View allAll Photos Tagged Substrate
The substrate here is a white gooey shell marl created over many centuries. The shrub clumps with yellow flowers are Shrubby Cinquefoil (Dasiphora fruiticosa) and all the white dots are Grass-of-Parnassus (Parnassia glauca) flowers. Several NJ rare & endangered plants (especially sedges and grasses) live in this unique habitat.
A chemical profile of a multilayer coating false colour cross-section with inter-layer ingress generated using ToFSIMS. Analysing the chemical composition of coatings allows the aerospace industry to optimise the coatings’ galvanisation and anti-corrosion properties. The multilayered structure consists of the substrate, primer and topcoat. The cross-section is embedded in resin for support, as shown by the black band at the top of the image. The topcoat (blue layer) was chemically imaged by identifying the fragmentary mass CN (a urethane which contains this chemical linkage). The green band is the primer, containing Cl. The separate chemistry in the different layers can be used to examine the layer thickness and integrity.
The first bottle on the left is an empty bourbon bottle and the middle two I have had stashed away in the top of a cupboard for years and the last one I have had collecting dust in the shed for awhile.
Substrate: Picea abies.
Eesti punase nimestiku liik, äärmiselt ohustatud (CR). LK I.
Kuusalu vald, Harjumaa (Põhja-Kõrvemaa).
A haystack of ZnO Nanowires on Si substrate.
Courtesy of Peter Heß
Image Details
Instrument used: Nova NanoSEM Family
Magnification: 2500
Horizontal Field Width: 120 μm
Vacuum: 0.00000536681 mbar
Voltage: 5 kV
Spot: 2
Working Distance: 5.1
Detector: ETD
Silver micro streams on crystalline silicon substrate obtained after dry etching of a thin silver film.
Courtesy of Tomas Tamulevicius
Image Details
Instrument used: Quanta Family
Magnification: 5,000x
Horizontal Field Width: 51.2 um
Vacuum: High vacuum
Voltage: 30 kV
Spot: 3.5
Working Distance: 8.6mm
Detector: SE-ETD
select interiors. main entrance and staircase. 'new' somerset hospital. greenpoint, cape town. iphone pix. iphone does not deal well with extreme highlights because apple keeps on adding thick layers of substrate/glass over the camera lens :-(
from wikipedia-
The Somerset Hospital in the Green Point area of Cape Town, South Africa opened in 1864 and has been declared a provincial heritage site.[1]
The hospital replaced one of the same name in Chiapinni Street,[1] which had been founded by Dr Samuel Bailey in 1818 as the first civilian hospital in Cape Town.[2] It was named after Lord Charles Somerset the governor of the Cape Colony who gave land for the construction.[3] The Chavonnes Battery was used as an isolation and convalescent wing.[4]
The cornerstone for the new hospital was laid on 18 August 1859 by the Cape Governor Sir George Grey.[5] In addition to the appointment of medical staff, nurses were recruited from the Florence Nightingale School of Nursing and Midwifery, St Thomas' Hospital in London including Sister Helen Bowden, who in 1877 became the first fully qualified nurse to be appointed as Matron of Somerset Hospital. Subsequently the hospital established its own nurse training school,[3] becoming the first hospital to train non-white nurses.[6]
From 1918 until 1937, when the Groote Schuur Hospital opened it was the main academic hospital of the University of Cape Town.[1] A new West Wing opened in 1973 for white patients.[7] The old building was renamed the north wing, not because of their position but the N meant for non-white patients and the W of West Wing signified that it was for Whites.[3] The high incidence of HIV infections amongst the patients led to the establishment of the hospital as a prime referral centre for the treatment of AIDS and the first antiretroviral distribution centre was established there in 2005.[3]
Since then various plans have been announced for the development of the grounds including hotels, offices and residential accommodation.[8] The hospital is also home to the Cape Medical Museum.[9][10]
In 2008 the hospital appealed for funds from local businesses to establish a new trauma unit and a ward for women suffering from a spontaneous miscarriage.[11] In 2010 it opened a new measles ward following a rise in measles cases in Cape Town.[12] In 2010 a studio was built, along with its own lift, on the top of the hospital for use by BBC presenters during 2010 FIFA World Cup matches at the nearby stadium.[13] Additionally in 2010 plans were announced to move the hospital to a new site in the northern sector of the city, to serve the densely populated West Coast region.[14]
@WCF2016 : RT @SriSri: #Aeroponics - growing plants in air without soil or other substrates. Fodder for cattle @BangaloreAshram t.co/m3tHkVfHH8 (via Twitter twitter.com/WCF2016/status/735755203933143041)
Substrate: Quercus robur, on trunk.
Eesti punase nimestiku liik, ohualdis (VU).
Vinni, Lääne-Virumaa.
Power Sand Special is the next layer in the substrate system and serves as the basic layer - Both Bacter 100 and Clear Super are blended into the Power Sand and are intended to help promote the growth of beneficial bacteria. It is great for plants that actively absorb nutrients from their roots, such as cryptocoryne.
Power sand as a whole is designed to provide nutrients to the roots of aquatic plants and promote the growth of substrate bacteria, these porous volcanic stones secure water circulation to keep the root system healthy and aerobic.
Cultivated in the warm house, shady and lots of water all year round. Substrate is a loose mixture of peatfree compost, pumice and a little bit living sphagnum moss.
ZnO structures grown on Si substrate.
Courtesy of Peter Heß
Image Details
Instrument used: Nova NanoSEM Family
Magnification: 30000
Horizontal Field Width: 10 μm
Vacuum: 0.0004 mbar
Voltage: 6 kV, LE 2kV
Spot: 3.0
Working Distance: 5.6
Detector: vCD
TAXONOMY
Phylum: Heterokontophyta
Class: Phaeophyceae
Order: Laminariales
Family: Laminariaceae
Genus/species. Macrocystis pyrifera
GENERAL CHARACTERISTICS: The kelps stout holdfast attaches to solid substrate to anchor its long, limber stipes (central stalks) and deeply incised blades. The stipes are held upright by gas-filled bladders at the base of blades, kelp fronds grow straight up to the surface,
DISTRIBUTION/ HABITAT: North Atlantic and northern Pacific;
also the Mediterranean Sea and off Brazil. Kelp Forest in general to 100 ft to 175 ft. The water depth zone is often known as the Laminaria zone.
They can grow at a rate of 0.6 metres (2 ft) a day to reach over 45 metres (148 ft) long in one growing season.
Academy tidepool kelp are obtained from the Monterey Abalone Company who sustainably harvest it for maintaining their abalone.
REPRODUCTION; Drifting M. pyrifera sporophytes (kelp rafts) are created following sporophyte detachment from benthic substrates. Kept afloat by numerous pneumatocysts (gas-filled bladders), M. pyrifera sporophytes may remain alive and adrift for more than 100 days. the reproductive longevity of drifting M. pyrifera sporophytes is long enough to support effective long-distance dispersal of over 1000 km (620 miles).
LIFESPAN: Five years.
REMARKS: Giant kelp forests are home to many marine species who depend upon the kelp directly for food and shelter, or indirectly as a hunting ground for prey. Invertebrates graze on the blades, fish seek shelter in the fronds and thousands of invertebrates such as brittle stars, sea stars, anemones, sponges and tunicates live in the holdfast. In addition sea otters wrap up in a kelp frond to keep from drifting away when sleeping.
The whitish spots on our Academy kelp are a colonizing invertebrate animal called Bryozoa or bryozoans. They aren't harmful to the algae (kelp) or other critters in the tide pool. Bryozoa use the kelp as a home while feeding on bacteria and phytoplankton. It is similar to lichen or moss on a tree.
References
California Academy of Sciences Steinhart Aquarium Tidepool 2018
Smithsonian Marine Station at Fort Pierce www.sms.si.edu/IRLSpec/IntroBryozoa.htm
California Academy of Sciences Under the Domes 3-17-18
Ron's flickr www.flickr.com/photos/cas_docents/26982515928/in/datepost...
Encyclopedia of Life eol.org/pages/906815/details
3-23-18
Substrate: Picea abies.
Määraja / Identified By Irja Saar.
Koitjärve, Põhja-Kõrvemaa.
Eesti punase nimestiku liik, ohualdis (VU).
Antique spoon, tea strainer, brass balls, coin, found object, purple glass beads, mezuzah cover shards, blue and pink china, black, pink and blue pottery shards courtesy of Jean Smaglik Wells. Handmade substrate with tinted dark gray thinset. 9" X 9.5"
The vise is gripping the tool chest lid. Light cuts on the substrate create an aligned surface for vise gripping.
Substrate: Populus tremula, on fallen trunk.
Määraja / Identified By Irja Saar.
Vahtriku, Põhja-Kõrvemaa.
Bể sau 3 tháng hoàn thiện
Bể 120x50x50cm
Lọc full substrate pro ( Eheim) ( Bác M trước là dân chơi tép nên vật ll rất chuẩn x 2 chiếc.
Phân nền:
Tầng đáy nền trộn AQML: tầm 20kg
Tầng mặt: ADA amazonia: khoảng 5 bao.
Đá : tiger
Co2: đánh mạnh
Đèn: Cyrex
Chiler: Hailea 300A
************
Cây ( Thuỷ Mộc )
Cây nền: Trân châu ngọc trai
- Liễu đỏ răng cưa
- Ráy
- Vẩy ốc xanh
- Vẩy ốc đỏ super red
- Tiêu thảo prava
...v.v...
- Liễu bông
- Bucep
- Trầu opacus
...
****************
Sau 3 tháng môi trường nước đã ổn định bác chủ đã thay dần các loại cây trong bể bằng Bucep rất rất nhiều loại như: Skeletonking, gosh..v.v
Các loại phân dông từ ngày đầu set bể: ADA step 1, Bright K, ..
Mời các anh em cùng ngắm bể...
SẼ có clip up về bể này
Ảnh chụp: 30/6/2014
AN INTEGRATED INJECTION-SEPARATION-DETECTION SYSTEM ON A 2.5 BY 4-CENTIMETER SUBSTRATE.
LLNL ENGINEERS ARE WORKING AT THE UNIVERSITY OF TEXAS M.D. ANDERSON CANCER CENTER, SPONSORED BY THE DEFENSE ADVANCED RESEARCH PROJECTS AGENCY, TO DEVELOP AN INSTRUMENT THAT INCORPORATES NEW TECHNOLOGIES FOR SEPARATING PARTICLES, (KNOWN AS FRACTIONATION) SENSING THEM AND IDENTIFYING THEM BASED ON THEIR DIELECTRIC PROPERTIES. ITS FIRST USE WILL BE TO PERFORM DIFFERENTIAL CELL ANALYSIS ON BLOOD SAMPLES.
For more information or additional images, please contact 202-586-5251.
Dr Bruce Philip and Sharon Bishop of the SPECIFIC project testing out the hot tile in the demonstrator room at the Active Classroom, which generates, stores and releases its own energy
The hot tile works by providing large area heating through the application of conductive coating layers on a steel substrate.
The coating functions according to the long established principle of resistive electrical heating, where an electrical current is passed through a resistive element thereby converting electrical energy to heat energy.
specific.eu.com/
#21CSteel
My mom loved this painting. Despite it being monochrome you could feel the forest!
From smacgallery.com/exhibition/3327/ (an exhibition in 2014)
Deep Chine is an exhibition of new paintings and marks Peter Eastman’s first solo show with SMAC Gallery.
The Cape Town based Eastman has earned a reputation as an experimental painter, using a variety of techniques and media to constantly expand his practice. Eastman’s substrate of choice is aluminium, to which he applies amongst other things; chrome, enamel, resin, wax, graphite and oil paint – reworking, scraping, incising and profiling the surface to create unique paintings poised between representation and abstraction.
For Eastman, his surroundings and environment have a profound influence on his work. Subjects are taken from lived interiors, cityscapes, studio views, family photographs and landscapes that are known to him. Eastman disassembles the image and reconstitutes it to form an entirely new picture which bears a vague semblance to the original, but for the viewer there is an uncanny familiarity and connection to the content, which is suffused with opaque moods and dreamlike memory. New shapes and forms emerge through the process of gradual fragmentation. Despite his ambitious and bold employment of base-colours in the new works, Eastman’s compositions remain mostly mono- or duo-chromatic. Subtle lines and shapes are articulated by thin ridges of paint or resin which disrupt the surface, giving the works dimension and complexity in relief. This allows for different views and interpretations depending on the light and angle from which the work is approached.
In the current digital age, where technology is widely accessible and various digital image editing programs allow for infinite forms of visual manipulation, the reconfiguration of images is widespread. It is possible to produce a myriad of special effects such as blasting, blurring, pixelating and other forms of distortion which new abstract painting often attempts to interpret or mimic, resulting in superficially seductive, ‘re-modernised’ imagery. However, these works lack some of the intangible qualities which lie at the heart of real painting. Peter Eastman’s paintings retain a painterly quality where the sensitivity, brushstroke, touch and feel of the artist are inherent to the work, thereby transcending the intriguing technical innovations which are in themselves original and distinct.
Deep Chine contains a variety of works ranging from large-scale, dark interiors to metallic chrome works, signature silhouettes and the new atmospheric, contemplative and ambient forestscapes – from which the exhibition takes its title. A ‘chine’ is a steep sided river valley, through which a river flows to the sea, softly eroding cliffs of sandstone. It is in a constant state of change due to erosion from landslides, as the walls of the chine, being steep and made of sandstone are naturally unstable. Deep Chine is also the name of Eastman’s family farm (belonging to his late grandfather), which he has visited every year since his childhood and, contrary to the implications of its name, represents a constant for the artist who has lived in different parts of the country and abroad.
In an era when environmental concerns have become increasingly important in contemporary artistic discourse, many artists have inadvertently or intentionally conveyed a strong spiritual connection (in a non-romantic, post-utopian sense) to nature through their work, for example Joseph Beuys, Hiroshi Sugimoto, Anselm Kiefer, David Hockney and Peter Doig, to name a few. The idea of retreating to the forest to find inspiration may be dismissed by the more cynical types, especially at a time where such experiences are extremely rare, however, when confronted by the simplicity, lightness, delicacy and strength of Eastman’s new paintings, the viewer is transported to a place of meditative immersion, where the opportunity arises for an experience which is profound and in some way akin to that of the artist:
“All of the river paintings in the show are based on photographs I have taken in the river of this steep forested valley. In preparing for the show, I spent some time alone at the cabin on Deep Chine, the cabin being in a small overgrown clearing without electricity or piped water, so it already feels remote to be there. The forest and the river has always held an attraction for me, the strange feelings, sometimes slightly ominous when I would go into the deep parts of the valley. I had had dreams while I was there; where I woke up in the night with a feeling of panic that I would not come out of the forest, as if somewhere in the act of being deep in the forest, I would lose memory and identity while walking down the river and not be able to ever come back. In the morning I walked down to the river. As I descended to the valley floor, about a 20 minute walk, I slipped into the feelings of the dream. These feelings would come and go in more or less intensity as I walked down the river knee deep in the water taking photographs. For a forest that is full of life, the walk in the river was absolutely quiet, apart from the sound of myself moving slowly through the water. The atmosphere felt calm and also of unease. The reflected light felt something like electric impulses in the wet forest. It is these various feelings of calm and unease and of dissociation that I have tried to convey in the paintings. It has something of a river Styx type of feeling to it, but also just a beautiful and strange place.”
For perfect positioning of the ID card ribbons, use the double-face adhesive E-Fixer which will ensure an easy printing process, even for multiple pass printing, keeping the substrates in place.
Product page: bit.ly/artis5000U
Request details: info@artisjet.com
I joke with my husband that he needs to build my casket out of this door because I LOVE it and never want to part with it. It's so solid and old - I never feel bad for making a mess on it, which clearly I do on a regular basis. I recently added the plastic bins under the table. They have saved my sanity as they hold all the bits that were overflowing elsewhere.