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Taken in the Georgetown neighborhood of Seattle
Pentax PC550 28mm
Kodak Portra 400VC
Lab C41
Epson 4490
Joan Stern
The Touchy Subject: A Sensory Tour Developed by Carmen Papalia
Solomon R. Guggenheim Museum
5th Avenue at 89th Street
New York City
Visitors explore the museum and selected works by Christopher Wool through a one-on-one sensory tour led by museum educators. Developed by contemporary artist, Carmen Papalia, these tours offer participants the opportunity to engage with art through their sense of touch and create a vocabulary of tactility from their experience.
Photo: Filip Wolak
Leica M7
Summicron-M 1:2/35mm ASPH.
ILFORD HP5 Plus.
Kodak D76 (1+1) 20.5C 14min
Scan with Plustek 7600i AI and SilverFast IT8 Studio
Developed by CINELLI from a Patent by professor Antonio dal Monte (who was in the team that helped Francesco Moser to achieve Hour Record in 1984). It was used by cyclists before and after races in order to warm-up or down. This machine appears in the book "Cinelli: The Art and Design of the Bicycle" with Hans-Henrik Orsted training on it.
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
developed in diafine a then b then another 1.5 minutes in Acufine for an extra push. 78f. Shot at 1600 iso
18 June 2018 Kraków’s history spans a millennium: it was the seat of Polish kings and the capital of the country, developing into one of the key European metropolitan centres. The Old Town is an exceptional treasury of works of art, with traces of history and heritage representing nearly all architectural styles from the early Middle Ages to contemporary times.
For centuries, the Main Market Square (Rynek Główny) has been the heart of the city: the largest market square of mediaeval Europe, it has preserved its original shape since 1257, and it was entered on the original UNESCO World Heritage List in 1978. For 600 years, a bugle call has been played from the taller tower of St Mary’s Church, standing by the square, to the four corners of the world. Situated in its centre, the Cloth Hall (Sukiennice), a mediaeval shopping arcade, is one of the most recognisable examples of Polish architecture.
Kraków boasts one of the oldest institutions of higher education in Central Europe, second only to the University of Prague: the Jagiellonian University, whose students have included Mikołaj Kopernik (Nicolas Copernicus) and Pope John Paul II. Wawel Hill, inhabited since Palaeolithic times, has been an important religious centre and home to Polish monarchs since the mid-11th century. Today, with its no fewer than 71 exhibition halls, Wawel Royal Castle functions as a museum, drawing visitors with precious works of Renaissance art, among other attractions. Its arcaded courtyard, a pearl of 16th-century architecture, inspires awe and amazement.
Besides the city centre, the Kazimierz district likewise intrigues owing to many centuries of coexistence of two cultures: Christian and Jewish. Brimming with gems of Judaica of international significance, it is a place teeming with life: home to flea and art markets, and atmospheric taverns, pubs, restaurants, and cafés with live music. The Father Laetus Bernatek Footbridge connects Kazimierz to Podgórze – a district forgotten for years that has become fashionable, yet remaining peaceful and atmospheric. Nowa Huta, the most attractive and comprehensive implementation of the dreams of socialist realist architects, still surprises with the striking symmetry of its monumental structures.
Kraków is also a city with a dynamic cultural life. In 2000 it was a European City of Culture. Every year, nearly 100 festivals and other events, many of world magnitude, are held here; notably Misteria Paschalia, Sacrum Profanum, the Jewish Culture Festival, and the Kraków Film Music Festival (FMF). It is also a city of modern museums, where visitors are invited to discover history in an interactive manner.
It goes without saying that Kraków enchants with its unique atmosphere: lazy and relaxed at times, brimming with events at others, yet always exceptional and inspiring.
www.krakow.pl/english/visit_krakow/200046,artykul,city_of...
Sophie von Hellerman & Josh Smith at Museum Dhondt-Dhaenens, Deurle, Belgium.
This duo exhibition functions as an intense dialogue between the works of two very different artists. While Sophie von Hellermann (1975, Germany) makes large-scale compositions in which she develops a visual language that is both fairy tale-like and imaginative, Josh Smith (1978, USA) creates paintings in which his personal approach is always the underlying base of the work. The exhibition is an investigation into both identity and uniqueness, and fundamental approaches in painting. This project is curated by Anne Pontégnie and realised in collaboration with Le Consortium from Dijon.
www.vilmagold.com/newpages/artists/sophie1a.htm
www.leconsortium.com/?Expositions:Expositions_pass&ea...
"L'exposition associe et confronte les œuvres de deux peintres de la même génération : Sophie von Hellermann (Munich, 1975, vit et travaille à Londres) et Josh Smith (1976, Tennessee, vit et travaille à NY).
Tous deux partagent une approche de la peinture comme processus de création continue, un flux dont la quantité remet en cause la notion même de chef d'œuvre et ouvre des pistes pour ouvrir un espace pictural renouvelé. Pourtant, leur énergie et liberté communes s'expriment dans des projets radicalement différents.
Comme d'autres artistes de sa génération, von Hellerman s'autorise à puiser dans l'histoire de la peinture et des libertés progressivement acquises pour creuser sa voie singulière. A partir cet espace, l'artiste utilise la peinture comme un instrument qui lui permet tout à la fois de s'approprier et de s'absenter de la réalité. Les tableaux de Sophie von Hellermann condensent chacun une histoire, parfaitement contenue dans les limites du cadre, mais trouée de l'intérieur. Ces espaces vides donnent leur pouvoir d'évocation à ses œuvres, une capacité à absorber d'abord le regard avant d'ouvrir l'imaginaire et la mémoire de la sensation. Les sujets de sa peinture, essentiellement narrative, sont à l'intersection d'une histoire personnelle et d'une histoire collective qui nourrit son imaginaire, sans qu'une frontière bien définie existe entre les deux. Une exécution rapide et une production abondante, un style désinvolte, des narrations qui confondent son expérience quotidienne et des situations rencontrées dans la fiction ou dans l'histoire, un amalgame permanent entre le trivial et le grandiose sont autant d'instruments qu'elle utilise pour transgresser toutes les règles de la bienséance picturale.
Smith se réfère plus explicitement à une histoire de la peinture qui, dans son épuisement, pesait comme une menace castratrice sur ses aînés et qu'il transforme en un répertoire de formes, libre de droits. Avec ses références explicites à l'histoire de la peinture, son style « expressif », ses effets de signature et son absence de sujet, l'œuvre de Josh Smith pourrait paraître inactuelle. C'est que Smith refuse d'utiliser signes et sujets pour affirmer sa contemporanéité. Comme tous ceux auxquels il se réfère - Kirchner, Picasso, Haring ou Wool - Smith n'utilise pas la peinture pour illustrer un projet, mais choisit de penser « en peinture ». La quantité d'œuvres qu'il produit - un phénomène qu'il choisit de mettre en scène dans ses installations - témoigne de cette pensée en marche. Le tableau n'est pas envisagé comme le lieu clos d'un achèvement, mais comme une étape dans un processus continu de création. L'étanchéité de la frontière qui sépare l'original et de sa reproduction - déjà compromise depuis les années 60 par l'utilisation de la sérigraphie - est minée de l'intérieur par la prolifération des originaux. Cette stratégie permet à Smith de s'émanciper d'un système hiérarchique qui fait le tri entre œuvres majeures et œuvres mineures pour mettre en évidence le mouvement même de la création. Dans un monde de flux incessants, de marchandises et d'images, Smith parvient à proposer un flux alternatif, qui vient rompre la répétition du même. L'authenticité n'est pas à chercher du côté d'une subjectivité triomphante dont la signature et l'expressivité marqueraient le retour, mais d'une recherche frénétique où sujet et œuvre se coproduisent et se modifient sans cesse." (extrait)
Anne Pontégnie.
Look at these Prices to develope Film!! My God! Thank goodness for Digital Cameras. $19.00 for 36 exporsure! Wow!
I guess Because it's such a "nichte" industry now. I haven't develope any Film in Years. thinking of "Fireing" up the Old Nikon N50 Film Camera. which i Love. I Have a Special Place that developes Film. if they are Still there!
Beyond intending to develop a mutually beneficial relationship between AUS and the UPC, this partnership will focus on Estidama, the sustainability programme of the Emirate of Abu Dhabi through the use of the Estidama Pearl Rating System (PRS) to enable various building projects on the campus to achieve Estidama Pearl certification.
The Pearl Rating System, the first tool to be developed under the umbrella of Estidama programme, became mandatory in 2010 and addresses the design, construction and operation of all new buildings in the Emirate of Abu Dhabi. The PRS is a customized rating tool designed for the climate and context of the UAEand contains a series of credits, some of which are mandatory and some that are optional. Projects that achieve the mandatory credits are compliant at a '1 Pearl' level, and the highest distinction is '5 Pearl' level. Estidama lies at the heart of the UPC's Complete Sustainable Communities (CSC) concept and ensures a truly balanced approach to sustainable urban planning through the overarching principles of Abu Dhabi Vision 2030.
Through this collaboration, the UPC and AUS aim to promote Estidama across theUAE by inspiring students and their respective communities while raising their awareness of sustainability challenges and solutions. As stated by Mohamed Al Khadar, Executive Director for Development Review and Estidama, UPC: "Awareness, education and knowledge are the main drivers that empower behavioral change and support the evolution of people's mindsets towards sustainable living. Students play a pivotal role in conveying the right messages to their families and the wider community to help ensure that Estidama gradually and positively impacts our natural and urban environments; this explains the importance the UPC is placing on this collaboration. Our main objective is to engage with students to encourage them to think carefully about how they will live and work in the near future. Such a partnership complements the UPC's 'UniverCity' outreach programme to ensure the full commitment and engagement of the UAE's student community."
AUS has decided to adopt Estidama principles for sustainable design and construction in the development of their new facilities; including the future Campus Parking Building, Design & Build Warehouse and Community Links. These will be the first buildings to receive PRS recognition outside of the Emirate of Abu Dhabi.
"We are very pleased to have signed this agreement with the Abu Dhabi Urban Planning Council," said Dr. Thomas John Hochstettler, Provost of AUS, on the occasion. "AUS has always been very keen to engage with and promote such industry initiatives. This collaboration is a reflection of the importance the university places on forging mutually beneficial bonds with leading institutions throughout the country," he added.
Founded in 1997 by His Highness Sheikh Dr. Sultan Bin Mohammed Al Qassimi, Supreme Council Member and Ruler of Sharjah, AUS is a leading educational institution in the Gulf region. Since its inception, over 8,000 students have graduated from the university. Accredited both within the UAE and in the USA, its Bachelor of Architecture program is also accredited by the National Architectural Board (NAAB) of the United States.
"We place a lot of emphasis on sustainability at our university and, therefore, it was natural for us to partner with UPC. We are committed to the sustainable design principles espoused by Estidama and plan to adopt them in our upcoming campus projects," said Shwan Alhashimi, Director, Campus Development at AUS.
"This partnership places AUS as the first priority project to incorporate Estidama principles and guidelines outside Abu Dhabi. This cross-emirate collaboration has the potential to aid the implementation of sustainability across the emirate of Sharjah in a variety of forms as well as promote design and policy consistency throughout the nation. Our university has previously implemented other codes and acts which began as Abu Dhabi initiatives," added Alhashmi.
The UPC's core mission, through the creation of strategic plans, is to make Abu Dhabi's urban environments attractive to the wide range of people living and working across the Emirate and provide students in particular with opportunities to express themselves through the UniverCity platform, and empower them to make a positive impact on the future of their communities. Over the coming years, Abu Dhabi's citizens will see a positive transformation within their communities, and students will play a pivotal role in advocating Vision 2030's sustainability principles.
Al Khadar added: "As we move ahead with creating a culture of sustainable living, such a partnership is cementing our relationship with the wider UAE community. It helps to educate a variety of public audiences on our concept of environmental, economic, social and cultural sustainability. By supporting universities to integrate Estidama sustainability best practices into projects that are part of the student learning environment, we believe we are making significant strides in educating future generations on sustainability solutions."
Educating future generations on sustainable living through the Estidama programme will help to fulfil the legacy of the late Sheikh Zayed bin Sultan Al Nahyan, founding father of the UAE, who was committed to the sustainable growth of the UAE.
My wife and I recently took a trip to Ho Chi Minh and Hoi An where we were able to photograph the life on the streets. For the first time since 2009, I decided that my main camera should be a film camera, and I shot a number of rolls of Ilford HP5+ and enjoyed every minute.
I absolutely loved the experience of shooting only film and I'm really happy with the way the scans have turned out. Developing the film was great and it makes you appreciate every shot.
This image marks the start of a forthcoming photo series which I'm really proud of. I hope you like it.
All images were made with one camera, one lens, and one film, a Voigtlander R3A, 50mm Nokton and Ilford HP5+. All images were developed in Ilfosol 3 and scanned with a Epson V550.
All images from this series can be found on my new website: richardharmerphoto.com
In February 1943, construction was begun in Oak Ridge on a graphite pile, which had been given the code name X-10. Though X-10 was under the jurisdiction of the University of Chicago, the staff was made-up largely of DuPont people. Everything connected with the project was kept secret;all classified materials were referred to by code name only. The English code name for uranium was "tuballoy."
The X-10 pile was still under construction when DuPont suddenly decided to switch to the water-cooling method & develop the model conceived by Dr. Eugene Wigner & his group. This was a major decision, announced by Crawford Greenewalt only after the company's careful study of the different methods. Work on helium cooling was abandoned, & the efforts of DuPonts's Design Division were concentrated exclusively on Wigner's model. Thus, the plutonium project followed a peculiar pattern: design & development were carried-out at the same time as the construction of the real plant & the building of the pilot plant. X-10 was completed in November, & although it could not serve as pilot for Hanford reactors, it produced small amounts of plutonium invaluable to the Los Alamos scientists as a research tool." MANHATTAN PROJECT...The Untold Story of the Making of the Atomic Bomb. Stephane Groueff. This picture has been used to portray the Oak Ridge, Tennessee, atomic pile/reactor prototype plutonium manufacturing industry's 1st design cooperative between giant corporations & nuclear/atomic/physicists working on the gov't's atomic device "to end the war."
The SC Neustar is a developed, designed and made in Singapore Integral Coach Bus.
The 12 buses in the initial Production Batch and were built with SC Chivalrous Bodywork are
PA1128P
PA1467K
PC87U
PC6254P
PC6281K
PC6802H
PC6870K
PC6873C
PC6954C
PC6986K
PC7097U
PC7162P
Subsequent buses received a facelifted (FL) bodywork designed for the SC Neustar.
Some of the subsequent buses are
PC7742R
PC7758X
PC7861E
PC8022D
PC8023B
PC8024Z
PC8025X
PC8074D
PC8075B
PC8076Z
PC8077X
PC8958D
PC8960X
PC9375D
PC9584S
Buses owned by Gain City
PC2791G
PC4253E
PC4807H
PC8959B
PC8966E
PC9262X
Marina Bay Sands is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands, it is billed as the world's most expensive standalone casino property at S$8 billion, including cost of the prime land.
With the casino complete, the resort features a 2,560-room hotel, a 120,000 sq.m. convention-exhibition centre, The Shoppes mall, an Art & Science museum, two Sands Theatres, six "celebrity chef" restaurants, two floating pavilions, a casino with 500 tables and 1,600 slot machines. The complex is topped by a 340m-long SkyPark with a capacity of 3,900 people and a 150m infinity swimming pool, set on top of the world's largest public cantilevered platform, which overhangs the north tower by 67m.The 20-hectare resort was designed by Moshe Safdie Architects. The local architect of record was Aedas Singapore, and engineering was provided by Arup and Parsons Brinkerhoff.
This species has a very well-developed and attractive double peristome. The leaves of this genus have a border of narrow, elongated cells with single teeth and a well-developed central nerve. This image was not made using a microscope, but instead a Nikon D300 with an inverted 28mm Olympus lens from my old Olympus OM4 film camera on extension tubes. I was surprised at how much detail of cell shape and structure could be resolved using this system. This is the kind of shot I probably would never have tried using film, but digital cameras make it easy to fiddle around with the details of the setup until it gives useful results.
Thanks to Denilson for confirmation of the ID!
Pima Air and Space Museum
Developed at the request of American Airlines the DC-7 was designed to be capable of non-stop transcontinental flights in competition to the Lockheed Super Constellation in use by TWA. The new airliner first flew in May 1953 and entered service with American Airlines in November of that year. The DC-7B is virtually identical to the earlier version of the plane apart from larger engine nacelles designed to hold more fuel. The DC-7 was the last of Douglas’s piston engine airliner designs that had begun with the DC-2 in the 1930s. Many DC-7s found use after the airlines with travel clubs and as fire fighting aircraft.
Wingspan: 117 ft 6 in.
Length: 108 ft 11 in.
Height: 28 ft 7 in.
Weight: 126,000 lbs (loaded)
Maximum Speed: 360 MPH
Service Ceiling: 27,900 ft
Range: 4,920 miles
Engines: Four Wright R-3350-18DA-4 radials with 3,250 horsepower each
Crew: 3 pilots, 2 flight attendants, and 64 to 95 passengers
Manufacturer: Douglas
Markings: T&G Aviation Inc. Chandler, Arizona, 1985
Designation: DC-7B
Registration: N51701
Serial Number: 44701
Little Whelnetham Bury St Edmunds Nikon F80 Nikkor 28-80mm f3.5-5.6 AGFA APX 100 Home Developed In Ilfosol 3 11-9-2022
Taken in the Georgetown neighborhood of Seattle
Pentax PC550 28mm
Kodak Portra 400VC
Lab C41
Epson 4490
It seems that just about every APS camera for sale on eBay has an undeveloped film inside it. This photo was taken on a Minolta Vectis S-100 by an unknown photographer on 9 July 2004 then it languished inside the camera until it was developed almost 11 years later in April 2015.
Reading along the banks of the East Race Water Way in South Bend, IN on a sunny afternoon.
Photographed using a Nikon F using a Nikkor-Q 135mm f/2.8 lens and Kodak T-Max 400 film. Developed in Kodak HC-110
BioInspired Devices, LLC develops medical devices inspired by the body. Our underlying phil -
osophy of biomimicry involves implementing strategies used in nature to prevent infections,
thereby reducing healthcare costs and saving lives. We are currently developing our patentpending
urinary catheter.
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, against the large central wall, a rural family is depicted suffering from the effects of drought, dust bowls, and poverty. Inscribed above the sculpture is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
Turning away from this historic scene, visitors encounter two more sculptural vignettes by George Segal which exemplify the overwhelming issue of poverty. One scene, Appalachian Couple, captures a farm couple caught in what appears to be an unending cycle of despair. They appear in front of their barn, their only obvious possession a wooden chair.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
ZoomCharts at DevClub.lv: Developing a Javascript SDK
On January 15, 2015, ZoomCharts Co-Founder and CTO Viesturs Zariņš presented at DevClub.lv - a community of Latvian IT specialists that gather monthly and host free talks, presentations, and events to allow the local IT community to share knowledge, network, and communicate. Zariņš discussed the unique challenges faced in developing JavaScript SDK.
Here is a brief overview of his PowerPoint presentation on ZoomCharts, the world’s most interactive data visualization software that will support all your data presentation needs with incredible speed.
What is ZoomCharts?
What defines ZoomCharts advanced data visualization software? It is NOT another HTML5 charts library. It is:
- Interactive
- Fast
- Touch enabled
- Supports big data
A long time ago
DOS 6.2 allowed for:
- 320x240x8bpp
- Direct access to pixels on screen
- Assembler for performance
Today, the Web has finally caught up in the graphics department. Now, we have access to:
- Multiple browsers and rendering technologies
- Multiple resolutions
- Performance that varies by browser and device
Development setup:
- We write in JavaScript
- Commit to GitHub
- Build system in JavaScript
- Debug in Chrome
- Run automated tests
- Like WebStorm (and Vim)
Graphics:
Canvas (fast)
SVG (slow)
WebGL (>50%)
Interactive animations:
Zoom in and out of the graph, drag and drop data, all with your mouse or trackpad.
Graceful degradation:
High FPS (frames per second) lets you scale graphics with low image degradation.
Third party libraries:
- Raphael
- Hammer.js
- Leaflet
- Moment.js
Challenges:
- Responsive design: layouts can shift and look nice on desktop screens vs. not so nice on vertical, mobile screens
- Big screen resolutions: uses devicePixelRatio for sharp rendering, but no hardware acceleration beyond 2048x2048
- Safari compatibility: with 100% CPU, input events are blocked and browser locks up; strange code offers fixes
- HTML on canvas: DOM is slow; basic HTML markup must be parsed and rendered manually; text caching helps
Support:
- Process: TrialSupportBuy
- 1 day issue resolution
- #1 Tell me what I did wrong
- #2 Can you do…
Testing:
- Automated tests on every GIT push
Automatically:
- Compare images
- Record performance
- View errors in console
Interactive testing:
- Next step: record and playback
BrowserStack:
- Interactive mode
- Automated: Selenium API
Debugging:
Chrome Developer tools (F12)
- Debugging
- Profiling
- Timeline
Remote debugging available: developer.chrome.com/devtools/docs/remote-debugging
Future:
- More charts
- Extension API
- Memory allocation tracking
- WebGL
We are looking for statically-typed language:
- Error checking
- Performance
- Superior minification
- Easy to write and read
- Easy to call from JS
Building
Custom build script:
- Compile
- Minify
- Extract documentation
- Embed customer data
Check out ZoomCharts products:
Network Chart
Big network exploration
Explore linked data sets. Highlight relevant data with dynamic filters and visual styles. Incremental data loading. Exploration with focus nodes.
Time Chart
Time navigation and exploration tool
Browse activity logs, select time ranges. Multiple data series and value axes. Switch between time units.
Pie Chart
Amazingly intuitive hierarchical data exploration
Get quick overview of your data and drill down when necessary. All in a single easy to use chart.
Facet Chart
Scrollable bar chart with drill-down
Compare values side by side and provide easy access to the long tail.
ZoomCharts
The world’s most interactive data visualization software
#zoomcharts #interactive #data #interactivedata #datavisualization #interactivedatavisualization #chart #graph #charts #graphs #Javascript #JavascriptSDK #DevClubIV #Latvia #PowerPoint #PowerPointpresentation #fast #bigdata
The last few times I have developed Sahnaghai GP3 film in Rodinal 1:200 stand development for 2 hours, I have noticed a recurring problem.
You can see in the top right hand corners of the image, the blotches that are throughout the image.
Perhaps not enough developer is getting to the film throughout the stand development process?
I thought my Fixer may be exhausted but I have developed other films without this problem.
This problem seems to be consistent with the Shanghai GP3 .... Any thoughts on why this may be happening ?????
Hasseblad + 80 mm + Shanghai GP3 + Rodinal 1:200 Stand Developed @ 2hours
First pictures developed from my "new" (expired 1993) 9x12 Fuji 160 NSP film.
9x12 is the european equivalent of 4x5. Film holders have the same external dimensions, but film area and dark slides are different.
I shot the film at ISO 100 with my Crown Graphic. Developed in Tetenal Colortek C41.
Although a 19 year old film, I am pleased with the results - colours are good, film is a bit grainy, but acceptable.
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
The course presents best practices to develop and operate science centres and museums relating to our natural and cultural heritage, and supporting programmes for the public.
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Foto: Lisa Zillio
Kodak Tri-x iso 400
Developed in Ilford ID-11/ 8 minutes
Kodak Scanner
The bridge itself was constructed in the late ’60s/early ’70s by New Jersey Bell so they could run telephone poles across the swamp. They left it standing after the work was completed. In its day, the bridge was a popular spot for crabbing. At one time you were able to drive to the top of the bridge and park, but you could never actually cross it because you could easily get stuck in the swampy marsh on the other side. The bridge has been vandalized and actually set on fire a couple of times (hence, half a bridge) It is only a matter of time before the township decides to tear it down.