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Getting closer to replicating the crappycam look on digital. Closing down the lens completely (yeah, these CCTV lenses let you do that - not just to the last stop, but really closed) gets you ISO 1600 in daylight and some pretty crazy flare and ghosting. And some lovely diffraction softness helps a bit too.
. . . just messing, trying to replicate a Thai movie scene in grainy black and white. Taken with my D300, so it was fun to take a very good quality 12mp colour picture and deteriorate it to get this look.
A typical Bangkok scene, with traffic clogged up and not moving, backed up almost 700 meters.
Anyone who knows Bangkok knows of the preponderance of the ubiquitous7eleven stores almost everywhere, often with several being on the same block. Here you can see 3 all within an area of a hundred square meters, and 2 directly opposite each other.
Today's other post, Phom Phet Fort, is here.
Howard Kanovitz, était un pionnier du style de peinture photoréaliste.
Souvent compris à tort comme une réplication photographique, le photoréalisme consistait en réalité davantage à remettre en question ce qui est considéré comme la réalité qu'à la représenter. Dans une œuvre emblématique intitulée « The Opening » (1967), par exemple, M. Kanovitz a peint le vernissage d’une galerie à laquelle assistaient des membres éminents de la scène artistique new-yorkaise – peintres, critiques, conservateurs et autres – qui souhaitaient tous être reconnaissable par les visiteurs de la galerie où le tableau était exposé et dont les images étaient tirées de photographies prises lors de véritables vernissages.
Howard Kanovitz, was a pioneer of the photorealist style of painting.
Often misunderstood as photographic replication, photorealism was actually more about questioning what is considered reality than representing it. In an iconic work titled “The Opening” (1967), for example, Mr. Kanovitz painted a gallery opening attended by prominent members of the New York art scene — painters, critics, curators and others — who all wanted to be recognizable by visitors to the gallery where the painting was exhibited and whose images were taken from photographs taken during real openings.
A LEGO MOC replicating the famous artwork from M.C. Escher with an "impossible" endless waterfall using the Penrose triangle illusion
Recommended.
© All rights reserved.
This image is copyrighted to Kristinn R. Kristinsson; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at kristinnr@simnet.is for express permission to use any of my photographs.
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Playing with some Lightroom film presets that replicates Fuji FP 100c with an image I took in Hoi An, Vietnam. I don't shoot this type of film, so I can't say if they've done a good job or not of replicating the look. Seeing as how I shot this at 3200 ISO, the grain structure is probably really out of whack.
ISO: 3200
Shutter: 1/250 second
Aperture: F/1.4
Camera: Olympus OM-D
Lens: Panasonic Lumix 25mm F/1.4
Replicating the efforts of Stratford Depot, the GreaterAnglia 90 has been decorated with Union Flag, SIlver Roof and named 'Diamond Jubilee'.
Scary, abandoned build replicating the infamous Bates house from the Psycho movie. Made of 100% Mesh that is custom created by us.
Large entry leading to separate Livingroom, Dining and Kitchen on the 1st floor.
2nd floor has 2 Bedrooms and a bathroom and an open area in the hallway.
3rd level has a huge Attic which is reached by a pull down ladder in the upper hallway
Package includes:
1 rezzer box for the Old house.
18 optional props including Mother skeleton, spiderwebs and blood that are not attached to the house (77 prims in total).
1 long outdoor steps leading to the house.
Floor plan size: Front width= 21.5 meters
Side length= 28.5 meters
Height= 18 meters
(This pack only includes the Old version as pictured, and is Copy Only, not Modify).
LUGNuts' founder Lino Martins has graciously given me permission to replicate his series of automotive illustrations based on various mixed alcoholic drinks.
The first in this series is a Lego -model replication of 'Count Chocula' - Cadillac Coupe DeVille.
In Lino's own words.
"My second installment of a holy trinity of cars is a ‘73 Cadillac DeVille customized as a show car. Brown is an excellent color for 70’s era cars so I figured Count Chocula would be best suited for this one and also fits into the role as “The Father”. A gasser style fuel tank is installed in the grille and massive exhaust pipes adorn the sides all the way to the rear tires. Large flashy chrome rims and a deep chocolate paint scheme with a subtle gold flake adds bling to this ride. A chopped roof and a lowered stance exaggerates the DeVille’s already elongated features. Tan leather adorns the interior while the hood boasts plenty of real estate for full Count Chocula graphics. What do you think? Stay tuned for the final installment soon."
LUGNuts' founder Lino Martins has graciously given me permission to replicate his series of automotive illustrations based on various mixed alcoholic drinks.
The third in this series is a Lego -model replication of 'FrankenBerry' - 1984 Oldsmobile Cutlass Supreme.
.
In Lino's own words:
"Here is my final installment of the holy trinity of cars. If you’ve been following my formula (advancing decades and increasingly larger rims) you may have predicted that Franken Berry would go in this direction. This is a 1984 Oldsmobile Cutlass Supreme customized as a Donk. The donk phenomenon originated in the American south amongst the rap and hip hop scene. “Donk” is sort of a blanket term given to cars with outsized rims but depending on car model and decade, these typically full-sized American-made sedans can be categorized as donks, boxes, or bubbles with many other sub-categories as well. This ‘84 Cutlass is an example of a box hi-riser. There is nothing subtle about the candy sparkle pink paint scheme. Massive rims that each borrow design cues from Franken Berry’s eyes also feature strawberries on four of the spokes. Beefy truck axles are required to accommodate such large rims while truck horns configured below the front bumper gives this ride an attitude as big as everything else. While I designed this car myself it is not unheard of to have such graphics along the side. Many real-life donks feature fast food restaurant logos, candy or junk food themes. Donks are the youngest of the three car cultures featured so it makes sense that it represents “The Son” in this Holy Trinity. I truly had a blast drawing this triptych of vehicles and I look forward to drawing other odd pairs or trilogies. I have other artistic projects on the burner right now but if you have suggestions for other pairings for me to draw leave them in the comments. No guarantees, but who knows, maybe they’ll happen. Thanks for reading and liking my work."
Burt Reynolds' Iconic Centerfold replicated by Daniel DiCriscio in buff as tribute Report By: Nina Rai Los Angeles, May 9, 2012 The star-stuck fans of the 70’s may recall the scandalous picture of legendary Hollywood Star Burt Reynolds lying naked across a golden brown bearskin rug posing for Cosmopolitan Magazine's April 1972 Centerfold.This photograph of more than 40 years is arguably one of the sexiest images to be found in pop culture history. The eponymous centerfold has since then gone on to become one of the cultural object d'arts of the sexual revolution, which began somewhere in the 70’s.Now to mark the 40th anniversary of that famed centerfold, Daniel DiCriscio ‘Bruno’ - celebrity hairstylist, recording artist, and television personality; has the same recreated by photographer Dusti Cunningham, as a form of tribute to Reynolds’ now iconic Bearskin rug, languid pose.The long blonde haired, tanned, and toned DiCriscio for the first time in his career has disrobed completely, wearing only his smile. In the beginning DiCriscio, says he was nervous about baring-all before the camera keeping in view the high barometers of current Hollywood plastic surgery and drug enhanced super-bodies.But then taking courage in hand the all-natural DiCriscio just dived in, declaring boldly "It was either now, or never!” By posing in the buff, the young DiCriscio claims he is paying homage to Burt Reynolds. "I admire Burt for being a risk taker and opening the door allowing men to be seen as sexy, all while doing it on a bearskin rug!", gushes DiCriscio.The celebrity hairstylist is possibly best known for his involvement during the Clinton-Sex Scandal doing the stunning make-over of President Clinton’s accuser Paula Jones, for which he was dubbed as the ‘The Messiah of Makeover’ as also for his by now infamous Bruno interview with The Dictator star Sacha Baron Cohen.As an image consultant, DiCriscio has created the looks of celebrities such as Paula Jones, Pamela Anderson, Anna Nicole Smith, and a host of high profile clients, informs Wikipedia.
Replicating the look & feel of an old Vanity Fair ad, back when they knew how to make legendary lingerie for women.
One step closer to Wil's Futuremug! www.cafepress.com/wilwheaton.417431376
Squee! wilwheaton.typepad.com/wwdnbackup/2010/02/makerbot-it-so....
Italien / Südtirol - Südtiroler Archäologiemuseum
Ötzi-Replicate
Ötzi-Replik
South Tyrol Museum of Archaeology (German: Südtiroler Archäologiemuseum; Italian: Museo archeologico dell'Alto Adige) is an archaeological museum in the city of Bolzano, South Tyrol, Italy. It is the home of the preserved body of Ötzi the Iceman.
The museum was specifically established in 1998 to house "Ötzi", a well-preserved natural mummy of a man from about 3300 BC (53 centuries ago). This is the world's oldest natural human mummy, a wet mummy, as opposed to mummies preserved by dry conditions in a desert environment. It has offered an unprecedented view of Chalcolithic (Copper Age) European culture. The world's oldest complete copper age axe was found among his extensive equipment which also comprised a rather complex fire lighting kit and a quiver loaded with twelve arrows, only two of which were finished, clothing and a flint knife complete with its sheath.
The body is held in a climate controlled chamber within the museum at a temperature of -6 Celsius and 98% humidity, replicating glacier conditions in which it was found. Along with original finds there are models, reconstructions and multimedia presentations showing Ötzi in the context of the early history of the southern Alpine region.
Converted from a 19th-century bank building, the museum covers the history and archaeology of the southern Alpine region from the Palaeolithic and Mesolithic (15,000 B.C.) up to 800 A.D. In 2006, the museum hosted an exhibition on the mummies of the Chachapoyas culture.
(Wikipedia)
Das Südtiroler Archäologiemuseum ist ein archäologisches Museum in Bozen (Südtirol). Das Museum ist der Ausstellungsort des „Mannes vom Tisenjoch“, besser bekannt als „Ötzi“. Es zieht zu allen Jahreszeiten zahlreiche Besucher an und gehört zu den führenden archäologischen Museen Italiens.
Neben der Gletschermumie „Ötzi“ nebst dessen Beifunden präsentiert das Museum bedeutende Funde aus dem Südtiroler Raum. Die ältesten Exponate stammen aus der Altsteinzeit, die jüngsten aus der Karolingerzeit. Modelle, Rekonstruktionen, Raumbilder, Videos und interaktive Multimediastationen geben einen Einblick in die frühe Vergangenheit des südlichen Alpenraumes. Die Ausstellungsräume sind diachronisch angeordnet. So befindet sich Ötzi und seine Zeit im ersten Stock, während sich die Fundstücke aus der römischen Antike und der Völkerwanderungszeit im dritten Stock befinden.
Von 12. August bis 15. November 2006 fand in dem Museum die Sonderausstellung Wolkenmenschen mit Mumien der Chachapoya statt. 2009 zeigte das Museum in der Sonderschau Mumien. Der Traum vom ewigen Leben konservierte Körper aus der ganzen Welt, darunter einbalsamierte ägyptische Mumien und Moorleichen. Anlässlich des 20-Jahr-Jubiläums des Ötzi-Fundes befasste sich die Sonderausstellung Ötzi20 vom 1. März 2011 bis 13. Januar 2013 mit der wissenschaftlichen Erforschung und dem Kultcharakter des Mannes aus dem Eis.
Das Gebäude in der Museumstraße, gegenüber dem Bozner Stadtmuseum gelegen, war als Sitz der Österreichischen (k.k.) Nationalbank kurz vor dem Ersten Weltkrieg errichtet worden. Von 1919 bis in die 1990er beherbergte es die Bozner Niederlassung der italienischen Nationalbank (Banca d’Italia). Das Museum wurde nach umfangreichen Sanierungsarbeiten 1998 eröffnet. Die Bozner Museumstraße, in der sich das Archäologiemuseum befindet, wurde nach dem 1905 eröffneten Bozner Stadtmuseum benannt, in dem sich vor der Eröffnung des Archäologiemuseums ein Teil der Ausstellungsstücke zur Urgeschichte befand. Die restlichen Ausstellungsstücke wurden aus ganz Südtirol zusammengetragen.
Das Museum ist eine eigenständige Institution innerhalb der Südtiroler Landesmuseen; zuvor war es mit dem Naturmuseum Südtirol zusammengeschlossen. Direktorin des Museums ist Angelika Fleckinger.
(Wikipedia)
I always thought of this shot, with a wide angle lens, I always wanted to replicate this shot (www.flickr.com/photos/jakelines/6820565862/in/photostream) with that i captured with a 18-55 lens, and when i got my 10-20 sigma, its just been a whole of a wide looking world looking threw this lens, Heres one from this arvo, proberly the best and closest im going to get to that shot i pictured in my little head. Press ( L ) and view in black
I chose the picture of lallivy because I have been dying to do a shot with glasses. However ......... I only had 4 matching glasses after the accident with the glasses and blue bottles, lol. I only have a point and shoot and no flash except the one on the camera which wouldn't have worked at all. So there I was huddled up over the glasses on a piece of glass with black material draped all around the glasses, I attempted to recreate something approximating Lallivy's photo.
Actually I am not too unhappy with it (except for the grainy feel - not sure why that is! and the fact that I couldn't find a border to match the original!)
This was a huge challenge, and I must say that I enjoyed it, so thanks for the stretch!
(Now how do you get a copy of the original in here?? Anyone know??)
ODC2 - Attempt to replicate something that has been on ODC Explore!!
Well I did make the attempt, lol.
62/365 Days in Colour
Thanks for the suggestion Karenoc11 - I have joined Competition Corner & have entered this pic in the current reflections topic!
42/111 Pictures in 2011 - Glass
Tony's Daily Topic 21 December - Mirrors or Mirrored
Replicating (almost) the shot used by the NRM to publicise the visit of Flying Scotsman to the Strathspey Railway, A3 Pacific No.60103 Flying Scotsman is pictured in the same location as Ivatt Class 2 No.46512. www.flickr.com/photos/60956647@N02/52380641842/in/datepos...
This Matchbox model replicates in 1:110th scale an AEC Militant MK1 10 ton 6X6 lorry with General Service body. The Matchbox miniature was number 62a in the 1-75 series and was issued in 1959 and deleted in 1963.
The model in the images is one of my childhood treasures it isn’t mint and I never had the box because it was a gift from one of the school’s dinner ladies Mrs Wagstaff way back in the day.
Acrylic marker and ink on paper 4.75" x 6.75" February 19, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
Replicated in the early 90s by Durham Constabularly to the exact spec of their patrol cars in the 70s.
The vehicle details for EHN 91J are:
Date of Liability 01 06 2014
Date of First Registration 18 08 1970
Year of Manufacture 1970
Cylinder Capacity (cc) 1798cc
CO₂ Emissions Not Available
Fuel Type PETROL
Export Marker N
Vehicle Status Licence Due to Expire
Vehicle Colour BLACK
Pride of Longbridge 2014.
An artist spends time in front of a large painting to reproduce a classic piece of artwork, oblivious to the other museum visitors passing through this hall.
Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8
Phew.
By request, here’s a quick guide to replicating this on Unix. The one nonstandard tool you’ll need is GDAL, which most package managers know about. You’ll also want something that works with images; imagemagick is fine. Also, we’ll be doing a lot of bulk i/o, so if one of your drives is faster, do this project on it and save several minutes of looking at progress meters. Watch out for Flickr mangling my sh, and tweet at me if you spot bugs.
Part 1: The elevation data
We’ll use CGIAR’s 5°×5° dataset, which is overkill, but that’s how we do. You can use their handy Google Earth layer to find the data cells we need, which turn out to be column 12, rows 2–4 inclusive; 13, rows 2–4; 14, rows 2–4; and 15, row 4. Copying one of the GeoTIFF download links from the KML’s popup, we find we can get them like this:
$ curl -O 'http://srtm.geog.kcl.ac.uk/portal/srtm41/srtm_data_geotiff/srtm_{12_02,12_03,12_04,13_02,13_03,13_04,14_02,14_03,14_04,15_04}.zip'
If you’re willing to give up your data’s chain of custody, you can do a web search for one of the file names and find other sources, some of them faster than KCL.
Unzip the data. You can remove the *.txt, *.hdr, and *.tfw files, so we’re left with 10 GeoTIFFs and nothing else. We merge them into a single GeoTIFF:
$ gdal_merge.py srtm*.tif -o main.tiff
Mine is 843892 kB and has a $(shasum) of 0a3b92fb5ccd60951df6c459aadd167bc397d425.
Part 2: The cutline
If you find a better way of doing this step, leave a comment, because it’s ridiculous. The version presented here is several hours faster than what I originally did, but no less kludgy.
We want the data in MVBCRB. Unfortunately, it’s not an outline (a single ordered sequence of points), it’s a series of several dozen outline segments. Geometrically, it’s a handful of curves in no particular order that happen to share endpoints. But sharing endpoints means we can join them into a single polygon if we’re willing to suffer a little.
Grab the KML version of this that André Coleman put up. It’s relatively cleaned up and saves us some preparation steps:
$ curl -O webpages.charter.net/zeeland/crws.kml
If you look in there (watch out, it’s almost a megabyte), you’ll see that the overall polygon is defined as a bunch of LineString elements, and that the coordinates of these elements happen to be the only lines that start with “-”. So we can extract them like this:
$ grep '^-' crws.kml > linestrings
Super gross but super effective. Now the linestrings file has 65 lines containing point series in the format “lat,lon,ele ”*. Take this and run it like this:
$ python linesplice.py linestrings > cutline.kml
This will join the 65 individual lines into a single line based on shared endpoints. It’s purpose-built around the perfect overlaps of this dataset, so if you use it on anything else, do some fuzzy matching or risk an infinite loop.
Part 3: Rendering
We’ll use gdalwarp to do three important things at once: (1) reproject the data to Oregon Lambert (EPSG 2993), a fairly conservative choice; (2) make the file smaller, because right now it’s 24000×18000 and that’s ridiculous, and (3) mask out everything outside the Columbia River Basin. (I won’t describe all the minor flags I pass the gdal tools; look them up if curious.)
$ gdalwarp -r cubicspline -multi -t_srs EPSG:2993 -ts 8000 0 -cutline cutline.kml main.tiff proj.tiff
We’re on the home stretch. Now let’s do a hillshade image (sun azumith of 200°, vertical exaggeration of 3×):
$ gdaldem hillshade -compute_edges -az 200 -z 3 proj.tiff shade.tiff
This is the first thing we’ve made that’s actually intelligible to look at, so pull it up. It should look correct but bland.
Now some hypsometric tints – Leonardo da Vinci’s most important invention. Make a text file called, say, height.txt and put something like this in it:
3000 255 255 255
1500 10 80 20
500 150 150 100
1 20 100 80
0 0 0 0
The first column is an elevation (in meters) and the next three are the R, G, and B of the color you want that elevation to be. It interpolates smoothly for you. I picked this palette to suggest general land use: floodplain-type stuff down low, then amber waves of grain, woods in the hills, and rock and snow up high. Tinkering with these colors is a lot of fun. Now we make a hypsometry layer:
$ gdaldem color-relief proj.tiff height.txt color.tiff
Now merge the files. You can do fancy stuff with overlay compositing, but a simple average looks pretty good:
$ convert -average shade.tiff color.tiff merged.tiff
Convert will kvetch about TIFF tags it doesn’t recognize, which is fine; we no longer need the georeference data. You might also want to crop the image a bit, since it still reaches the bounding box of all the topo data we downloaded:
$ convert -trim merged.tiff trimmed.tiff
You now have something that differs only in incidental ways like color choice from the above image.
The main things I would do to improve this workflow are (1) find or make a better cutline, (2) handle null data better (look at the mouth of the Columbia – ugh), and (3) cut after hillshading, so the edge of the watershed doesn’t get shading.
If you have improvements – those or others – please comment.