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Mapping workshop in Nyangania, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Moderne Kameras bieten heute eine stufenlose Dynamikbereichskorrektur an, die eigentlich ganz gut funktioniert. Die Kamera, egal ob in manuellem oder einem Automatikmodus ausgelöst, beaufschlagt dann intern einfach zu dunkle Bildbereiche mit einem höheren ISO-Wert, resp. dem Helligkeits- und leider auch dem Rauschäquivalent des entspr. höheren ISO-Wertes. Das macht sie dynamisch, je nachdem wie sie eine Szene einschätzt und welche Stufe der Nutzer vorwählt.
Im Grunde mache ich hier nichts anderes. Ich belichte zuerst im Histogramm relativ weit nach links, bzw. ausschließlich für die hellen Bildbereiche. Dann später am Computer reiße ich einfach nach Lust und Laune oder Bedarf die Tiefen auf, um so einen insgesamt genehmen, der Dynamik eines modernen Monitors angemessenen Bildeindruck zu vermitteln. Besonders bei dynamisch sehr delikaten Szenen, etwa im Gegenlicht, an Sonnentagen im Wald oder eben in engen schattigen Gassen, mit den jeweils sehr grellen Sonnenlichtspotts, ist diese Technik das Mittel der Wahl. Alles was man nachträglich aufhellt ist nicht schlechter, als hätte man es zuvor bei gleicher Belichtungszeit, aber einem entspr. höheren ISO-Wert fotografiert. Würde man mittig oder gar rechts belichten, so hätte man sich sehr wohl bessere Tiefen erkauft, aber nur um den Preis von ausgebrannten Lichtspots. Genau das gilt es aber zu vermeiden, möchte man aus einem RAW die mögliche Sensordynamik umfänglich nutzen, ohne zuviel Qualität in den Tiefen einzubüßen und diese Technik reicht heute auch für die meisten Situationen. Sie hat darüber noch den Vorteil, dass man etwaige Verwackler durch längeres Rechtsbelichten vermeidet.
Da hier ja wegen der unberechenbaren Lichtverteilung in den Motiven auch ein Verlaufsfilter überfordert wäre, hätte man früher bei diesem schwierigem Licht noch Belichtungsreihen gebraucht, so man denn abgeschnittene Höhen und Tiefen hätte vermeiden wollen, weiße und schwarze Bereiche in einem tolerablen Rahmen können ja auch ein Stilmittel sein. Aber seit ein paar Jahren, seit es iso-invariante Sensoren gibt, die die Signalwandlung noch vor der Signalverstärkung auf dem Sensor implementiert haben, sind Belichtungsreihen weitgehend obsolet, da man beim händischen, nachträglichen Nachbelichten nicht länger Gefahr läuft, das Verstärkerrauschen mit aufzuziehen und damit zu potentieren. Allerdings ist das stark vereinfacht dargestellt, denn es gibt noch andere Störquellen in jedem Prozessschritt von der Fotozelle bis zur fertigen RAW-Datei.
Es ist trotzdem zumindest näherungsweise möglich, von der Postproductiongängigkeit und Tone Mapping Toleranz einer RAW-Datei auf die Qualität eines Sensors und Bildprozessors zu schließen. Es gibt im Sensorlayout wohl immer Zielkonflikte zwischen einem guten Signalrauschabstand und hohem Basis-ISO-Dynamikumfang, guter Hoch-ISO-Stabilität für den Sport und der entspr. Auslesegeschwindigkeit, die ja bei Sportkameras auch nicht ohne ist und ebenfalls thermische Frickeleien macht. Wenn man mit 4k über die ganze Sensordiagonale filmen, 10 Bilder in der Sekunde bei immerhin gut 40MP auslesen, 15 Stops Basisdynamikumfang haben und trotzdem bei ISO6400 noch verwertbare Bilder erhalten will, dann fordert das eine Fab ganz schön heraus, dann wird die Produktion eines Sensors schnell sehr, sehr teuer und aufwändig.
Oder man macht es einfach wie Canon. Man verbaut wesentlich schlechtere Sensoren, die nur einen Bruchteil kosten, dafür um Potenzen mehr ausgemappte Defekte mitbringen und macht dann alles über die 'Skintones' und 'Menues' wieder gut. Das kann man tun, wenn der Markt es mit sich machen lässt. Ja, man wäre vielleicht sogar blöde, würde man das Geld der Shareholder in zu guten Sensoren verbrennen, die der Markt augenscheinlich gar nicht vermisst oder einfordert. Gute Sensoren sind was für Toycams wie meine.
Share Mind Mapping with friends, family & colleagues with this FREE "Try Mind Mapping" example Mind Map.
A FREE promotional pack is available in Word & PDF containing an A4 poster, A5 Big Bookmarks with space to make notes, perhaps even for adding keywords if a Mind Map is going to be created of a book, standard Bookmarks, plus a postcard sized version.
Download a free copy here: www.mindmapinspiration.co.uk/#/try-mind-mapping/4532486456
You can subscribe to the Mind Map Inspiration Blog to receive new Mind Maps at www.mindmapinspiration.com/ and follow me on Twitter @mindmapdrawer twitter.com/mindmapdrawer
Also available: E-Books designed to help you create stylish and artistic mind maps of your own - visit the Mind Map Inspiration Website for more details: www.mindmapinspiration.co.uk/
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
ASCENSION: An Interactive Installation
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The Project
Willpower (William Ismael) + Carrie Mae Rose collaborate in the duo FLUID THUNDER for the interactive projection mapping of the tetrahedron winged computational fashion installation at Eyebeam (Art + Technology Center in New York City).
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The Process
Carrie Mae creates hand-built wing structures out of wire tetrahedrons and fabric. Willpower codes 2 animations in Processing, which is an open-source programming language, development environment, and online community. He uses Leap Motion, which is a sensory technology, detecting human hands and fingers. He uses a Processing Library by onformative (a studio for generative design based in Berlin) called LeapMotionForProcessing to use Processing seemlessly with Leap Motion. Willpower attaches his interactive human generated animations to the Leap Motion sensor. They follow a person's hand movements in real-time and on key with accurate precision. The public interacts with the installation by activating the wings through their physical movements.
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The Story
The animation displays beams of light representing solar neutrinos and the love we have access to at all times. Wings symbolize aspiration and ascension. The light is symbolic of angelic light coming from realms above, shining down to inspire and remind us that we are pure love in our hearts. The bubble eruptions represent both the thunderous fire energy residing inside our human forms and the Big Bang Theory that we are all becoming lighter and lighter each moment in time throughout our expansion into infinite space.
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The Experience
Human beings generate the art on the angel wings by moving their hands. They become part of the art. They create the art. An ongoing 3D generative animation is mapped behind the wings. An interactive animation generated by people is mapped onto the wings. Without human movements, no animation is created on the tetrahedron angel wings. We include you to be part of the art because it is about us. It is about the interaction between the artists and the visitors. We communicate and transcend messages which are experienced beyond just looking at a piece by making you a co-creator of the piece. It is about us coming together and interacting in the space with 'others' we may have not engaged in a conversations with otherwise. It becomes an unique shared experience.
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Credits
Installed at Eyebeam.
Sculpture by Carrie Mae Rose.
Interactive Projection Mapping by WILLPOWER STUDIOS (William Ismael).
Video Shot + Edited + Music by WILLPOWER STUDIOS (William Ismael).
Watch Video: vimeo.com/78205976
Download Press Package: fluidthunder.com/ASCENSION-Press.zip
To know more about project, visit FluidThunder.com
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
The Councilor of Gabagaba is the government representative in the town and provided valuable input in the risk mapping exercise.
Participants during the during the Session: "Mapping the World" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China, July 1, 2019. Copyright by World Economic Forum / Jakob Polacsek
MAPPING NATURAL AND UNNATURAL DISASTERS
The Notary Public (Erika Hennebury and Laura Nanni)
The Notary Public invite audiences to explore the secret emotional topography of our city. Our approach to psychogeography takes, from the participating viewers, a sampling of fragile and often hilarious incidents and physically imprints them on a map of the city where we are; highlighting a complex web of human interactions. Negotiating with a projected image, audiences are invited to physcially deposit their own personal memories and interactions on a living landscape of Toronto using a legend that indicates sites of mishap, phenomenas of love and landmarks of our everyday lives to create a new urban cartography.
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Mapping the narrative cartographies: reclaiming history by challenging dominant narratives. Changing the landscape through stories. In order to address the complexities of the present we must navigate the forest of meaning.
*early draft*
Infographic of Science Hack Day SF project:
Grassroots Mapping
Balloons! Many feet in the air! Cameras strapped to them! Photo stitching! Aerial map!
blog.edenisawesomeawwwwyeah.com/2010/11/15/grassroots-map...
Hackers:
Stephanie Vacher
Eden Sherry
Paul Mison
Brett Heliker
Testing mobile CO2 Mapping in cities using the prototype DIYSCO2 sensor on car-sharing vehicles.
Part of album Urban CO2 Emission Mapping.
This method to map carbon dioxide emissions using mobile sensors on vehicles is described in: Lee J.K., Christen A., Ketler R., Nesic Z. (2017): 'A mobile sensor network to map carbon dioxide emissions in urban environments'. Atmospheric Measurement Techniques, doi:10.5194/amt-2016-200.
Hallway wall-painting at Charles Correa's Jawahar Kala Kendra in Jaipur, designed in 1993. Each of it's 9 enclosed sections is named after a planet and display a variety of textiles, crafts, weapons, etc.
A drawing by my father dated 30th March 1948 of Selsdon station near Croydon.
Opened In August 1885 as Selsdon Road Junction, which later became Selsdon Road, the station had two platforms on the line to Elmers End and two on the Oxted line. The station was closed completely from January 1917 for a couple of years as an economy measure during World War 1. The Oxted line platforms reopened in May 1919, but the Elmers End platforms remain closed until electrification of that line in 1935. At this stage the station was renamed ‘Selsdon’, although Selsdon itself was two miles away down Selsdon Road. The goods yard was enlarged to five roads resulting in the layout shown on the map. Closure of the Oxted line platforms came in June 1959, not surprising really with the station being just a quarter of a mile from South Croydon. The buildings on all platforms were demolished around 1963 and just two short wooden canopies were provided over the central sections of the Elmers End line platforms. A very small wooden booking hut was provided at the entrance to the station on the Down Elmers End line platform. In 1968 the goods yard was reduced to just two sidings and became a domestic oil terminal. In 1976 the two wooden canopies were demolished and just metal ‘bus shelters’ being provided. Also from 1976 all through London services ceased and Selsdon was served by a Monday to Friday peak time only shuttle service between Elmers End and Sanderstead operated by two car 2-EPB units. In both morning and evening peaks, one train from Elmers End would terminate at Selsdon and start back from the Down platform. Closure to passenger services came in May 1983, with Selsdon having the distinction of being one of the last stations to be entirely lit by gas. Flats were built either side of the Elmers End line platforms and after the oil traffic ceased in 1993 the whole track area was left to ‘Mother nature’. The line is now very heavily overgrown from the junction of the Oxted line northwards to just south of the former road bridge over Coombe Road. North of that road bridge through to Elmers End the line is now part of the Croydon tram network.
Some other photos of Selsdon:-
www.flickr.com/photos/24343055@N03/28899099452/in/album-7...
www.flickr.com/photos/24343055@N03/27973894244/in/album-7...
www.flickr.com/photos/24343055@N03/14945506942/in/album-7...
I was made redundant in June-July 2001, we bought the Scruby camper then Smoky and headed up to FNQ and the tip of Australia over three months to Oct.
Flickr map on the App. has no knowledge of Seisia, Bamaga, Weipa, Cohen, Cooktown and other major places on Cape York. But OK using Chrome...
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell