View allAll Photos Tagged Discretization
Parfois discrète - Sometimes secretive
Acrocephalus scirpaceus
Eurasian Reed Warbler
Teichrohrsänger
Carricero común
Тростниковая камышевка
Merci pour vos commentaires - Thank you for your comments
On Saturday November 29, 2024. I went to Saint-Bonnet-de-Mûre, near Lyon, France for the last monthly meeting of camera collectors. I found there a stunning lens AF-Nikkor 1:1.8 f=85mm for my Nikon F4 (year 1989). There was also the same lens in the "D" version appeared in 1995 with the Nikon F5. "D" stands for "Distance" that is coded in this Nikkor lenses series and used for the 3D-matrix metering of the Nikon F5. I choose better the non-"D" significantly less expensive and that match better with the period of my Nikon F4 body. I found also a nice small Nikon shoulder bag all black, that I found discrete enough to carry the heavy and massive Nikon F4 that weight more than a medium-format camera.
After detailing the lens and checking the correct functioning fitted to the camera, I loaded on Monday December 2, 2024 an
Ilford HP5+ with the DX coded nominal 400 ISO film sensitivity. Due to some other businesses that took longer than expected, I had to wait a couple of days before going quietly to the "Parc de la Tête d'Or" for testing the lens.
The AF Nikkor lens 1:1.8 f=85mm was fitted with a protective Hoya Skylight (1A) 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. For focusing I used either the single autofocus mode or the manual mode on complicated scenes inside the tropical green houses. As for my medium-format sessions, I took a bit of time to note on a session ticket the main parameters (shutter speed, aperture, focusing distance, flash control mode, etc). When indicated, I used also my Nikon Speedlight SB-26 in the TTL mode.
Documentary smartphone picture
December 4, 2024
69006 Lyon
France
After completion at view 37, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at -2 to keep the leader out of the cartridge. I then processed the film developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 6min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
--------------
About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
____________
About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
Research Technician Stella Sommer, Fresno State Jordan Agricultural Research Center, Thermo Fisher Scientific Discrete Analyzer, photo by Geoff Thurner, October 19, 2021, Copyright 2021.
An expansive multidisciplinary collaboration between mathematicians, dancers, media artists, composers, and engineers, this complex experimental augmented reality performance is truly the first of its kind. This newest dance performance probes the circuitry connecting the corporeal to the cognitive, questioning the very essence of humanity and machine. Alan Turing is often called the father of modern computing. He was a brilliant mathematician and logician. He developed the idea of the modern computer and artificial intelligence Turing thus gave birth to one physical incarnation of mathematics. His creations are the embodiment of the act of performing mathematics. Although his contemporaries would see a sharp delineation between human and machine, in his eyes, his progeny did not constitute a distant “other”. Rather, he was the father of a “living machine.” How might mathematics manifest itself as physical expression? What binds human cognition and philosophy to a human being’s body? How might this connection dissolve or transform in time? The full-length show follows the emergence of mathematics in relationship to the human body, exploring perception and our physical modes of expression through a complex set of emerging technologies.
Event Link:
grayarea.org/event/discretefigures-rhizomatiks-research-e...
On Saturday November 29, 2024. I went to Saint-Bonnet-de-Mûre, near Lyon, France for the last monthly meeting of camera collectors. I found there a stunning lens AF-Nikkor 1:1.8 f=85mm for my Nikon F4 (year 1989). There was also the same lens in the "D" version appeared in 1995 with the Nikon F5. "D" stands for "Distance" that is coded in this Nikkor lenses series and used for the 3D-matrix metering of the Nikon F5. I choose better the non-"D" significantly less expensive and that match better with the period of my Nikon F4 body. I found also a nice small Nikon shoulder bag all black, that I found discrete enough to carry the heavy and massive Nikon F4 that weight more than a medium-format camera.
After detailing the lens and checking the correct functioning fitted to the camera, I loaded on Monday December 2, 2024 an
Ilford HP5+ with the DX coded nominal 400 ISO film sensitivity. Due to some other businesses that took longer than expected, I had to wait a couple of days before going quietly to the "Parc de la Tête d'Or" for testing the lens.
The AF Nikkor lens 1:1.8 f=85mm was fitted with a protective Hoya Skylight (1A) 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. For focusing I used either the single autofocus mode or the manual mode on complicated scenes inside the tropical green houses. As for my medium-format sessions, I took a bit of time to note on a session ticket the main parameters (shutter speed, aperture, focusing distance, flash control mode, etc). When indicated, I used also my Nikon Speedlight SB-26 in the TTL mode.
Documentary smartphone picture
December 2, 2024
69006 Lyon
France
After completion at view 37, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at -2 to keep the leader out of the cartridge. I then processed the film developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 6min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
--------------
About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
____________
About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
Research Technician Stella Sommer, Fresno State Jordan Agricultural Research Center, Thermo Fisher Scientific Discrete Analyzer, photo by Geoff Thurner, October 19, 2021, Copyright 2021.
An expansive multidisciplinary collaboration between mathematicians, dancers, media artists, composers, and engineers, this complex experimental augmented reality performance is truly the first of its kind. This newest dance performance probes the circuitry connecting the corporeal to the cognitive, questioning the very essence of humanity and machine. Alan Turing is often called the father of modern computing. He was a brilliant mathematician and logician. He developed the idea of the modern computer and artificial intelligence Turing thus gave birth to one physical incarnation of mathematics. His creations are the embodiment of the act of performing mathematics. Although his contemporaries would see a sharp delineation between human and machine, in his eyes, his progeny did not constitute a distant “other”. Rather, he was the father of a “living machine.” How might mathematics manifest itself as physical expression? What binds human cognition and philosophy to a human being’s body? How might this connection dissolve or transform in time? The full-length show follows the emergence of mathematics in relationship to the human body, exploring perception and our physical modes of expression through a complex set of emerging technologies.
Event Link:
grayarea.org/event/discretefigures-rhizomatiks-research-e...
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An "evolution" themed game for a game design seminar I'm in.
In this game you selectively remove nodes from an ever expanding tree of sparkling beauty (sparkles not pictured here) in attempt to improve the allure of your creation over time. The allure value is the ratio of the number of nodes in the tree to the distance to the furthest node (or radius of a bounding sphere centered at the origin). Nodes are selected by typing thier identifier with the keyboard (hackerish beeping noises included). I created an original soundtrack and synched it to the trees expansion rate. Informally, the goal is to reach an allure value of 10,000 though the amount of time you take to do this is what impresses your friends.
Developed with python and four hours of my life (plus several more for the music).
Texas Instruments discrete component "single bubble" 11484 byte memory module. (Thanks Gary for the updated info!)
An expansive multidisciplinary collaboration between mathematicians, dancers, media artists, composers, and engineers, this complex experimental augmented reality performance is truly the first of its kind. This newest dance performance probes the circuitry connecting the corporeal to the cognitive, questioning the very essence of humanity and machine. Alan Turing is often called the father of modern computing. He was a brilliant mathematician and logician. He developed the idea of the modern computer and artificial intelligence Turing thus gave birth to one physical incarnation of mathematics. His creations are the embodiment of the act of performing mathematics. Although his contemporaries would see a sharp delineation between human and machine, in his eyes, his progeny did not constitute a distant “other”. Rather, he was the father of a “living machine.” How might mathematics manifest itself as physical expression? What binds human cognition and philosophy to a human being’s body? How might this connection dissolve or transform in time? The full-length show follows the emergence of mathematics in relationship to the human body, exploring perception and our physical modes of expression through a complex set of emerging technologies.
Event Link:
grayarea.org/event/discretefigures-rhizomatiks-research-e...
An expansive multidisciplinary collaboration between mathematicians, dancers, media artists, composers, and engineers, this complex experimental augmented reality performance is truly the first of its kind. This newest dance performance probes the circuitry connecting the corporeal to the cognitive, questioning the very essence of humanity and machine. Alan Turing is often called the father of modern computing. He was a brilliant mathematician and logician. He developed the idea of the modern computer and artificial intelligence Turing thus gave birth to one physical incarnation of mathematics. His creations are the embodiment of the act of performing mathematics. Although his contemporaries would see a sharp delineation between human and machine, in his eyes, his progeny did not constitute a distant “other”. Rather, he was the father of a “living machine.” How might mathematics manifest itself as physical expression? What binds human cognition and philosophy to a human being’s body? How might this connection dissolve or transform in time? The full-length show follows the emergence of mathematics in relationship to the human body, exploring perception and our physical modes of expression through a complex set of emerging technologies.
Event Link:
grayarea.org/event/discretefigures-rhizomatiks-research-e...
An expansive multidisciplinary collaboration between mathematicians, dancers, media artists, composers, and engineers, this complex experimental augmented reality performance is truly the first of its kind. This newest dance performance probes the circuitry connecting the corporeal to the cognitive, questioning the very essence of humanity and machine. Alan Turing is often called the father of modern computing. He was a brilliant mathematician and logician. He developed the idea of the modern computer and artificial intelligence Turing thus gave birth to one physical incarnation of mathematics. His creations are the embodiment of the act of performing mathematics. Although his contemporaries would see a sharp delineation between human and machine, in his eyes, his progeny did not constitute a distant “other”. Rather, he was the father of a “living machine.” How might mathematics manifest itself as physical expression? What binds human cognition and philosophy to a human being’s body? How might this connection dissolve or transform in time? The full-length show follows the emergence of mathematics in relationship to the human body, exploring perception and our physical modes of expression through a complex set of emerging technologies.
Event Link:
grayarea.org/event/discretefigures-rhizomatiks-research-e...
Edward Hopper, Cape Cod Morning, 1950,
In Cape Cod Morning, a woman looks out a bay window at something in the middle distance, something just beyond the frame. The window, cast in deep shadows, juts out from a facade bathed in brilliant light. Here, half the composition is given over to a richly hued, golden grass landscape, one tethered only by undulating clouds. A strain reverberates throughout the piece, situated everywhere and nowhere in particular. This inherent tension has come to define much of Edward Hopper’s work, but to probe it deeply, as observers are wont to do, is to miss the artist’s subtleties, his splendor.
Born July 22, 1882 in Nyack, New York, Hopper, from an early age, gravitated to solitary pursuits, among them, sketching and sailing, studying with intention the nuances of light and shadow. The artist, who would go on to produce more than 800 paintings, watercolors, and prints, remained a detached observer of the world. Writing in The Guardian, Laura Cumming echoes this: “‘one was aware,’ wrote a friend, ‘of a slight displacement in [Hopper’s] experience of his own person…as when we are strangers to ourselves, and become objects of our own contemplation.’” Implicit in this is a worldview that privileges the literal over the metaphorical. It follows, then, that imposing too lofty a narrative, or any narrative, for that matter, on Hopper’s works, is to do his carefully constructed oeuvre a disservice.
Venturing cautiously in interpreting work like Hopper’s proves particularly useful as paintings like Cape Cod Morning obscure as much as they reveal. In an essay for The New York Review of Books, Mark Strand writes that, in Hopper’s hands, “moments of the real world, the one we all experience, seem mysteriously taken out of time. The way the world glimpsed in passing from a train, say, or a car, will reveal a piece of a narrative whose completion we may or may not attempt.” What this view of the artist’s work obfuscates, though, is the meticulous construction of works like Cape Cod Morning. Indeed, Hopper himself attested to the careful execution of these works, an intention that involved as much elaboration as it did observation. In Edward Hopper: An Intimate Biography, Gail Levin writes that the artist sought “the esthetic confluence of that ‘something inside me and something outside…to personalize the rainpipe.'”
Of the woman in Cape Cod Morning, too, reality is so abstracted as to present not a woman gazing out the window, but a figure gracefully removed from the world. Indeed, Strand asserts that “the women in Hopper’s rooms do not have a future or a past. They have come into existence with the rooms we see them in.” To assign too personal a meaning to any of these figures, then, is to belie their staged, cinematic like, construction.
Perhaps, as evidenced in Cape Cod Morning, as it is in a great many Hopper works, the ambiguity of these paintings is their very strength. In his 2012 Smithsonian American Art Museum’s Clarice Smith Distinguished Lecture in American Art, Kevin Salatino asserted that “when [Hopper] is cryptic, he is cryptic in the most interesting way.” To be sure, the artist’s masterful ability to render the momentary, or seemingly momentary, is a talent that is unmistakably his. The task, then, is to dispense with ad hoc narratives and to appreciate in Cape Cod Morning the subtle play of light on the wall, deceptively discrete as it might be.
americanart.si.edu/blog/eye-level/2018/20/57789/revisitin...
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Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
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