lab Pro v2.1.2
Leica M3 | Leica Voigtlander Nokton Vintage Line 50mm f/1.5 Aspherical II VM Multi-Coated | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020). Review: P. Blanckenhagen (1963) & Foto: Simona Murrone, Rome / Instagram (19 Dec. 2019). S.v., Rodolfo Lanciani, F.U.R. (1901) [in PDF]; Italo Gismondi, I Fori Imperiali (1941) & Giuseppe Gatti; Edoardo Gatti & Guglielmo Gatti, in: Carta Archeologica di Roma (1947, 1962 & 1977). wp.me/pbMWvy-dv
1). ROME - Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020).
The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
Whether on the occasion of his first visit in the 1930s or during the more extensive stay in Rome that followed his American adventure (on this, see his biography), Nash’s understanding of the city was greatly conditioned by the groundbreaking work A Topographical Dictionary of Ancient Rome—written by Samuel Platner, revised by Thomas Ashby and published in 1929. That handy guide to classical buildings in the city inspired Nash, whose keen eyes noticed its most glaring lacuna: The book was largely unillustrated. Here, then, was an opportunity to improve the study of classical architecture and archaeology. By bringing his interests and knowledge to the table, Nash strove to provide an illustrated postscript to Platner and Ashby’s classic tome. But more than that, Nash saw an opportunity to conduct historical studies using a medium that went beyond the traditional stuff of scholarship, namely written texts and drawn surveys.
The dictionary publishes 1,338 of the 1,500 photographs taken by Ernest Nash while in Rome during the 1930s and '50s and supplements them with concise historical and architectural descriptions. Curiously, six monuments which lack any physical remnants were arbitrarily included and illustrated not by photographs of ruins, but by images of coins and fragments from the Forma Urbis—the second-century marble map of the city that survives in fragments. That strategy could have been adopted for more than just a parsimonious selection of sites, as some contemporary reviewers noted.
Fonte / source:
--- Nicola Camerlenghi, The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
exhibits.stanford.edu/nash/feature/the-pictorial-dictiona...
2). ROME - Peter H. Von Blanckenhagen [review of], Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962), in: The Art Bulletin, vol. 45, no. 1, 1963, pp. 62–64. Fonte / source: JSTOR, www.jstor.org/stable/3048060. Accessed 13 May 2020.
2.1). P. Blanckenhagen, review (1963), p. 1 =
www.flickr.com/photos/imperial_fora_of_rome/49891240501
2.2). P. Blanckenhagen, review (1963), p. 2 =
www.flickr.com/photos/imperial_fora_of_rome/49891551192
2.3). P. Blanckenhagen, review (1963), p. 3 =
www.flickr.com/photos/imperial_fora_of_rome/49891551162
Foto / fonte / source:
--- Simona Murrone, Rome, the Imperial Fora & the basilica di Massenzio / Instagram (19 Dec. 2019). www.instagram.com/p/B6WQwtJIDpN/?utm_source=ig_web_copy_link
S.v.,
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: DBCAR – DATABASE DEL BULLETTINO DELLA COMMISSIONE ARCHEOLOGICA DI ROMA, dal 1872 al 2007, per un totale di 4.080 titoli, in: Saverio G. Archaeologist (04/2018); & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma (1893 – 1901), in: PDF & edizione digitale (2018).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: CARTA ARCHEOLOGICA DI ROMA – INFORMATO MULTIMEDIA: 1). Aggiornamento alla Carta Archeologica di Roma (1947, 1962 & 1977 [2016]) in PDF. & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma | Milano, (1893 – 1901) in 1:1000 in PDF. Foto: Giuseppe Francesco Gatti; Edoardo Gatti & Guglielmo Gatti, SSCOL (2016).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Cairoli Fulvio Giuliani, “La Pianta dei Fori Imperiali”, in: Articolo di Cairoli Fulvio Giuliani tratto dal catalogo della mostra Ricostruire l’Antico prima del virtuale. Italo Gismondi. Un Architetto per l’Archeologia (1887-1974) a cura di Fedora Filippi. SSBAR | Archivio (2009). S.v., Alvaro de Alvariis (2012); James E. Packer (2008 [= Pierino Di Carlo (1979|1935]); IL MESSAGGERO (23|01|2015) & Dr. Anna M. Liberati (2003).
_____
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
romaarcheologiaerestauroarchitettura.wordpress.com/
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
Today a grad student started working with us (short term) on our current digitization project. This is him trying to set up the camera (a Canon 30D) and lighting in order to digitize a map of Southern Vancouver Island from 1859.
On Tuesday, 9/16/14, our MakerBot Digitizer arrived, courtesy of Space Center Rotary Club and the Friends of Freeman Library. This machine, which scans objects and converts them to 3D computer models, would now give customers a new option for acquiring a model to print.
Camera: Fujifilm S5 Pro
Exposure: 0.017 sec (1/60)
Aperture: f/3.5
Focal Length: 100 mm
ISO Speed: 200
Exposure Bias: 0/100 EV
Flash: Flash fired
Don't use this image on websites or other media
without my explicit permission. © All rights reserved.
MakerBot unveils its latest invention, the Digitizer 3D scanner at its Downtown Brooklyn headquarters
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020). Review: P. Blanckenhagen (1963) & Foto: Simona Murrone, Rome / Instagram (19 Dec. 2019). S.v., Rodolfo Lanciani, F.U.R. (1901) [in PDF]; Italo Gismondi, I Fori Imperiali (1941) & Giuseppe Gatti; Edoardo Gatti & Guglielmo Gatti, in: Carta Archeologica di Roma (1947, 1962 & 1977). wp.me/pbMWvy-dv
1). ROME - Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020).
The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
Whether on the occasion of his first visit in the 1930s or during the more extensive stay in Rome that followed his American adventure (on this, see his biography), Nash’s understanding of the city was greatly conditioned by the groundbreaking work A Topographical Dictionary of Ancient Rome—written by Samuel Platner, revised by Thomas Ashby and published in 1929. That handy guide to classical buildings in the city inspired Nash, whose keen eyes noticed its most glaring lacuna: The book was largely unillustrated. Here, then, was an opportunity to improve the study of classical architecture and archaeology. By bringing his interests and knowledge to the table, Nash strove to provide an illustrated postscript to Platner and Ashby’s classic tome. But more than that, Nash saw an opportunity to conduct historical studies using a medium that went beyond the traditional stuff of scholarship, namely written texts and drawn surveys.
The dictionary publishes 1,338 of the 1,500 photographs taken by Ernest Nash while in Rome during the 1930s and '50s and supplements them with concise historical and architectural descriptions. Curiously, six monuments which lack any physical remnants were arbitrarily included and illustrated not by photographs of ruins, but by images of coins and fragments from the Forma Urbis—the second-century marble map of the city that survives in fragments. That strategy could have been adopted for more than just a parsimonious selection of sites, as some contemporary reviewers noted.
Fonte / source:
--- Nicola Camerlenghi, The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
exhibits.stanford.edu/nash/feature/the-pictorial-dictiona...
2). ROME - Peter H. Von Blanckenhagen [review of], Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962), in: The Art Bulletin, vol. 45, no. 1, 1963, pp. 62–64. Fonte / source: JSTOR, www.jstor.org/stable/3048060. Accessed 13 May 2020.
2.1). P. Blanckenhagen, review (1963), p. 1 =
www.flickr.com/photos/imperial_fora_of_rome/49891240501
2.2). P. Blanckenhagen, review (1963), p. 2 =
www.flickr.com/photos/imperial_fora_of_rome/49891551192
2.3). P. Blanckenhagen, review (1963), p. 3 =
www.flickr.com/photos/imperial_fora_of_rome/49891551162
Foto / fonte / source:
--- Simona Murrone, Rome, the Imperial Fora & the basilica di Massenzio / Instagram (19 Dec. 2019). www.instagram.com/p/B6WQwtJIDpN/?utm_source=ig_web_copy_link
S.v.,
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: DBCAR – DATABASE DEL BULLETTINO DELLA COMMISSIONE ARCHEOLOGICA DI ROMA, dal 1872 al 2007, per un totale di 4.080 titoli, in: Saverio G. Archaeologist (04/2018); & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma (1893 – 1901), in: PDF & edizione digitale (2018).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: CARTA ARCHEOLOGICA DI ROMA – INFORMATO MULTIMEDIA: 1). Aggiornamento alla Carta Archeologica di Roma (1947, 1962 & 1977 [2016]) in PDF. & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma | Milano, (1893 – 1901) in 1:1000 in PDF. Foto: Giuseppe Francesco Gatti; Edoardo Gatti & Guglielmo Gatti, SSCOL (2016).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Cairoli Fulvio Giuliani, “La Pianta dei Fori Imperiali”, in: Articolo di Cairoli Fulvio Giuliani tratto dal catalogo della mostra Ricostruire l’Antico prima del virtuale. Italo Gismondi. Un Architetto per l’Archeologia (1887-1974) a cura di Fedora Filippi. SSBAR | Archivio (2009). S.v., Alvaro de Alvariis (2012); James E. Packer (2008 [= Pierino Di Carlo (1979|1935]); IL MESSAGGERO (23|01|2015) & Dr. Anna M. Liberati (2003).
_____
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
romaarcheologiaerestauroarchitettura.wordpress.com/
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
"Where it is" (from the Big Dipper series) Digitized ink & prismacolor & goache & spraypaint on board.
PictionID:53763657 - Catalog:14_032093 - Title:GD/Astronautics Details: LSS on Pier; Moving for Journey to Langley Date: 07/28/1965 - Filename:14_032093.tif - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
From the stop-motion animated iPad Disassembly video by TechRestore: www.youtube.com/watch?v=Fs79QEbWrLc