View allAll Photos Tagged complexity
Some of these photographs appear to be close-ups of regular-sized flowers; they are not. All of these photos are micro (macro) photographs of the super-tiny blooms that blossom on common weeds.
Weed flowers...wild flowers...whichever appellation you want to bestow on them nonetheless these almost microscopic beauties are the flowers that bloom on the weeds in my yard.
Many people also assume that these flowers are, for example, squash or zucchini-sized flowers, or that they are flowers 1" in diameter or larger and are perhaps on stems a foot tall or so. Nothing could be further from the truth.
Most of these flowers when measured petal tip to petal tip at their widest diameters measure 1/4" (6mm) across…or less...the entire bloom is that small. And the average stem height is only a few inches tall, if that.
The smallest weed flower I've shot yet is a small ring of flowers that measured less than 1/32" (.7mm) in diameter which encircled a spire which measured about 1/64" (0.3mm) in diameter.
For some photos I’ve included references to common objects such as the head of a paper match, or the head of a pin, which dwarfs some of these tiny flowers! On some others I’ve listed a description of the actual size of each object in the photo.
So far I've made over 700 photographs of over 50 varieties of weed flowers.
I hope that seeing the variety, beauty, and intricate complexity of this small world astonishes and pleases you as much as it has me.
Thanks for looking.
.
Micro Weed Flowers:
www.flickr.com/photos/motorpsiclist/sets/72157626023965740/
Micro Weed Flowers II:
www.flickr.com/photos/motorpsiclist/sets/72157633029514344/
Micro Weed Flowers III:
www.flickr.com/photos/motorpsiclist/sets/72157633029556370/
Micro Weed Flowers IV:
www.flickr.com/photos/motorpsiclist/sets/72157633025347237/
Micro Weed Flowers V:
www.flickr.com/photos/motorpsiclist/sets/72157633029592988/
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and International Copyright Laws. ANY use without my permission in writing is forbidden by law.
Title: Welcome Complexities #2
Materials: muslin, commercial cottons & other fabrics, inkjet printed fabric, chalk pastel, fabric paint, beads, crayon, oil paint sticks, permanent marker, sequins, heat transfer foil, iron-on sequins
Dimensions: 18.75" by 13.25"
"The Complexity of Today's Global Threat Environment" Clark Ervin, Jacqueline Rice, James Comey, Wolf Blitzer
Greenwald Pavilion
One frame extracted from audiovisual live performance "Sounds of Complexity", in collaboration with Kinotek. Patches are entirely programmed in VVVV. The sound part of the performance is constituted by the electroencephalographic activity of a person, translated in audible audio spectrum. Such frequencies control in real-time specifical parameters of the visualization.
Info:
www.mattiacasalegno.net/index.php?/projects/sounds-of-com...
Video extract here: www.vimeo.com/4240405
It's a rather bright sunny spring morning, way too much contrasty light for me. So here we have complexity: leaves, twigs and branches and dappled sunlight all over the place.
Complex simplicity.Wind blown confusion. Summit Station, Greenland ... top of the ice sheet Oct 14 11 2296
The St. Pierre St. exit against the complexity of two-foot high dandelions and peeling awning. (That sounded photograph-y, didn't it?)
Actually, it's just an angle shot to show how out of control the grounds are here, with overgrown grass, vandalized signs, and delapidated building that's a real eyesore.
The irony is that it's DIRECTLY across the street from a brand new 'Adult Lifestyle Residence' which is apparently what the Boomers are calling Old Age Homes these days...and no-one has complained about it being an eyesore yet!
Michael Fellows with F Rosamond, Falk Huffner, Christian Komusiewicz, Prof. Rolf Niedermeier and Jiong Guo. Rolf has a great team of researchers in Jena.
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Cast glass
Born in Japan, the actor and dancer Ohta Hisa (1868–1945) performed under the name Hanako, meaning ‘Little Flower’. She was 33 and still relatively unknown when she came to Europe to perform. Inevitably, these performances reflected a Western idea of Japan.
Her fame was based on her compelling enactment of seppuku or harakiri, a Japanese suicide ritual traditionally reserved for men.
Ohta and Rodin met in 1906, when she performed at the Colonial Exhibition in Marseille, an event held to bolster support for France’s colonial conquests. Rodin was fascinated by her stage persona. After early realistic portraits, he tried to capture the look of anguish she displayed on stage, an expression so tense that she could not hold it for longer than half an hour.
The Musée Rodin holds over 50 busts and masks of Ohta, more than any other sitter. While in most of his sculptures Rodin focused on the body, he only depicted Ohta’s face, an allusion perhaps to the masks used in Japanese theatre.
It was not until Rodin’s death that Ohta finally received the two masks he had promised her in return for her labour.
[Tate Modern]
Taken in the exhibition
The Making of Rodin
(May – November 2021)
Working at the turn of the 20th century, Auguste Rodin broke the rules of classical sculpture to create an image of the human body that mirrored the ruptures, complexities and uncertainties of the modern age.
This major exhibition is the first to focus on the importance of plaster in his work. Although Rodin is best known for his bronze and marble sculptures, he himself worked as a modeller, who captured movement, light and volume in pliable materials such as clay and plaster.
This presentation evokes the atmosphere of the artist’s studio. Plasters casts in all sizes show how he continually experimented with fragmentation, repetition and joining existing parts in unconventional ways. Some of his best-known works were influenced by this process, including The Burghers of Calais, which is represented here by the newly restored original plaster.
With the process of making at its heart, the exhibition also considers the complex dynamics of the workshop, as well as between the artist and his models and collaborators, including fellow sculptor Camille Claudel, the Japanese actress Ohta Hisa, and the German aristocrat Helene Von Nostitz.
[Tate Modern]
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
Food is cooked by Chefs Bill Kim and Yvonne Cadiz-Kim of Belly Shack and Urbanbelly
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Scholars gathered together at the Pequot Museum on Friday & Saturday, Oct. 18 & 19, for the 17th Century American Northeast Conference to reexamine the complexity of a changing cultural landscape and the consequences of colonization and warfare.
Lighting Booms come in many different types. Increasing weight of light/modifier as well as offset of the light from the stand (ie increased counterbalance weight) both incur significantly higher costs in terms of £/$, complexity and required stand/boom weight and capacity. IMO, and I see MSE agrees with me, all of them should be counter-weighted to balance perfectly, (I know many people don't counter-weight Extension arms . . )
My lightweight , aluminium, Speedlite capable Interfit COR757 boom was greatly enhanced by swapping out the original pivot mechanism, shown top left, for the Manfrotto item (SKU 123), top right. It needed two plastic 8 X 1 cm radiused shims, placed at 1 & 5 o'clock, to make the diameters match (32 to 35 mm) - but with these, it works perfectly. The 5/8 in receiver on the SKU 123 is, thankfully, of an orthodox depth. This boom could handle a Godox 360 and small modifier but that would be its limit, IMO. Even at this weight, and assuming correct balance, don't skimp on the stand - IMO the stand needs to be topped off with a full length welded-in Baby Pin (5/8th in.) and not just the more usual stud/spigot.
(If you have to use the design with the three or four circular meshed discs, either support it on a Baby Pin top (you may have to fill-in the 'neck' of the Baby Pin) - or - place a mini clamp (shown above but not deployed) immediately underneath the device on the stand riser. Either option at least prevents inadvertent loss of height when loosening the device.)
Lower left is Kupo's Grip-head and 40 in (solid) Extension Arm. WYSIWYG - it's strong, but still best when counter-balanced. Critically, 'Righty-Tighty, Lefty-Loosey' must be applied. At the time of writing, Kupo's Hex version remains slightly over-priced. If say 25 in of offset is sufficient, this is a great option. With a heavy light fixture, either use a Drop down Pin - see below - or use the Griphead at the 'far' end with a Baby Pin held exactly vertically. Trick, it's a gem, here @ 18.51:
www.youtube.com/watch?v=HrLYdIxg1Q0
Under a Drop Down pin, you may or may not want a captive swivel involved, a la:
www.flickr.com/photos/layeroption/16743306749/in/photostream
Kupo's Steel Baby Boom (chrome) KG601612 (they make a lighter, lower capacity, Aluminium, black alternative) is shown lower right and is rated to support a 5 Kg light. Currently (2016) I think it represents the best value available at this strength/capacity level - and that's before they added, gratis, the machined anti-rotation hex flats at the boom's Baby Pin termination. Again a full length welded in Baby Pin top stand is required and make sure that the stand's rated capacity is sufficient for the light/modifier, boom, grip, (?)Drop down pin (+/-)captive swivel and counterweight combined. My primary choice was either the Kupo Baby Roller stand (KS300712) - there is a triple riser 'High Baby' (KS101112) non roller version - or - MSE's (Steel) Digital Baby stand (387032). Unofficially, some might argue that if you don't extend the uppermost stand riser, you might be safe with c 15% over the nominal capacity. I actually weighed my loaded up Kupo boom and it came in slightly over specification weight and consequently, with one of the stands I use, I'm relying on this 'forgo-the-upper-riser' notion. It, an aluminium MSE B387490 (108 cm footprint diameter), looks to be coping very easily - in fact, proven on a very breezy day recently. 'Righty-Tighty', always.
With a Rovelight/JinbeiHD600 attached, even if you limit the counterweight to 4 Kg, you are still looking at a c 13-14 Kg (29 lb.) lift, possibly with your left arm only, to raise the stand risers for the whole shebang.
Braked wheels are very highly desirable indoors. Outside, some leveling leg option becomes the priority - I would strongly advise having the stand perfectly vertical as well as the boom balanced. If a stand doesn't have a leveling leg then Reuben Krabbe's mod works very well indeed, see:
www.flickr.com/photos/layeroption/23875601924/in/photostream
I've also used a stepped car wheel ramp under the lower leg - that can work well too.
Concerning twisting loads . . .
'Drop down Pins', with or without a captive swivel, remove most of the torque about the boom axis from twisting loads - making them a preference for me - really useful for heavier loads - say 2.5 Kg for Light/modifier and above.
Or, see:
www.flickr.com/photos/layeroption/34663766802/in/photostream
If, for simplicity, you don't go that route, then a flat or Hex flats machined into the boom's terminal 5/8 in neck is essential and having a separate control on the boom pivot mechanism for each freedom of movement becomes more important and can be an argument against some of the 'Combi' boom/stands. Also check the generally very modest specified load capacities of aluminium/aluminum 'Combi' boom/stands.
Finally, a tip, maybe two: when either loading or unloading items onto a boom (& assuming that the stand is perfectly vertical), first have the boom clamped as nearly five degrees off vertical as possible - hook/counterweight down. At a stroke, this minimizes the moment produced by any added load. (The five degrees also ensures that the free-to-twist hook stays in the correct orientation.) When loading, start with the counterweight and then add the light. Even though it will be initially out of balance, the reduced moments will avoid any drama. Extend the boom as needed. Subsequently, with a good strong hand grip on the boom near the counterweight and having loosened both the balance and pivot controls, it's easy to deploy the boom at the desired angle and achieve perfect balance, all in one movement and with the boom under full control. Re-tighten both controls.
Sandbags for the stand base, while deployed, should not be in contact with the floor. Ankle weights deployed on the primary column just above the tripod apex are good but note they seem to be routinely under spec weight! Or see the 'Fatmax 240' option:
www.flickr.com/photos/layeroption/23789558600/in/photostream
Complexity Group Grapes On a Train 2013
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
Food is prepared by Chefs Bill Kim and Yvonne Cadiz-Kim of Belly Shack and Urbanbelly
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.