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1)
Eliot Porter, Aspens By Lake, Pike National Forest, Colorado, September 14, 1959, Dye transfer print, 2005.93.24, The J. Paul Getty Museum. Gift of Daniel Greenberg and Susan Steinhauser. © 1990 Amon Carter Museum, Ft. Worth, Texas, Bequest of the artist.
2)
Eliot Porter, born in 1901 in Winnetaka, Illinois, was a photographer best known for his color photos of nature. He was trained as a chemical engineer and a medical doctor. He began his photography career in the 1930s, making black-and-white photographs in his spare time while working as a bacteriologist and teacher at Harvard University. Photographer Alfred Stieglitz gave Porter a solo exhibition at his New York art gallery in 1938. The exhibition changed Porter's life. He decided to give up his academic post and devote himself to the art of photography. The year after his exhibition at Stieglitz's gallery, Porter began using Kodachrome, a new color transparency film, and teaching himself the delicate, multi-step process for making color prints. For the next three decades he struggled against the notion that color photography was unsuitable for artists because it was "too literal." Porter actually used the color process to make highly expressive prints by slightly increasing the brilliance, contrast, or saturation in the transparencies. In 1964 Porter wrote that he hoped his color photographs would reveal "a new dimension in the perception and representation of nature in photography." Between 1953 and 1984 Porter produced seven portfolios of nearly 8,000 prints. In the early 1960s Porter began making photographic books with the Sierra Club, which played an important role in the conservation movement of the 1960s. The first book, In Wildness Is the Preservation of the World (1962), earned the Sierra Club an international reputation as a publisher of fine books. The second book, The Place No One Knew, Glen Canyon on the Colorado (1963), was part of a campaign to stop construction of the Glen Canyon Dam. The vibrantly colored photographs of gulches, rock walls, and hidden canyons carved by the Colorado and San Juan Rivers did not prevent the dam from being built. However, it did result in federal review of all reclamation projects on western rivers and the passage of the Wilderness Act, which had been languishing in Congress since 1956. The public's positive response to the Sierra Club books showed Porter that he could use photography to make people aware of nature's beauty without compromising his artistic goals. With this realization, Porter was transformed from a passive, theoretical conservationist into an impassioned one. Porter was elected to the board of directors of the Sierra Club in 1965, and served until 1971. In 1970 Porter wrote, "It has been said that wildness is a luxury, a commodity that man will be forced to dispense with as his occupancy of the earth approaches saturation. If this happens, he is finished. Wilderness must be preserved; it is a spiritual necessity." Porter, who had a love for birds, began photographing birds as a boy. He returned to the subject later in life with the aim to "raise bird photography above the level of reportage, to transform it into an art." To do so, he developed the first stop-action system for photographing birds. Porter used a tripod-mounted camera designed to hold sheets of film 4-x-5-inches in size. It was equipped with two powerful strobe lamps, synchronized to the shutter. The bright lights enabled him to use a high-speed shutter and the smallest lens aperture, which could stop the movement of small, swift birds and capture them and their immediate surroundings in sharp focus. In 1941 Porter was awarded a Guggenheim Fellowship to photograph various species of North American birds. Two years later, 54 of his bird photographs were featured in a solo exhibition at the Museum of Modern Art in New York. Porter's dream to share his bird pictures with a broad audience was realized in 1972 with the publication of Birds of North America: A Personal Selection. Containing 75 portraits of birds in their native environments, the book explains how Porter set new artistic standards for bird photography. Porter selected his favorite images from a 40-year archive covering 252 species. By the time of his death in 1990, Porter's archive contained more than 8,000 negatives and transparencies of North American birds. Porter died in Santa Fe, New Mexico at the age of 89. Source: www.getty.edu/art/exhibitions/porter/
3)
This vibrant photograph captures a really artistic view of a nature scene in a grove of aspens, that’s both beautiful and serene. The mood of this photo is very calming and I believe that it represents a sort of innocence within nature. It is also a very seasonal photo, with the foliage on the trees, the leaves on the ground, and the grass or wheat in the background creating a yellow-orange color that dominates the photograph, and expresses the autumn season. The evergreens to the left are a nice touch. There are three things that I notice that make this photo really stand out, when interpreting it. Centering the two trees in the foreground, only capturing the bottom part of the foliage of the aspens, and the seemingly foggy background which limits the depth of the photo and adds an array of blues and grays to the photo are what enhances the artistic portrayal of nature in Porter’s photo. I certainly think that Porter’s wishes came true in that he was able to create color photographs of nature that represents a new dimension of representation and perception of nature, and that this photo proves that it can be done without being “too literal” as the critics at the time suggested. In fact, this scene almost seems to have a surreal effect in the way he captures it. Very powerful photo.
Thomas Stanphill
PV arrays for Stevens Institute of Technology at the U.S. Department of Energy Solar Decathlon 2015 at the Orange County Great Park, Irvine, California (Credit: Thomas Kelsey/U.S. Department of Energy Solar Decathlon)
Solar array on rooftop of Asian Pacific Health Care offices with Hollywood Hills in background, Los Angeles, California, USA
Single Arduino Charlieplexed 110+4 LED Display
The whole Clock is realized without any additional driver chips!
Only one Arduino (328) and a simple RTC is used and 114 LED's of course.
Used Arduino-Ports:
0 & 1 = rx/tx (for reprogramming)
2 = UNUSED!!! ;-)
3 - 13 = 11x10 LED-Array Crarlieplexed
A0 & A1 = i²c for RTC
A2 - A5 = the 4 Minute-LEDs for the four corners
Modified the LOL-Shield Library a bit for the 11x10 Size and my layout.
Works like a charm.
Sure, without Resistors, the LEDs a a bit overdriven, but it looks like it compensates the 110:1 duty cycle quite well. And since the original LOL-Shield does not have any resistors too, i think (hope) it will work for longer too.
The Sketch ist basicly just the RTC-Example and some added "if, then light this and that led" statements.
More Pictures and Videos here:
www.flickr.com/photos/eokgnah/sets/72157626846176659/with...
Here is a comment that I came across: “The parks department is obviously keen on ‘arrays’. By far the most inappropriate is the ‘array’ of old lamp standards, culled from the city’s streets and re-erected here in haphazard fashion. Of the 25 standards, only a few appear to have had gas lamps, most have no lightbulbs, and of those with glass lanterns nearly all have broken panes. Some are relics of an era when Dublin had real local government, with cast-iron bases stamped “Rathmines Urban District Council 1900” or “Pembroke Electric Supply”. Other old standards are topped by lamps of much more recent vintage, such as the hideous orbs that lit the Ha’penny Bridge in the 1980s, when we knew no better” - Frank McDonald [Irish Times 2009]
I am not sure that I fully agree with Frank but I do agree that many of them are in poor condition and some appear to consist of unrelated parts. Also the collection as a whole gives the impression as not being quite right. I have failed to locate as many as 25 and for various reasons I have been unable to photograph all that I did find during this visit but I do plan to visit again in a few weeks.
Near Métis, Quebec, the Reford Gradens blaze with colour every summer with fields of flowers, natural and cultivated. These are lupines.
PV arrays for University of Texas at Austin and Technische Universitaet Muenchen at the U.S. Department of Energy Solar Decathlon 2015 at the Orange County Great Park, Irvine, California (Credit: Thomas Kelsey/U.S. Department of Energy Solar Decathlon)
PV arrays for California Polytechnic State University, San Luis Obispo, at the U.S. Department of Energy Solar Decathlon 2015 at the Orange County Great Park, Irvine, California (Credit: Thomas Kelsey/U.S. Department of Energy Solar Decathlon)
This panoramic view of the Chajnantor plateau, spanning about 180 degrees from north (on the left) to south (on the right) shows the antennas of the Atacama Large Millimeter/submillimeter Array (ALMA) ranged across the unearthly landscape. Some familiar celestial objects can be seen in the night sky behind them. These crystal-clear night skies explain why Chile is the home of not only ALMA, but also several other astronomical observatories. This image is just part of an even wider panorama of Chajnantor. In the foreground, the 12-metre diameter ALMA antennas are in action, working as one giant telescope, during the observatory’s first phase of scientific observations. On the far left, a cluster of smaller 7-metre antennas for ALMA’s compact array can be seen illuminated. The crescent Moon, although not visible in this image, casts stark shadows over all the antennas. In the sky above the antennas, the most prominent bright “star” — on the left of the image — is in fact the planet Jupiter. The gas giant is the third brightest natural object in the night sky, after the Moon and Venus. The Large and Small Magellanic Clouds can also be clearly seen on the right of the image. The Large Magellanic Cloud looks like a puff of smoke, just above the rightmost antenna. The Small Magellanic Cloud is higher in the sky, towards the upper-right corner. Both “clouds” are in fact dwarf irregular galaxies, orbiting the Milky Way galaxy, at distances of about 160 000 and 200 000 light-years respectively. On the far left of the image, just left of the foreground antennas, is the elongated smudge of the Andromeda galaxy. This galaxy, more than ten times further away than the Magellanic Clouds, is our closest major neighbouring galaxy. It is also the largest galaxy in the Local Group — the group of about 30 galaxies which includes our own — and contains approximately one trillion stars, more than twice as many as the Milky Way. It is the only major galaxy visible with the naked eye. Even though only its most central region is apparent in this image, the galaxy spans the equivalent of six full Moons in the sky. This photograph was taken by Babak Tafreshi, the latest ESO Photo Ambassador. Babak is also founder of The World At Night, a programme to create and exhibit a collection of stunning photographs and time-lapse videos of the world’s most beautiful and historic sites against a nighttime backdrop of stars, planets and celestial events. ALMA is being built on the Chajnantor plateau at an altitude of 5000 metres. The observatory, which started Early Science operations on 30 September 2011, will eventually consist of 66 antennas operating together as a single giant telescope. This international astronomy facility is a partnership of Europe, North America and East Asia in cooperation with the Republic of Chile. ALMA construction and operations are led on behalf of Europe by ESO, on behalf of North America by the National Radio Astronomy Observatory (NRAO), and on behalf of East Asia by the National Astronomical Observatory of Japan (NAOJ). The Joint ALMA Observatory (JAO) provides the unified leadership and management of the construction, commissioning and operation of ALMA. Links Time-lapse videos of ALMA on Chajnantor made by Babak Tafreshi: one, two ESO Photo Ambassadors More about ALMA at ESO: www.eso.org/public/teles-instr/alma.html The Joint ALMA Observatory: www.almaobservatory.org/ The World At Night: www.twanight.org/ #L
Very Large Array (VLA) near Socorro, New Mexico. Visit during a storm created some interesting photographs.
The line of trees onthe far bank reflected in the mill stream of Lode Mill at Angelsey Abbey near Cambbridge. The mill dates from the 18th century. Having fallen into disrepair, it was restored in 1982 and produces and sells now sells flour to visitors to the Abbey.
This artistic rendering shows the approved configuration of the CTAO in its southern site, less than 10 km southeast of ESO’s Paranal Observatory in the Chilean Atacama Desert. This so-called Alpha Configuration includes 14 Medium-Sized Telescopes (11.5 m wide) and 37 Small-Sized Telescopes (4 m wide). Thanks to their different light-collecting areas they can cover gamma rays of medium and high energies.
The Alpha Configuration does not consider Large-Sized Telescopes (23 m wide) in the CTAO's southern array, tailored for lower energies, but it includes the preparation of the foundation for four of them, as well as the foundation for three more Small-Sized Telescopes, to allow for the construction of these telescopes in a future enhancement of the array.
Credit: CTAO (CC BY-NC-ND 2.0)
Imaris Snapshot
Microscopy images taken during my fall quarter rotation in Stephen Smith's lab at Stanford. The technique is array tomography, which produces for these crisp, 3D, high resolution, large scale, many-channel fluorescence images.
smithlab.stanford.edu
Legend:
White: DAPI (cell nuclei)
Green: YFP (Subpopulation of layer V pyramidal neurons)
Purple: Tubulin
Blue/Red: Neurofilament
Orange: Myelin Basic Protein
The Very Large Array, a radio telescope near Magdalena, New Mexico. You may remember it from the movie "Contact"
View large
Antenna array on the rig to balance the 10mW video transmiter and standard RC signals. The antennae are demounted for transport. The RX antenna is the same length as the folded pendulm for ease of packing.
PictionID:46539804 - Catalog:Array - Title:Array - Filename:AL-248F_032 Ford 4-AT-A cn 14 NC3443 Texaco Amarillo TX 1928.tif - Robert Reedy was a native of Amarillo Texas. He attended college in Wichita Kansas, studying aeronautical engineering. On graduation he was quickly snapped up by Stearman Aircraft. During his subsequent career he made stops at Lockheed, Thorp and back to Lockheed where he retired as a vice president of sales. Reedy was involved in the design of several Stearman, Vega and Thorp types, the Lockheed P2V, Little Dipper, Big Dipper, and L-1011.--Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Graphic Arrays
media: paper, aluminum dibond,
dimensions: 54 x 72 cm, 90 x 56 cm,
Aram Bartholl 2013
240x320, 240x400, 320x480, 480x640, 480x800, 540x960, 600x960, 600x1024, 640x960, 768x1024, 720x1280, 1366x768, 800x1280, 1080x1920, 1536x2048
640x480, 768x576, 800x600, 1024x600, 1024x768, 1152x720, 1280x720, 1280x768, 1280x800, 1152x864, 1280x960, 1280x1024, 1360x768, 1366x768, 1440x900, 1600x900, 1400x1050, 1680x1050, 1600x1200, 1920x1080, 2048x1152, 1920x1200, 1920x1440, 2560x1440, 2560x1600