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One of the inherent problems with doing infrared photography on an unconverted camera is that the exposures tend to be long. Long exposures on a compact digital camera tend to be noisy, even at low ISO. Most modern cameras have good algorithms for cutting noise from long exposures, but they're never 100%.
One way to address this noise is to borrow a technique from astrophotography and make multiple exposures, which can then be averaged, or combined using some other technique such as taking the median value at each pixel.
This works great in the studio where things have some guarantee of not moving around. It's tougher to do outside where wind can move trees, clouds, and everything else around. Lucky for me I had a low wind day to work with.
This is a stack of three images combined by averaging. It beat down most of the noise, but not all of it. A stack of five would have done a better job. The surf was already blurred because of the long exposures involved, so a little more blurring from using multiple exposures didn't cause any additional issues. The clouds are also slightly blurred because of this, but it's not an unpleasant effect.
Roof failure outlined in black. Wood splintered under rubber membrane. Roof failed in 40 months. 4 months out of warranty. JAYCO has offered 50/50. My cost $4,000 plus $600 gas/lodging. I think JAYCO makes a fine product. I got the 1 in 10,000 LEMON and think they should stand behind their product 100% when it is pretty evident that it is either a design or manufacturing defect. Note reddish brown roof stains at sides of A/C. WATCH YOUR ROOF VERY CLOSELY.
A few more old process pics.
I hadn't quite anticipated the need for lots of room inside the torso to hide the knots. I could have tried to place them inside the head but I wasn't up to figuring out how. As a resiult the torso joint movement is a bit hampered.
So, this is sorta what happened. The TTHL, (top tube head lug) was on its way to match the BTHL, and sorta ended up here, and I like it better. The extensions on the DTHL were added, I knew it wasn’t going to match, but I thought maybe I could find something in between and then continue with the TTHL to match. Looks like two separate sets is a possibility.
Gegen den hohen Spritverbrauch vom neuen Golf 7 und für mehr Klimaverantwortung von Volkswagen protestierten am 4. September 2012 50 Greenpeace-Aktivisten bei der Golf-Premiere vor der Neuen Nationalgalerie in Berlin. „Der neue Golf – Klimaziel verfehlt!“ ist die Botschaft an VW.
Mehr zu Klimaschutz und Volkswagen: bit.ly/sIsDhz
(c) Gordon Welters / Greenpeace
I forgot I took this in one of the stores in Jamaica. Mary Jane key rings, Reggae Rubbers and Mini Red Stripe mugs, what more could you want?
With six weeks of sub-freezine weather there have been some frozen water service lines keeping Onondaga County Water Authority busy. Here are several OCWA trucks on Horizon Terrace on Onondaga Hill.
The problem with cats is that they get the exact same look on their face
whether they see a moth or an axe-murderer.
~Paula Poundstone
These photos were from a Fake Problems' photoshoot. These are just 'behind the scenes' photos from the shoot. The photos for AP were being shot by Gage Young. The guys were real cool and I had a great time helping out.
Heres a link to Gage Young's flickr
Thoughts?
There are problems with the touchscreens "they fail unpredictably, and in very strange ways; voters report that their votes 'flip' from one candidate to another before their eyes; machines crash or start to count backward; and votes simply disppear" (Election '08).
by Alfredo Fernandes
Alfi Art Production, Divar
41st Tiatr Competition A group Of Kala Academy supported by TAG
13.10.2015
more here
joegoauk-tiatr.blogspot.in/2015/10/41st-tiatr-competition...
Aveena Pereira and Mathew De Souza
by Alfredo Fernandes
Alfi Art Production, Divar
41st Tiatr Competition A group of Kala Academy supported by TAG
13.10.2015
more here
joegoauk-tiatr.blogspot.in/2015/10/41st-tiatr-competition...
Tracila Gonsalves on rocking Chair
“The future is there looking back at us.” — William Gibson
According to a recent Fast Company article, design has “matured from a largely stylistic endeavor to a field tasked with solving thorny technological and social problems.” Designers are no longer relegated to the downstream position of making things look pretty. We now have a seat at the table. No longer makers, we now aspire to be leaders. Design is everywhere, yet is now called upon to respond to constantly changing technological, demographic, and environmental conditions.
In this space between ubiquity and obsolescence, how can designers develop ways of working and collaborating that respond to our contemporary world? Join us for a monthly series of provocations at MAD where practitioners and critics discuss the changing nature of design and visual culture and its impact on the also changing fields of music, education, fashion, and more.
Technology
Technology plays the dual role of being instrumentalized as both an impartial tool and critical monitor of progress, security, and connection in our society. In this talk we look at how design, programming, and writing work together to express alternative perspectives on startup culture, surveillance, and automation.
Speakers
Sam Lavigne is an artist, programmer and journalist. His work deals with data, cops, surveillance and automation. He is currently a research fellow at NYU’s Interactive Telecommunications Program, and a contributing editor at The New Inquiry. In 2015 he co-founded Useless Press, an independent online publisher of esoteric internet projects. He is also the co-founder of the Stupid Shit No One Needs & Terrible Ideas Hackathon.
Rob Horning is an editor of The New Inquiry and author of Marginal Utility, a blog on consumerism and technology. He has written for such publications as Art in America, Dissent, and DIS Magazine.
Moderator
Juliette Cezzar is an Assistant Professor and Associate Director of the BFA Communication Design program at Parsons / The New School, where she was the Director of the BFA Communication Design and BFA Design & Technology programs from 2011-2014. She established her small studio, e.a.d., in 2005. While books anchor the practice, her work has spanned a variety of media for clients such as the Metropolitan Museum of Art, RES Magazine, The Museum of Modern Art, Vh1, The New York Times, Eleven Madison Park, and Columbia University’s Graduate School of Architecture, Art, and Planning. She is the co-author of Designing the Editorial Experience(Rockport) and author-designer of Office Mayhem (Abrams), Paper Pilot, Paper Captain, and Paper Astronaut (Universe / Rizzoli). She holds an MFA in Graphic Design from Yale University and a professional degree (B. Arch) in Architecture from Virginia Tech.
So, I started this morning eager to fix our car (Anacani and I). What was supposed to be a quick 10 minute replacement, turned into a 6 hour nightmare!
All I needed was to remove two bolts, sure they aren't easy to reach, but I figured I didn't need to remove the alternator and use a little wrench to get those bolts out. Well, it turned out the part I was to replace (EGR valve) was the original factory part (22 years old!).
The bolts were practically fused! I managed to remove one properly, but the other was stubborn and stripped. Now I had to remove the alternator. I tried everything! I tried to oil it, to use WD-40 to break up the rust. I even used vice grips, which worked for a bit, but just stripped it even more.
I had to bring in the grinder, so I made the bolt into a "screw" and tried to use a screwdriver, no luck. So I figured the vice grips AND the screwdriver. Boy was I ecstatic, it WORKED!
After I got the bolt to turn half way, I repositioned the vice grips, tried to turn it again, and SNAP! Broke the bolt, now it's closing in on the time I have to take Anacani to work.
So I decided to take the rest of the night off and start again tomorrow.
Photo provided by Anacani Carrera
This is what we saw under the microscope. Almost everywhere we pointed it, we saw a similar pattern. The question was: Are these bumps? Or are they holes?
The lower corner of this Shock is contacting the chain gaurd. Ive already shimmed, but it still touches, hope I dont have to switch to the external sping style, I really like the look of this shock.
Salah satu tenaga Kesehatan Jiwa sedang melakukan Konseling terhadap pelajar, remaja sangat rentan terhadap berbagai masalah, Jakarta 20-5-2013, @Puskomkesri-BR
A bad choice can lead to a few problems, although it does give you a chance to clean the bottom of the boat!
We only discovered this after carefully viewing this image!! The model flew some rounds after this landing ... without incident. Theck your wing skin joints, folks!!! :)
I wrote in the right margin of the paper "I MAY BE A WALKING PROBLEM, BUT YOU'RE A SUBLIMINAL MINDFUCK" Yay, emo inspiration?
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www.myspace.com/boyproblemsphilly
7/12/08
Book Slave
Jettison
Boy Problems
Algernon Cadwallader
My Heart To Joy At The Same Tone
Holy Innocents should be no problem to get into, but on each of the last three visits, it was either locked or having a new floor being laid.
And being on a roll, with both St Martin and St Paul in Canterbury being open, I thought that a trip through Wingham and then to Addisham might put the cherry on the cake, as it were.
Addisham is quite a large village, as I was to find out, and is on the Dover to Canterbury railway line, and has a station. The village itself is about a quarter mile from the station and main road, but the church can be seen on a rise.
I parked on the old main road, walked to the door, and found it locked as usual. But there was a list of keyholders, but without a mobile, I would have to remember the address and knock on the door.
Just my luck that both keyholders were at the other end of The Street, so a ten minute walk until I came to what much have been the old Post Office. I knocked, and they were in, and after explaining I just wanted to photograph the church, I was given a small bunch of modern keys, so I walked back.
Holy Innocents is a large church, cruciform in shape. The modernisation, well, the replacement of the floor and removal of the old pews give that part of the church a hall-like atmosphere, But there is enough in the east and south parts of the church to hold interest. Access to the bells is via a very rickety set of steps, which winds its way round the northern part of the church.
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A stately cruciform church that enjoyed wealthy patronage throughout the medieval period. In this case the monks of Christ Church Canterbury held the advowson. Much rebuilding took place under their influence in the thirteenth century, typified by the run of lancet windows in the chancel. The outside walls show very definite evidence of `building lifts`, especially notable in the south transept. Inside are two wooden screens and a rare Reredos bought here from Canterbury Cathedral.
www.kentchurches.info/church.asp?p=Adisham
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LOCATION:
On an east facing slope, just east of the Court Lodge on the Upper Chalk c. 150 feet above O.D. It is above the site of a large (now filled in) pond that is at the N end of the village and is a crossroads.
DESCRIPTION:
The earliest visible part of the fabric is the early to mid 12th century first stage of the tower. There are four round-headed windows here; the north and south ones blocked up completely.
All the external faces of the windows were covered by the later, higher roofs. There are visible remains, however, on all four faces of the original lower gables, showing that from the mid 12th century the church was already cruciform. Of this earliest visible phase is the Purbeck Marble font with a square arcaded bowl on a cluster of 5 shafts (now in the middle of the nave).
In the second phase, probably of the late 12th century, the four crossing piers were cut back and enlarged to allow four slightly pointed arches with square soffits (slightly recessed) to be created. They sit on new square scalloped capitals. The outer arch order is carried on plain shafts in the corners. At probably the same time the nave was rebuilt (and possibly enlarged). A lancet on the north side of the nave dates from this period (It was probably reopened in 1869 when wall-paintings were found on either side of the internal diagonal face. This window was probably blocked in the 4th phase when the enlarged N transept was built). The late 12th century nave almost certainly had 3 lancets on either side. 3 of these (2 on the south one on the north) were replaced in the 14th century by larger windows, but two more (in the centre on the N and at the west end on the S.) were just blocked up and their positions can just be made out in the knapped flint infill on the external walls.
A new enlarged chancel was built in the third phase (c. mid 13th century). This has five large lancets on either side and three in the east wall. All have internal rere-arches (unlike the smaller late 12th century lancet), and there is an internal string course all the way round. On the south side of the chancel is a fine contemporary double piscina with a richly moulded trefoil head and detached Purbeck Marble shafts (with caps and bases). There is another piscina (perhaps contemporaneously built) in the N. wall just E. of the later doorway. At this time the central crossing tower was heightened with four new lancets to project above the nave and chancel (and subsequently above the later transept) roofs.
In the 4th phase, which was probably only a very short time after the 3rd phase, a new enlarged N. transept (with W. 'aisle') was built. It also has large lancets with rere-arches and an internal string course (on the E. and N.). The central of the 3 lancets on the E. wall is slightly taller and inside this window (below it) is a centrally placed piscina. The easternmost lancet (of 3) in the N. wall was later replaced (see below).
An even wider high lancet was built (? a little later) in the west wall of this transept.
The N. door to the nave, with its hood-mould on tufts of trefoil leaves, is also perhaps mid 13th century, as is the arch cut through into the nave from the W end of the N transept. This has simple stopped chamfers on all four arises.
In the next (5th) phase of c. 1300, the enlarged south transept was built. This has angle buttresses to the S.E. and S.W. and a gabled shallow E. chapel extension (cf Wingham and Ickham churches). To the east and west are similar trefoil-headed 3- light windows with hood-moulds. In the south wall there is a 4- light window with a diagonally placed quatrefoil just above two trefoils, which in turn are above the two pairs of trefoil headed lights. There is no hood mould. This chapel like the N. transept breaks across the horizontal string course in the tower, showing it is later than the nave and chancel. When the S. transept was built a new N. window of 3 lights was inserted into the N transept which appears to have acquired its gable end at this time. This window does have a hood mould.
The 6th and final main phase was the insertion of new 2-light windows in the nave with ogee hood-moulds and finials. The ends of the hood-moulds have carved heads on them, while the top lights in the windows are hexafoils. The new west doorway and the 5 light window above it with 3 octafoils in its head, though heavily restored must be of the same date (Glynne called it 'a very bad modern one'). This final phase is early 14th century, and all the six main phases of the building were probably erected within two centuries. There can be no doubt that this church is in this form because of the Archbishop (the patron) and the Monks of Christ Church Priory, Canterbury who owned the manor and were directly farming it.