Art by Nature
View allAll Photos Tagged Overwrite
Photographing a plane passing in front of the moon or sun is my passion. Yet I can't say I was successful in pursuing my passion. In the past I captured two lunar passages. And alas, no solar passage to this date.
My gear is of medium brand: I don't use a high-power zoom lens, my camera is a descent NIKKON D90. I use a SIGMA 70-300 mm zoom lens. I do have a tripod which however was in the trunk of my car when I made these shots. Therefore I had to rest D90 on balcony railings to hold it steady. But the results are not so bad I think.
Those of you who like technicalities may have a look at the EXIF values (I hope PICASA didn't delete or overwrite it). I have a few comments on these photos though.
1) Since the moon is too bright, its light gets around the silhoutte of the plane thus has a blurring effect on the silhoutte.
2) The plane's speed is another factor in the blur.
3) The hot air jet behind the engines further blurs the features of the moon.
Ayın veya güneşin önünden geçen bir uçağın resmini çekmek benim bir tutkum. Ancak bu tutkumda başarılı olduğumu söyleyemem. Daha önce iki fotoğrafla ay önünden geçiş yakalamıştım. Ne yazık ki şimdiye kadar güneş geçişi yakalayamadım.
Orta kalitede techizata sahibim: Yüksek güçlü bir zoom lensim yok; mütevazi bir NIKKON D90'ım var. Bir SIGMA 70-300 mm zoom lensi kullanıyorum. Tripodum var ama bu çekimleri yaptığımda arabanın bagajında idi. Bu yüzden D90'ı balkon demirlerinin üzerine koymak zorunda kaldım. Ama sonuçlar o kadar da kötü değil sanırım.
It's a headache! I installed the latest update on Lightroom which is 1.4 and after that day group post from Flickr says that this update has a deadly bug(which overwrites a data on your RAW, but not your photo) and it was removed from Adobe site. I uninstalled the program but it messed up Visual Basic.
It caused havoc on my PC and limited my Flickring. So much for the updates...
I hope you didn't encounter it in Lightroom! ...errr about the photo? Maybe Koreans have an excessive amount of flourescent lights & bulbs to illuminate the whole bridge...including the sides.
90-photo multi-row HDR panorama. 31,200 x 16,300. (508.5 megapixels.)
Was hoping to catch sunset but it ended up being total overcast. Overcast isn't terrible though, it gave me an even lighting situation to work with.
---
Oh lord. This was quite a chore to process. Lightroom has a maximum filesize of 512 megapixels. I learned this fact tonight because it wouldn't stitch any of my panos from Horseshoe Bend. No, it didn't tell me why. When this scene was merged, the photo was larger than 512 megapixels. You would think that LR would say this, but instead it just says that I need to choose another projection method.
Another problem is that the extreme depth of Horseshoe bend causes further issues with LR's projection modes. I guess that even if it had been under 512 megapixels, it still wouldn't have worked.
Alas, I had to fork over $300 for PTGui.
PTGui is able to import my raw CR3 files and can even merge HDR, but it doesn't really have any good features to adjust images or set a camera color profile, so my first attempt came out looking bland.
So I started over for the 15th time. I went into LR and individually merged each of the thirty HDR images manually. I processed a few to see which settings would work the best, then set all images to have an identical treatment (color balance, exposure, contrast, highlight, etc.)
Exported these thirty completed images as TIFFs, stitched with PTGui (equirectangular projection), and exported a massive 980 megapixel photo (half of which was empty space). I couldn't import that it LR because it was over the 512mp maximum, which is how I learned about the maximum. If I had been holding a stack of papers, I would have tossed them into the air at this point.
So, I opened it in Photoshop and cropped it down to what I needed. Every slice of the crop tool hurt. I finally managed to crop it down to a reasonable size without losing any key detail or breaking composition. Saved the changes.
At this point, I noticed that PTGui lost all of my exif data. So I used my exiftool to copy the exif data from one of the original files and overwrite the settings on the pano TIFF. (Yes, really - this story is still going.)
Finally successfully imported into Lightroom. From here, I edited it with DeNoise AI to bring out some incredible sharpness. Denoise has the MOST INCREDIBLE sharpening I have ever seen. It gets in there, even on these massive panos, and sharpens the tiniest details. It makes them look wonderful at Max Zoom.
Back into Lightroom with the sharper image. I did my tone curve adjustments and a slight clarity adjustment and then it was time to get it uploaded.
THANK YOU FOR LOOKING AT THIS. I HOPE IT WAS WORTH IT.
My gear
Canon EF50mm f/1.2L USM lens (w/ hood)
Hoya UV filter (sometimes I use a polarizer)
iFOOTAGE TC7 Carbon Fiber Tripod w/ Quick Fastbowl
Acratech Multi-row panoramic head
EOS R/R5 compatible mounting plate
Software
Color Fidelity Color Profiles for Canon EOS R5
Some of these links are referral links; buying from them will send me a couple bucks. Thanks for your support.
Experimenting with film simulations, SOOC. This one is Classic Chrome, which “mimics the ambience of documentary-style magazine photography from decades past”, according to Fujifilm.
Really SOOC, shot in jpg with film sim bracketing: Eterna, Acros, Classic Chrome. Liked this one best for this shot. I’m miffed that just culling the camera roll and adding tags in Lightroom overwrites the camera’s EXIF, destroying the automated documentary chain for photo style. Must admit this ranks many billions down on the list of the world’s problems.
22 Jan 21; 08:00 CST
Paul-Löbe-Haus, Berlin
"The Paul-Löbe-Haus (PLH) is a functional building of the German Bundestag in the Berlin government district, which is located on the site of the former Alsenviertel on the southern edge of the Spreebogenpark. It is named after the President of the Reichstag and Senior President of the first German Bundestag, Paul Löbe (SPD). [...]
In 1992, an urban design ideas competition was launched for the Spreebogen area in Berlin. The first prize went to the architects Axel Schultes and Charlotte Frank with the guiding concept of the "Band des Bundes", which includes the Federal Chancellery, the Paul-Löbe-Haus, the Marie-Elisabeth-Lüders-Haus and the unrealized Bürgerforum. In the autumn of 1994 a design competition was started, which the Munich architect Stephan Braunfels won with his design for the Paul-Löbe- and Marie-Elisabeth-Lüders-Haus.
The architecture of the Paul-Löbe-Haus and the Marie-Elisabeth-Lüders-Haus form a unit, for example the roof edges that match the Spree and the bridge that connects the buildings on both sides of the Spree. The architect of both houses describes the bridge as a "jump over the Spree". The connection of the buildings from east to west symbolizes the togetherness of East and West Germany (the Berlin Wall ran across the built-up area) and overwrites the National Socialists' vision of a "world capital Germania" - here characterized by a north-south axis.
Rita Süssmuth, President of the Bundestag at the time, laid the foundation stone for the new Bundestag building on April 28, 1997 on the eastern bend of the Spree. The Paul-Löbe-Haus was opened in 2001. [...]
(translated from German Wikipedia entry)
photo in Explore 27.09.2020
Kennedy, K2, On Dock And Aerial Drone Selfie With Stunning Sunset Tampa Bay At Apollo Beach Home - IMRAN™
What a blessing to experience this magical sunset and dusk at home on Tampa Bay, Florida. My super-chill German Shepherd Dogs are not fazed by the DJI Phantom 4 drone flying just about 12 feet away.
Kennedy is watching the sunset and looking out for dolphins on the left, while K2 is looking at me perched on the dock railing, waiting for me to step down safely.
I took a few drone photos to create this HDR panorama. I did remove the tied-down dock umbrella from the white wood using Photoshop in a quick selection and clone overwrite of the space. I did that because, in the long run, the memory of the moment will be what you see in this photo.
Gratitude more than I can describe for all that Almighty Allah, the One God, blessed me with in my life. And so much more to come. Prayers and love from you all my precious ones is what keeps it all going. A prayer of thanks, as Maghreb surrounded me on all sides.
© 2021 IMRAN™
✦ THE WHISPERING ICE COLLECTION ✦
Introducing the first release from our upcoming Winter & Holiday Nail Series
— a season-long line of luxurious, atmospheric nail HUDs crafted to bring sparkle, softness, and winter magic to your look.
Whispering Ice sets the tone: a blend of delicate snowfall motifs, golden frosts, creamy whites, glossy obsidians, and celestial accents that shift effortlessly between cozy minimalism and festive glam.
Designed for both Coffin and Claw nail shapes, supported on:
Legacy // eBody // LaraX // Kupra // Nhuman // (and compatible future updates)
This is only the first chapter — a few more winter/Christmas nail HUD sets are arriving soon, each with their own theme, palette, and specialty effects.
Your winter styling is about to be stacked with options.
Now available at Dubai Event.
—
✦ NEW NAIL BASE UPDATE — VERSION 5.0 ✦
Every Black Lotus Nails Base has been upgraded to v5.0.
Each base now includes an extra Material HUD, giving you full control over nail surface finishes:
• Switch between matte, soft gloss, medium gloss, or high gloss
• Apply our natural nail normal map for added realism and subtle texture
• If any other Partner Store’s HUD overwrites your materials, you can instantly reset your nails back to the original natural Black Lotus material with one click
This means:
• You only purchase the Nails Base once
• All current and upcoming HUDs will continue to work seamlessly
• Your nails always stay crisp, glossy, and photograph-ready
メインのメンズのshapeを元に別の顔を作ろうとこねてて1時間ほど過ぎてから上書きを続けていたことに気がつきまして…ソッ閉じしてちびっ子でひたすら踊ってました。んあぁ…
I was making another face based on the SHAPE of my main men's avatar. After about an hour of working on it, I realized that I kept overwriting it... I silently closed my inventory and just danced. Oh...!!
Who knew I had an estranged Great Aunt. I feel like I remember Grandma speaking about someone when I was little, but I wonder if that is just all of the talk from the past few days overwriting my memory. I am excited to see if what those lawyers said is right, and to see if I can find out who my Aunt really was...besides fabulously wealthy.
I had difficulty making the shadow a reality in a single photo. Therefore, I had to overwrite the shadow of the angel with a second photo (composing).
This is a free work especially for the Macro Monday challenge | Dies ist eine freie Arbeit speziell für die Macro Monday Herausforderung.
follow me on Instagram:
@matthiasbauernschmidtfotograf
check my website:
Los Angeles, CA, January 12, 2008 -
Phantom Galleries LA has become known for transforming unsightly empty storefronts into vibrant and culturally exciting art experiences from Beverly Hills to Pasadena. PGLA is proud to announce a partnership with the Long Beach Redevelopment Agency in presenting their inaugural Long Beach exhibit, Susan Chorpenning's window installation "Fiat Lux III." Curated by Dangerous Curve.
Location: 248 Pine Ave, Long Beach, CA 90802
Exhibit runs: January 12 to March 12, 2008.
Viewable 24/7 with optimal viewing hours between 5 pm - 1 am.
Gallery Hours by appointment only.
Reception for the artist TBA.
"Fiat Lux" means "Let There be Light." Chorpenning means to light up
the darkest days and longest nights of the year. If you've not seen
one of Susan Chorpenning's twinkling light window displays, you've not
had a true urban winter-wonderland experience! Her last PGLA
installation, "Fiat Lux II," was like a holiday mega-display, with the
lights painstakingly intertwined and loaded on until they filled the
whole window. From afar, the window seemed to hover in front of its
pane of glass. Up close, one's whole field of vision was engulfed.
The effect was invigorating exuberance.
"Fiat Lux III" is more subdued than was "Fiat Lux 2," its lights
restrained (if only slightly) and elegant. It fills the two windows to the left and
right of the location's main doorway. The walls are painted
bright colors with added blocks of color behind some light elements. These light elements come in a variety of shapes and sizes, such as twinkling globes, mini-lava lamps, colored compact fluorescents, and tiny, twinkling, multicolored lights mounted on frames. Using stretcher bars throughout - but instead of being the structure for paintings, they are the structure for lights - eg. strings of lights wrapped around the stretcher bars, and variations on this theme. These "frames" are the most recurrent image in the piece. More subtle it is, but indeed still a beautiful sensory enterprise.
More about the Artist
Chorpenning suechor/myhomepage/index.html
is from Altadena, via New York and Europe. She has had numerous solo
shows and siteworks in galleries and museums, nationally in New York,
the San Francisco Bay Area, Texas, and internationally in Paris,
France, and Germany. She has performed to rave reviews at Dixon
Place, The Knitting Factory, BACA, The Painted Bride, and Claremont
College.
Among other things, Chorpenning does so-called "dark rooms," chairs
with flash units and light-sensitive rocks. All these
things use afterimages (from phosphorescent paint or flash units that
leave traces on one's retina to mimic memory perceptions. The "memories" can build up and overlap, and sometimes interact and overwrite each other.
Chorpenning's solo show at Dangerous Curve in 2004 was one of her
"light room" installations. In these, she uses paint on walls and
floors to record "memories" of constantly moving sunlight streaming in
through doors, windows, and skylights throughout a given day. All
Chorpenning's past light rooms have been records of sunlight as it
actually came into the rooms, but in "February Thirtieth," the
sunlight was completely fabricated for a completely fabricated day.
Chorpenning has noted that light traces left from another part of a
day can have a surprising psychological effect, causing the viewer to
perceive enhanced brightness in a room without really understanding
why. Imagine the effect in a room that, facing north, doesn't have any
direct sunlight at all. The space at Dangerous Curve is such a room,
and the effect of Chorpenning's multicolored trace records was
profound.
More about the Presenters
Phantom Galleries LA PhantomGalleriesLA.com is a Los Angeles County based organization that transforms properties in transition into 24/7 public art galleries. Each installation is a unique relationship between the participating Artist, Curator, and Property Owner. Exhibits are curated by local Arts Organizations, Galleries, Independent Curators, and Artists. The project gives local artists an opportunity to exhibit their work, while fostering economic development by drawing attention to available retail space. PGLA promotes the creative communities of Los Angeles to a broader audience and encourages the appreciation and participation in the arts among community members and organizations creating a win/ win situation that benefits the entire community as a whole. Art is a necessary part of everyday life.
Dangerous Curve dangerouscurve.org is a leading
contemporary art space in the Arts District of Los Angeles that
supports risky and intelligent work that's ahead of the curve.
The Long Beach Redevelopment Agency works to build a better Long Beach. For more information about Long Beach contact: rda.longbeach.gov
photo by americanimagegallery.com
Entstanden aus einem Photostack mit 70 Bildern.
Da es etwas windig war, wurden Vorder / Hintergrund getrennt berechnet und anschließend überlagert.
Das ergibt diesen Wischeffekt.
----------------------------------------------------------------------
Created from a photostack with 70 images.
Because it was a bit windy, foreground/background were calculated separately and then overlaid.
This results in this wipe effect.
A second site with an idiosyncratic evolution to monolithic sarcophagi can be found around 100km south east.
I shall describe these groups as "living necropoli".
A concept of a 'living necropolis' accepts that the archaeological record of monolithic sarcophagi includes examples from prehistory. The idea expects history to create new examples and overwrite and appropriate pre existing examples and therefore accepts that interpretation is complex.
The concept of the 'living necropolis' includes an a priori that the first ages of metal had a spiritual impact on society with the move away from knapping and polishing to fire and casting and polishing exerting a spiritual dissonance for those schooled on bringing stone tools to life for the earth spirits. Proving a loyalty to the earth spirits despite using tools that had been cast resulting in people carving anthropomorphic 'casts' in sacred outcrops and sleeping in them either as a community or as a pilgrim.
The 'living' side of the necropolis comes from the fact that living people slept in the monolithic pits; perhaps with wicker and leather 'lids'.
The 'living' side of the necropolis comes from the fact that some rare sites included the "Piedra de Los Moros" expanded the logic by carving down the sarcophagi and building often interconnecting rooms for several persons, to a point when the 'living necropolis' was as alive as a small village, functional and adapted to the environment and local population.
A person who dies in their living sarcophagi may stay within. Here sand, clay and perhaps special treatments may have accompanied the body into its skeleton and vestiges before a stone lid of permanence and qualitative definition was placed over. This would explain why stone lids are far rarer than the monolithic sarcophagi in sites that have the 'signatures' of prehistory.
Living in proximity with bodies is the life in a presbyter, the life in many an Iron age town down to first Neolithic villages - for example Ba'ja where burials were under floor and in-house. As the logical possibility of anthropomorphic 'casts' / 'monolithic sarcophagi' being used for dead bodies exists from an early date, the term necropolis has some meaning, which is why I chose the title 'Living Necropolis'.
The following statement may sound incongruous but does work: 'I am of the opinion that the 'living necropolis' of the Piedra de Los Moros' was not used for the dead, and that burials were outside of the site'.
Monolithic sarcophagi can be seen categorised with megaliths in Portugal, they are found under Roman remains, in Etruscan Italy, far from churches, aside cups and basins and over or next to finds from as far back as the late Neolithic.
As the forms are carved from solid stone, an example that falls into disuse may be reappropriated for a rural function such as grain storage. After several hundred years it is even possible that a grain storage silo is carved into rock that is in part inspired by this heritage, even if this example is too elevated, to large and too precarious to have ever had this facility as an original idea. This needs to be said as a range of curved man made cavities exists in the local area with similarities and differences.
A site on the scale of Los Moros required a rich skill set of stone carvers. Removing megaliths from the ground and fashioning their surfaces also required a rich and similar broad skill set. As the Neolithic faded and moulds replaced knapping and megaliths atrophied, did some of the mindset reframe to work with anthropomorphic casts coupling new believers with old ways? Did the act of cutting stones for new drystone Castros seem inconclusive for some people; did building with a repetition of smaller stones seem to lack permanence and conclusion?
AJM 19.12.22
Just realising it is Flyday & I couldnt see anything to post! I had some hover fly pictures from last weekend in county Clare but i seem to have managed to overwrite the SD card before saving them anywhere. They weren't all that great pictures anyway!
So I found a dead window sill fly, left it on the window sill, and lit it with a head torch I had handy as the light was poor.
when needs must...
...you have to improvise.
Nouvelle Vague - Bela Lugosi is Dead
Minion cake with Color Change Option and Bento Holding Pose Priorety...6! Will overwrite EVERYTHING =)
Wear Sam Group to grab the gift... Group Fee free for the whole january
Shot at AlaFolie main shop in Second Life.
taken with: /IOL-Camera-Panoramic, yaiol.blogspot.fr/2016/10/camera-panoramic-stitching.html...
Stitched with: hugin (hugin.sourceforge.net/ , linux 64)
After the amazing instructions of Inara Pey at modemworld.me/2016/10/13/the-camera-panoramic-360-photo-f...
See also beautiful Pepa Cometa's 360 panoramas.
There is a fairly nice and simple alternative from linden labs, which is still at project stage. ▓▒░ TORLEY ░▒▓ shared many amazing examples with us on Flickr, gathered in her album : Second Life 360 Snapshots
Further information:
⚫ community.secondlife.com/t5/Featured-News/A-New-Perspecti...
⚫ wiki.secondlife.com/wiki/360_Snapshots
Note: on linux version, hugin fails to insert the necessary EXIF tags, you can add them easily with the exiftool utility:
cd '~/Photos/360 Panoramas/'
exiftool -overwrite_original -ProjectionType=equirectangular -UsePanoramaViewer=True '~/Photos/360 Panoramas/360_panorama.jpg'
➯ This is a panorama, (left) click it to navigate!
Nothing in life is to be feared. It is only to be understood. ~Marie Curie
Customer: I can do that. I'm not very technical, but I think I am ready to install now. What do I do first?
Customer Service Rep: The first step is to open your HEART. Have you located your HEART ma'am?
Customer: Yes I have, but there are several programs running right now.Is it okay to install while they are running?
Customer Service Rep: What programs are running ma'am?
Customer: Let me see....I have PASTHURT.EXE, LOWESTEEM.EXE, GRUDGE.EXE, and RESENTMENT.COM running right now.
Customer Service Rep: No problem. LOVE will automatically erase PASTHURT.EXE from your current operating system. It may remain in your permanent memory, but it will no longer disrupt other programs. LOVE will eventually overwrite LOWESTEEM.EXE with a module of its own called HIGHESTEEM.EXE. However, you have to completely turn off GRUDGE.EXE and RESENTMENT.COM. Those programs prevent LOVE from being properly installed. Can you turn those off ma'am?
Customer: I don't know how to turn them off. Can you tell me how?
Customer Service Rep: My pleasure. Go to your Start menu and invoke FORGIVENESS.EXE. Do this as many times as necessary until GRUDGE.EXE and RESENTMENT.COM have been completely erased.
Customer: Okay, I'm done. LOVE has started installing itself automatically. Is that normal?
Customer Service Rep: Yes it is. You should receive a message that says it will reinstall for the life of your HEART. Do you see that message?
Customer: Yes I do. Is it completely installed?
Customer Service Rep: Yes, but remember that you have only the base program. You need to begin connecting to other HEARTS in order to get the upgrades.
Customer: Oops...I have an error message already. What should I do?
Customer Service Rep: What does the message say?
Customer: It says "ERROR 412 - PROGRAM NOT RUN ON INTERNAL COMPONENTS". What does that mean?
Customer Service Rep: Don't worry ma'am, that's a common problem. It means that the LOVE program is set up to run on external HEARTS but has not yet been run on your HEART. It is one of those complicated programming things, but in non-technical terms it means you have to "LOVE" your own machine before It can "LOVE"others.
Customer: So what should I do?
Customer Service Rep: Can you find the directory called "SELF-ACCEPTANCE"?
Customer: Yes, I have it.
Customer Service Rep: Excellent, you are getting good at this.
Customer: Thank you.
Customer Service Rep: You're welcome. Click on the following files and then copy them to the "MYHEART" directory: FORGIVESELF.DOC, SELFESTEEM.TXT, REALIZEWORTH.TXT, and GOODNESS.DOC. The system will overwrite any conflicting files and begin patching any faulty programming. Also, you need to delete SELFCRITIC.EXE from all directories, and then empty your recycle bin afterwards to make sure it is completely gone and never comes back.
Customer: Got it. Hey! My HEART is filling up with really neat files. SMILE.MPG is playing on my monitor right now and it shows that WARMTH.COM, PEACE.EXE, and CONTENTMENT.COM are copying themselves all over my HEART!
Customer Service Rep: Then LOVE is installed and running. You should be able to handle it from here. One more thing before I go...
Customer: Yes?
Customer Service Rep: LOVE is freeware. Be sure to give it and its various modules to everybody you meet. They will in turn share it with other people and they will return some really neat modules back to you.
Customer: I will. Thank you for your help
Stylized version of an image. Here's how to do it.
Open an image in Lightroom then make your normal adjustments. Then, max out "Noise Reduction - Luminance" and export the image (during this process I normally save as .TIFF).
Re-import the image and max out Noise Reduction-Luminance again. You can also overly sharpen the image. Export again. You can overwrite the previous image if you want.
Repeat this as many times as you want until you are happy with your creation.
HUB is the control vessel of the "Program" faction. Basically it's an advanced rouge AI that can control any advanced enough device by overwriting their main code. One of these ships can control more than hundred different devices at once making it as a top priority target in any conflict. It's especially dangerous because all of the modern military vehicles use electronic assistance and that's why "HUB" can hijack tanks, planes, guided missiles etc.
The shape was inspired by the D-5 Mantis form Star Wars
this is a new reborn picture of 7T-WHY, i own this pic from 90's.otherwise i decided to rescan / overwrite the picture to get better quality and to eliminate noises for AAF lovers,you can say legendary c-130 & legendary picture :-)
best regard kingvarg
I was going to overwrite the colour version with this one, but thought I'd let it stand it's own comparison!
It's a while since I did a shot of the Orion Nebula from home, so as there was a gap in the clouds, I thought I would see what I could get through the new LED street lights. This is a stack of 24 x 30 second exposures , Nikon D500, 3200 iso and the lens was my 300mm with a 2x converter. Everything was mounted on my Vixen SP mount (driven by an astroeq drive). 30th Jan 2019
The clouds came back over before I could get a few shots of shorter exposure to overwrite the 'blown-out' core, but for now, this will do.
Toen een dierbare vriendin de eerste versie van dit beeld zag, liet ze me weten dat het geweld dat het bevatte haar ongemakkelijk maakte. Ik begreep het heel goed omdat ik hetzelfde voelde. Ze moedigde me aan om het te corrigeren en ik deed het door er een bericht op te overschrijven, maar het zag er nog steeds uit als een brutale afbeelding, dus ik veranderde het opnieuw en de derde afbeelding kwam eruit. Ik vond het interessant om de drie in één te combineren (met een klein kleurverschil ertussen) en zo een soort levensles te vertegenwoordigen: geweld bestaat (1), we veroordelen geweld (2) en we elimineren geweld (3). Zo zou het moeten zijn. Heel erg bedankt Marjan! Ik hoop dat je deze beter vindt.
Cuando una querida amiga vió la primera versión de esta imagen me hizo saber que la violencia que contenía la incomodaba. La entendí muy bien porque yo sentía lo mismo. Ella me animó a rectificarla y lo hice sobreescribiendo un mensaje en la misma, pero seguía pareciendo una imagen brutal, así que volví a cambiarla y salió la tercera imagen. Me pareció interesante combinar las tres en una (con una ligera diferencia de color entre ellas) representando así una especie de lección de vida: Existe la violencia (1), Denunciamos la violencia (2) y Eliminamos la violencia (3). Así debe ser. Muchas gracias Marjan! Espero que ésta te guste más.
When a dear friend saw the first version of this image, she let me know that the violence it contained made her uncomfortable. I understood it very well because I felt the same way. She encouraged me to rectify it and I did it by overwriting a message on it, but it still looked like a brutal image, so I changed it again and the third image came out. I found it interesting to combine the three in one (with a slight color difference between them) thus representing a kind of life lesson: Violence exists (1), We denounce violence (2) and We eliminate violence (3). So it should be. Thank you very much Marjan! I hope you like this one better.
**********************************************************
Gracias por vuestros comentarios y favoritos
Thanks for your comments and faves
Feeling creative, AKA, BORED.
Not perfect as you can see my index finger wasn't illuminated by my Meike FC-110 Macro LED Ring Flash, but meh, I am really just a one man photography studio doing everything including being the model. So I was already tired. LOL
NOTE: I combined 2 shots effectively, and I guess Lightroom didn't like that so it asked me to overwrite some information settings or something and now the EXIF is not showing LOL. But as always, even with the EXIF available, I still include my shooting information here in the description.
Shooting Information:
(For both shots that were combined)
•Nikon D7200 with MB-D15 Battery Grip
•Sigma 17-50mm f/2.8 EX DC OS HSM
•Aperture Priority
•1/320th @ 17mm zoom, f/11
•ISO 400
•1x Off Shoe Nikon SB-600 Flash Fired
Off Shoe Flash Information:
•Commander/Trigger: Nikon SU-800 Wireless Speedlight Commander
•Flash 1: Nikon SB-600, no flash modifiers used, on the left, pointed downwards towards my face, 1/16th power
•Flash 2: Meike FC-110 Mamcro LED Ring Flash, no modifiers used, on my right arm, pointed towards me, full power on continuous light
Post Processing Information:
•Adobe Lightroom Classic CC
•Adobe Photoshop CC
•Nik Software Silver Efex Pro 2
•Cropped
I accept any comment, from praises, awards, invitations, all the way to criticisms - as long as the criticism is constructive that I can learn and improve from. So, don't shy away with the comments!! =]
Also, consider following me! I will certainly follow back! You can never have too many friends!! =]
The thing is I wrote up this lengthy story about my entire Yosemite trip and how I lost my macro. I'm convinced it was hilarious, insightful, and well intentioned. I even posted it yesterday, but when I discovered a few typos (ok, lots) I somehow managed to select most of the text, press a key to overwrite what I had written and hit to return to save it on the page. All this happened quick enough to keep my brain from stopping my hands mid-accident.
Dagnabbit.
So if I was going to write a story now here's what the morals might be:
1. Never doubt yourself to out-idiot an idiot proof photo backpack.
2. Always zip up your bag after you're done. And ESPECIALLY before you put it on your back.
3. Triple check step 2 if you're standing on a bridge.
4. Don't let your friend capture the whole aftermath on video, it will only give them something to hang over your head for months and years.
5. Don't compose your next great novel in the flickr description window. It will only lead to tears as it doesn't have an undo.
Yeah, there's a video. But you don't want to watch it. It's long and its not my finest moment. I'm acting like an idiot because I'm extremely tired, and hungry, and hypothermia is closing in quick. At least that's my story. So let's just skip it and move on. K?
Happy Monday.
So, have been thinking about this for awhile, and have decided to put this on here. So much crap going on in the world, and this mod has brought me and quite a few others a lot of joy, so I want to share it with more people. It has been a labor of love, FAR from complete, the last few months.
In essence, it replaces nearly every flora model in the game (I think maybe in fact every single model), adds tons of trees/plants either hand placed by me or by the people who made the mods I started with (I think the Dark Forests of Skyrim, SFO, and Fantasy Forest Overhaul are main ones, though few of those original models remain, just the tree placement, many of which have now been moved), grass entirely of my selection made from models from Veydosebrom, Voluptuous Grass, Viscous Grass, Velanimus Grass, UG2, Unique Grasses, and Flower Fields (with no new landscape types, only overwrites existing types), and the coolest crowning touch, the "Locations" plugin which adds cool stuff for you to find. This started out as me wanting to add Oblivion Wayshrines and Aeylid stuff to the game, but expanded to a number of ports that I did, mostly from DAI, but there are some also from Hellblade and Devil's Hunt (maybe others, I forget). I will not tell you more or provide more than the image in the upper left. You will just have to explore. I think it's supposed to be fun?
The entire game is now covered, including DLC areas. Solstheim is pretty fucking crazy, now dominated by enormous mushrooms and a lot of alien looking stuff that is somewhere between flora and fauna.
Most of the plant models I have added or used to replace are either my own ports or taken from Skyblivion (some of which, like the Mania/Dementia mushrooms are Oblivion ports themselves), Colderan, Beyond Skyrim: Bruma, Wyrmstooth, or Summerset Isle. The ports are from Dragon Age: Inquisition, Mass Effect Andromeda, Hellblade, Chernobylite, Star Wars Battlefront I & II, and there may be a couple of others. There are also ports I didn't do from a unity demo and Plague Tale, the latter of which I hope I fixed so that you are no longer being sucked into the trees (I am pretty sure the fixed version is in this upload), and I also redid the normals which were totally messed up, both in all the meshes and the textures. There were also quite a few models in the unity demo that had incorrect mesh settings or messed up mesh normals. Many of these models also have been resized. (Apparently the person who ported the unity ones has a weird idea of what constitutes an "XXL pine." I have lamps bigger than that thing.)
Do not post this on Nexus under any circumstances, or anywhere else. I have never had issues with people uploading my mods to Nexus without my permission, but there has been a lot of that lately. If you want to use the models in something, please ask first and provide a description of your project, and don't expect the answer to be yes, but know that for some of these ports you probably will never get permission, not that I think it matters much to Nexus anymore.
With that being said, here is the main link to the mod. And there are two hot fixes, here, and here, for missing textures.
Note that there are three separate plugins. I did it this way upon request, but honestly this has turned into a real representation of my artistic vision for this game, so I fully intend for it all to be used together. If you decide not to, please don't send me a PM telling me how great your version is, because it isn't, first of all, trust me, and because you are mistaking me for someone who cares.
A few weird things that need fixing, plus plans for the future:
1. Right before I uploaded this I replaced the driftwood model with a log. WELL this turned out to be a mistake, because there are vertical logs in a few places, and I didn't have time to fix them before I left for FL (where I will be for the next while).
2. There are definitely floating trees about still, some rather high up (I mean like EXTREMELY high up), for reasons I don't fully understand. I keep forgetting to fix these, though I have known about some of them for awhile.
3. You may need to start a new game, or you might get both persistent LOD and/or bare patches in grass from where objects like rocks were moved. I can probably fix the first if you give me a RefID, but I have not found a solution to the second.
4. iMinGrassSize should be set to 30 or so. I think the Grass on Steroids thing is basically a scam. Don't really care if you do or not. Tough shit. Save your sermon.
5. There is definitely clipping. Fixing that bit by bit.
6. Texture size is pretty small because big textures on this stuff is totally unnecessary. Everything is 1024 except grass, which is 512. So ya'll with smol pp's are just going to have to tough it out, or are you really going to sit here and tell me that my shots now suddenly look horrible to you because of the texture size? Yeah, didn't think so. In any case, performance impact I have been told is surprisingly small considering the poly count of a lot of the models, though definitely not zero.
7. EDIT: LOD isn't implemented yet. I have billboards for quite a bit of stuff, but I haven't read up on yet how to add them to DynDOLOD, and I have been changing the thing so often that it hasn't really been worth it to me to do so. Will do it most likely when I feel I am getting closed to finished with the majority of it.
8. Future plans include replacement of the rest of the ugly models, which is, UGH, like everything from the Fantasy and Dark forests mods. I have collected a bunch of stuff to port, will work on it when I return. I also have a lot of plans for stuff to add to the locations mod, and will do Solstheim when I return as well. I might theme the stuff I put there, but have not decided yet.
Last Words: Thank you to my testers, Lilith, Mr Bear, and the artist sometimes known as Napoleon, and the various people who let me know about missing textures and stuff from time to time. And to Annie for helping me understand the formats of some of the Frostbite textures, and some of the UE4 stuff as well, specifically the stuff hidden in channels. I am not sure I would have even known to look for that. Thanks also to people who did their models correctly, because it helped me figure out correct mesh settings. And thanks of course to all the clever people who made the models in the first place. Lastly, fuck whoever made the port of this one tiny mushroom from Oblivion which caused crashes in every single exterior for four days before I figured out it was a mesh issue. May your Skyrim always be unstable.
Please let me know about missing textures and weird stuff, preferably with screenshots and RefIDs. I can't promise when I will get to anything, though, since I am away from my computer.
2 image HDR (+2 and -2). It appears that my HDR software overwrites the date of the original photo somehow on the final output. This photo is from March, 27th 2011.
Lunette is proud to release the Staff of Aetheris at September's round of We <3 RP!!! This beautiful staff not only comes in two sizes for those of varying heights, but it comes with moving parts, HUD control for easy customization and a hold animation for Left or Right hands that should work with most* AOs.
*AOs with highest priority may overwrite the arm pose, always check the priority of your AO prior to using the staff.
TAXI: maps.secondlife.com/secondlife/We%20Love%20RolePlay/127/1...
Floating down
As colors fill the light,
We look up from the ground
In fields of paperwhite.
And floating up
You pass us in the night,
A future gazing out
a past to overwrite.
So come down,
far below,
We've been waiting to collect the things you know.
Come down,
far below,
We've been waiting to collect what you've let go.
-Blackout (Linkin Park)
Could anyone explain me why the tall waves disappear when long exposing the sea? Maybe because they move fast and most of the time the calm water will overwrite the tall wave in the final image?
I love the beach during winter, nobody around (or very few people, including surfers on the tall waves) and wonderful interesting light and clouds.
Canon 70D
EF-S 10-22mm f/3.5-4.5 USM
15s | ƒ/5.6 | ISO 100 | 10mm
White Square Stones Texture. Knald Normal Mapping Process. Levels, contrast and color tweaks finished. Now game-ready. Being used as "stonewall01" in these pics.
Download: www.mediafire.com/download/1oeqb0mqi3p7ph6/White+Square+S...
2048x2048 resolution, uncompressed w/ mipmaps. Manual installation necessary. You must choose which diffuse/normal maps to rename/overwrite. The normal map's alpha is at approx 10% opacity. If your ENB config is highly specular, you might consider bringing the opacity down to 0% using an eraser brush in GIMP or Photoshop. And if you are limited on RAM, you might also consider compressing these, though you will lose a bit of quality.
Here's another attempt at data fusion between JWST and Hubble.
I feel like there is no perfect way to do it, how to represent in visible colors something that is not visible ?
I tried a deep learning framework from Hui Li et al. 2018 : « Infrared and Visible Image Fusion using a Deep Learning Framework ». I found it very conservative when it comes to data. NIRcam, MIRI and HST are decomposed into base parts and detail content. Then the base parts are fused by weighted-averaging. It assembles the details without one dataset overwriting another.
Processing sequence JWST NIRcam
Linear Pattern Substraction, Star alignement, RGB: f360m Maroon, f355m Red, f300m Green, f200w Blue. DBE, Mure Denoise, Deconvolution, TGV, masked stretch, ACDNR, Curves.
Processing sequence JWST MIRI
Linear Pattern Substraction, Dynamic alignment, Superstack of all filters using the Robust Chauvenet Rejection method. DBE, Masked Stretch, local histogram, Curves
Processing sequence of Hubble
Star Alignment, Mure Denoise, RGB as: NIRcam superstarck for maroon, f814w Red, f555w Green, f438w Cyan, f336w Blue. DBE, Deconvolution, ColorCal, TGV, Masked Stretch, ACDNR, Local Hist, Photoshop for cosmetic corrections, filling the gap with noise.
Deep Learning data fusion
Fusion of MIRI and NIRcam superstacks. Fusion of JWST & HST superstacks.
LRGB with the fusion as Luminance and Hubble as RGB.
Separate images of NIRcam and MIRI on my astrobin:
Pieter Bruegel der Ältere -
Zwei angekettete Affen [1562] -
Berlin, Gemälde-Galerie - wm
**********************************************************************************
Wislawa Szymborska
Two Monkeys by Brueghel
(trans. from the Polish by Magnus Kryski)
I keep dreaming of my graduation exam:
in a window sit two chained monkeys,
beyond the window floats the sky,
and the sea splashes.
I am taking an exam on the history of mankind:
I stammer and flounder.
One monkey, eyes fixed upon me, listens ironically,
the other seems to be dozing--
and when silence follows a question,
he prompts me
with a soft jingling of the chain.
english.emory.edu/classes/paintings&poems/szymborska....
**********************************************************************************
By Marleen Stoessel - Updated 30.06.2023-17:30
From Breughel to Kafka: an early poem by the Polish Nobel laureate who was born a hundred years ago.
The painting to which this poem refers hangs in the Berlin Gemäldegalerie. Two monkeys crouched chained in a kind of embrasure, with a view of the water and sailing ships deep below them; birds crossing the vast sky bounded only by the round arch of the window, the suggestion of a city far off in the right-hand background of the picture. But none of the monkeys is looking out. The one in front crouches with its back to the lookout, staring impassively in the direction of the viewer. The second one crouches to the side, as if dozing. A picture from 1562 that has been interpreted in numerous ways and, almost 400 years later, becomes the dream image of a young Polish poetess who, at that time, in the thaw period a few years after Stalin's death, frees herself from the ideological clutches, i.e. chains, of socialist realism. An image that, like any true work of art, music or literature, reveals new layers, aspects and perspectives in every era, recreating itself with every viewer, listener or reader, with everyone who responds to it in their own time, in their own individual reading.
1957, when this poem was written, was the year in which the poetry of Wisława Szymborska, who was thirty-four years old at the time, underwent a decisive turn and transformation, a turn towards the simplicity, light-footedness and laconicism that are her trademarks - an attitude gained from paradoxical experience of the world, with which she observes the objects of the small everyday world and the big world and seasons them with subtle, often cheerful irony. Small things become big, but the big ones shrink as if casually to their proper size - all of them overshadowed by an indulgently humorous smile with which the poet seems to wink at herself again and again.
The quiet clanking of chains
It is impossible to exhaust the manifold connotations, associations and references that open up in this poem: the paradoxical reversal of the situation that the dream image, overwriting its model as it were, undertakes, in which man is tested by the ape for his "maturity", in human history of all things. Is evolution testing itself backwards here, so to speak? Is man maturing into an ape as his more human counterpart? And yet fails at the same time "stuttering" and "faltering", deeply ashamed?
"Ich schäme mich sehr, ich - Menschenaffe" ("I am very ashamed, I - ape") is the title of another poem from that time, expressing the shame of the spectator in the face of the bullied and whipped circus animals (the title of the 1952 poem). The shame here appears more planar, in simple reflection, while the later dream image shows the chains in multiple reflections, onsets and offsets. They are the examination material before which the examinee fails. And all the required correct answer is contained in the "quiet clanking of the chains", in an answer that also has to be recited. It doesn't get more mocking than this, and more devastating for the dreaming human ego can't be the ape-like contempt. "Failed" would be the verdict of this maturity test, to which a notation from Walter Benjamin's passages seems to correspond: "In every century, humanity must be detained", according to the sober insight of the historical-philosophical thinker, equally illusionless, ironic and bitter.
All the art of paradox, which Szymborska, who died in 2012, developed in her later work with inimitable fine irony, as generously indulgent as she was laconically sober and always with a light hand, is contained in this early poem. Indulgent, however, towards herself, insofar as one wants to relate the aforementioned shame to her earlier ideological aberrations. It is expressed only indirectly, in stuttering and faltering, and its tragedy is reminiscent of and touches on the shame that the ape in Kafka's "Report for an Academy" inflicts on us when, with the awakening consciousness of himself to which, of all things, imprisonment has freed him, he becomes aware of the ape-like nature of his "half-dressed" companion: "she has," we are told towards the end of the text, "the madness of the confused trained animal in her gaze; only I recognise this, and I cannot bear it. "
It is the abyss of shame that opens up in all these paradoxical references - and becoming aware of it is at the same time the only chance of our being human and being human.All of this, shame and opportunity, resonates in the "quiet clanking of the chains" from which the poetic I also frees itself.For as if the poet, who received the Nobel Prize in 1996, had made a virtue out of the faltering need for examination, she will elevate the sober statement "I don't know" to her poetological motto and source of inspiration in her Stockholm speech.Three words, "small, but with strong wings", she says. Chains to wings, then, as only art or a poem can do. Tomorrow, Sunday, (2nd of July 2023) Wisława Szymborska will be one hundred years old.
**********************************************************************************
Source:
ww.faz.net/aktuell/feuilleton/buecher/frankfurter-anthologie/frankfurter-anthologie-wis-awa-szymborska-die-zwei-affen-von-breughel-19002140.html
Image ©Philip Krayna, BoxxCarr, all rights reserved. This image is not in the public domain. Please contact me for permission to download, license, reproduce, or otherwise use this image, or to just say "hello". I value your input and comments. See more at www.boxxcarr.com.
Floating down
As colors fill the light,
We look up from the ground
In fields of paperwhite.
And floating up
You pass us in the night,
A future gazing out
a past to overwrite.
So come down,
far below,
We've been waiting to collect the things you know.
Come down,
far below,
We've been waiting to collect what you've let go.
-Blackout (Linkin Park)
Floating down
As colors fill the light,
We look up from the ground
In fields of paperwhite.
And floating up
You pass us in the night,
A future gazing out
a past to overwrite.
So come down,
far below,
We've been waiting to collect the things you know.
Come down,
far below,
We've been waiting to collect what you've let go.
-Blackout (Linkin Park)