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Source: livinghistories.newcastle.edu.au/nodes/view/14127
This image was scanned from a film negative in the Athel D'Ombrain collection [Box Folder B10401] held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you have any information about this photograph, please contact us or leave a comment in the box below.
Source: scan of a picture in our image collection.
Image: V868
Photographer: unknown
Repository: Local History Centre, Gundry Lane, Bridport
The Advanced Light Source, Building 6, at Lawrence Berkeley National Laboratory
ALS Photos From the outside
ALS Photo 1 | ALS Photo 2 | ALS Photo 3 | ALS Photo 4
ALS Photos from the inside
Beamline 12.0 Front End | Beamline 12.0.1.2 | Beamline 12.0.1.3
Abstract image created from an architectural photo of the BBC building in Leeds.
I used open source software to develop and manipulate the image.
Shot on a Canon digital point and shoot in jpeg on fully automatic setting.
My blog with tips, advice, analysis and stories.
My website www.indigo2photography.co.uk
Please see my photostream for the other images in this series.
Hızlı trende uyanan ve burada nasıl bulunduğuna konusunda hiçbir fikri olmayan Yüzbaşı Colter Stevens (Jake Gyllenhaal), karşısında Christina (Michelle Monaghan) isimli kendisinin tanımadığı birini bulur. Kadının hareketlerinden Colter'ı tanıdığı anlaşılır. Ne olup bittiğini anlamaya çalışan Colter, tuvalette kendine sığınacak yer ararken aynada kendi yerine başkasının yüzünü görmesiyle şok olur. Cüzdanında da bir sınıf öğretmeni olan Sean Fentress'ın kimliği bulunuyordur.
Bu sırada aniden trende büyük bir patlama yaşanır. Hemen hemen peşinden Colter kendini yüksek teknolojili bir yerde bulur ve uniformalılardan Goodwin (Vera Farmiga) ona bilmesi şart olan her şeyi anlatır. Colter Chicago'da bir treni bombayla havaya uçuran ve daha onlarcısını da öldürmeyi tasarılayan bombacının kimliğini tarif edebilmek için çok saklı bir göreve atanmıştır. 'Hayat şifresi' isimi verilen bu görev sayesinde Colter paralel bir evrende yolcu Sean'ın yerine geçebilmektedir. Trene her dönüşünde Colter'ın bombacının kimliğini üslerine bildirmesi için yalnızca sekiz dakikası vardır. Her seferinde yeni bilgiler edinse de avı onu atlatmayı muvaffak olur. Daha fazla kanıt buldukça, bu ölümcül faciayı önleyebileceğine daha çok inanır, elbette vakit onun önüne geçmezse.
Source: livinghistories.newcastle.edu.au/nodes/view/45802
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment.
Source: livinghistories.newcastle.edu.au/nodes/view/3091
This photograph was taken by Brian R Andrews of Killingworth NSW. Brian worked for 20 years as a Draftsman for Coal and Allied Industries Limited. This photograph is part of Brian's private collection. Brian has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
If you wish to reproduce the image, you must obtain permission by contacting Cultural Collections at the University of Newcastle, NSW, Australia.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you would like to comment on the photograph, please contact Cultural Collections at the University of Newcastle, NSW, Australia, or leave a comment in the box below.
Rea IRVIN • American
* 26 August 1881 in San Francisco, California.
✝︎ 28 May 1972 in Frederiksted, U.S. Virgin Islands.
The New Yorker cover design.
August 25, 1934.
Issue 497 — Volume 10 — Number 28.
About IRVIN ↓
Few artists have had as enduring an influence on one magazine as cartoonist Rea Irvin has had on The New Yorker. As the magazine's first art editor, Irvin created a style that continues to define the publication to this day, witty, urbane, and socially and culturally aware. He is known for his distinctive thin and trembly line, poached eyes, and almost oriental splendor of his drawings.
Born in San Francisco on August 28, 1881, Irvin started his career in illustration as an unpaid cartoonist for The San Francisco Examiner. His only former training consisted of six months' study at the Hopkins Art Institute. At the age of 25, he moved to the East Coast and was soon a regular contributor to Life and Cosmopolitan magazines.
In 1924, Irvin joined an advisory board to help launch The New Yorker. For the cover of the magazine's debut issue the next year, Irvin created Eustice Tilley, a smartly attired dandy with a monocle and top hat. This amusing and worldly, yet somewhat detached, character embodied the spirit of the new publication. Tilley quickly became Irvin's signature piece and has reappeared on the magazine's cover every year since, with one exception — 1994.
Irvin, as a veteran editor of Life magazine, served for twenty-one years as the art director of The New Yorker. It was said that the first issues of the brash, new magazine were so top heavy with art that one observer dubbed it, 'The best magazine in the world for people who can't read.'
Between 1925 and 1958, Irvin's work appeared on 169 covers of The New Yorker. Hundreds of other illustrations by Irvin were also published inside the magazine. In addition to his illustrations, Irvin contributed significantly to The New Yorker's layout and design. He created the magazine's sharp and casually elegant type style, which is still known as "Irvin type," and he added the squiggly column rules that provide a distinct delineation between text and illustrations.
In 1967, Irvin gave his personal collection of 412 works on paper to the Museum of the City of New York. In March 2000, an exhibition of his work, "The Talk of the Town; Rea Irvin of The New Yorker", was shown at the Brandywine River Museum. It presented 83 original illustrations from the Museum of the City of New York's extensive collection of Irvin's original covers, drawings and cartoons. The exhibition featured many of these works, including caricatures of contemporary figures such as Diego Rivera and Pablo Picasso, and parodies of social issues. One example, The Unity of the Allied Nations which appeared on The New Yorker's July 1, 1944 cover, depicts the American Eagle, the Chinese Dragon, the Russian Bear and the British Lion clearly united in the pursuit of victory during World War II. The exhibit introduced visitors to the broad range of Irvin's talent and explored his enduring influence on The New Yorker magazine and American illustration.
Rea Irvin died on May 28, 1972, in Fredericksted, Virgin Islands, at the age of 90.
#Source: Brandywine Museum of Art.
I liked the name on this building on Main Street in Vancouver, BC.
This photo is part of a group that I shot with the Vancouver Photowalks Meetup. Learn more at www.meetup.com/Vancouver-Photowalks/events/225209187/.
Day 2 at the Catalyst Open Source Academy 2017 on 10 January 2017: Coming up with an idea for a movie night app. Developing user stories, prioritizing developpment tasks, peer feedback, reworking ideas, planning.
Sourcing Summit Europe 2016 www.sosueurope.com Amsterdam RAI September 28, 2016 - Image by Oscar Mager - Copyright Mager | Photography www.mager.photography - All rights reserved
Source: The laws of Yale-College, in New-Haven, in Connecticut, enacted by the president and fellows (New-Haven: Printed by Thomas and Samuel Green, 1774); 20 cm. Call # Y 062 1774.
Library's copy has inscription of James Kent on title page.
"In real open source you have the right to control your own destiny" - Linus Torvalds
Open Source Day Conference is one of the greatest international events devoted to open software in this part of Europe. This indicates the dynamics of interest in open technology.
Open source solutions have been gaining respect worldwide for many years, as a blend of quality, safety as well as competitive price. And so have they been gaining market in Poland, with our local companies becoming regional leaders.
Times, when open software was treated as worse but cheaper version of proprietary programs have long gone. Now the clients reach for open solutions not only for the costs factor but primarily due to better parameters, meaning more flexibility, efficiency, innovation, security – and what is more – lack of vendor lock in.
Large companies and institutions also from Poland keep migrating to open code based commercial solutions. Major banks, insurance, most of telcom businesses and growing number of public sector organizations. Representatives of these environments have met regularly for seven years on Open Source Day conference, in order to exchange their views and experience, establish strategic relationships and be up to date with the latest trends in open source solutions.
Source: scan of a picture in our image collection.
Image: T1383
Photographer: donor
Repository: Local History Centre, Gundry Lane, Bridport
Keys to Drawing, Chapter 2, Project 2D. Make a Tonal Bar
Procreate on iPad Pro 9.7"
Exercise: Make a 1.5x8" panel and create within it an evenly graded tone from black to white. Use a soft pencil and build up the tone deliberately and patiently, squnting from time to time to check your progress. Strive for a smooth transition between tones and watch for "spots" of light or dark. The middle tone (50% black) should be in the center of your bar. Allow yourself 30 mintues.
If you are interested in pen and ink, try a second tonal bar using the crosshatch method. The tones will be slightly coarser than your pencil version, but when you step back, the overall effect should be the same. To create the light areas, the pen strokes must become gradually less numerous and farther apart. You may want to use the examples shown here as a general guide for both bars.
Source: scan of a picture in our image collection.
Image: V1902
Photographer: Holiday Fellowship pc
Repository: Local History Centre, Gundry Lane, Bridport
www.bridportmuseum.co.uk/#!photographs/c22fg
Source: Sanctuary Collection Box
Repository: Local History Centre, Gundry Lane, Bridport
May 26th, 2012
From the stalks of a cornfield grown to produce ethanol we view the passing of a Union Pacific crude oil train bound for the gulf coast.
-Douglas County, Illinois
Source: Home Favorites in Crochet, Book No. 214, The Clark Thread Co., 1944. web.archive.org/web/20080106185749/http://www.angelfire.c...
Thread: J&P Coats Royale 10. Color: 021 Linen.
Hook: Clover Soft Touch #4/1.25mm.
Size: 14-inches diameter.
Date: 10/06/12.
For: Yahoo group.
The Catalyst Open Source Academy is a 2-week summer programme for secondary students in Aotearoa New Zealand. It is organized by Catalyst IT in Wellington giving students the opportunity to learn about open source software development and contribute to an open source project.
For more information, please see catalyst.net.nz/academy
This was tough, because it turns out he wasn't on the 25-man roster at the time. But it's Kyle Phillips.
This is an open source hardware ebook reader based on the BeagleBoard, BeagleJuice, and BeagleTouch modules from Liquidware... all the source code and the SD Boot card is available over at antipastohw.blogspot.com and www.liquidware.com
Source: livinghistories.newcastle.edu.au/nodes/view/39649
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, please contact us.