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Digitized photograph of a landscape of large rock outcropping and boulders. There is a rock formation that forms a bridge between two outcroppings. To the far right is the wall of a structure that has a window with a metal grill. Coming out from the building is a small, man-made bridge. A man in a suit is standing in the open area underneath the stone bridge.
Courtesy of the Chattanooga History Center
Blog-post on how to digitize old 35mm negatives at heipei.net/2015/03/15/digitizing-old-35mm-film-negatives/
Behind-the-scenes of the Kelmscott Chaucer's digitization process.
This image is for the non-commercial use of UBC Library branches only. For non-UBC use please contact library.communications@ubc.ca.
Photo by: UBC Library Communications and Marketing
Purchased at a thrift store in...
Avondale Estates, Georgia.
8 October 2017.
▶ Digitizing the record collection, one LP (EP, 45) at a time.
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▶ Original Release Date: 1976
Label: Label: RCA Victrola (AVM1-1741)
ASIN: B0040P9IWM
SIDE 1
Opening Chorus
Where's The Mate For Me? - Make Believe
Ol' Man River
Can't Help Lovin' Dat Man
Life Upon The Wicked Stage
Till Good Luck Comes My Way
I Have The Room Above
Nobody Else But Me
SIDE 2
I Might Fall Back On You
You Are Love
Opening Of Act II (At The World's Fair)
Why Do I Love You?
Bill
After The Ball
Dance Away The Night
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▶ "This anthology, assembled for RCA's Victrola America series of reissues of historical recordings, compiles recordings of songs from Jerome Kern and Oscar Hammerstein II's musical Show Boat made for RCA over a period of more than 30 years. The basic source is a 1956 studio cast LP (originally released as RCA Victor 2008) featuring Lehman Engel and His Orchestra with Robert Merrill voicing the part of Gaylord Ravenal, Patrice Munsel as Magnolia Hawks, Janet Pavek as Ellie, Kevin Scott as Frank, and Risë Stevens.
The nine tracks excerpted from this recording, featuring opera-trained performers, emphasize the show's roots in operetta. The album is filled out by both sides of a 1928 single by Helen Morgan, who played Julie LaVerne in the original Broadway production in 1927, singing her two featured numbers, 'Can't Help Lovin' Dat Man' and 'Bill'; a 1928 recording of 'Ol' Man River' by Paul Whiteman and His Orchestra featuring Paul Robeson, who played the part of Joe in the original London production and the 1932 Broadway revival; a version of 'Why Do I Love You?' by Dorothy Kirsten and Robert Merrill from their 1949 album of show tunes; and two somewhat obscure songs from a 1959 studio cast recording, 'I Have the Room Above,' written for the 1936 film version and sung by Howard Keel, who starred in the 1951 film version, and 'Nobody Else but Me,' written for the 1946 Broadway revival and sung by Gogi Grant. (Other rarely recorded songs from the score heard here are 'Dance the Night Away,' which was written for the original London production, sung by Stevens, and 'Till Good Luck Comes My Way,' sung by Merrill.)
Of course, with shifting vocalists, musical approaches, and time periods, one gets a mixed sense of the musical's score from this album, but this is a disc for aficionados of Show Boat who have longed to have copies of these long out of print recordings. In the case of the Morgan selections, it contains two recordings contemporaneous to the original production by a member of the original cast."
— AllMusic
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
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▶ Camera: Olympus Pen E-PL1.
— Lens: Olympus M.45mm F1.8.
— Edit: Photoshop Elements 15.
▶ Commercial use requires explicit permission, as per Creative Commons.
Edited image from the Digitized Sky Survey 2 of the Pinwheel Galaxy in context.
Original caption: This two-colour image shows 3.7 x 2.7 degrees of the surroundings around the Pinwheel Galaxy. It was composed from Digitized Sky Survey 2 images.
I posted a shot of how I digitize my film shots a few weeks ago then promptly went on vacation where I took a lot more shots that I wanted to digitize. While on vacation, I had some ideas on how I could make my digitization process a lot easier.
Enter the Ditigizer Mark II. With around $10 in purchased pieces and the rest scrap laying around the house, I have made the device I was looking for.
The concept is simple. You have 2 lights wired together - one on each side. They provide the light (I am using compact fluorescent bulbs to cut my heat). They illuminate the negative that is placed over the hole in the box. The box is from my Nikon D-60. The taped pieces in front hold the negative flat. And, it works (check my Holga and FED shots).
WARNING - if you do not know what you are doing with electricity, DO NOT attempt this project on your own. I am not responsible if you electrocute yourself or burn your house down. Use common sense - and if you don't have that, don't attempt this project.
I added the Black N White effect using GIMP.
Normally I do not modify any of the photo I click. But I guess working with some photo editing software is fun...
I have uploaded the Original of this photo on Facebook here's the link
Diversity: Digitized In The Game Tour @ Capital FM Arena, on April 03rd, 2012 in Nottingham, United Kingdom
A LOT more photographs of Diversity to come soon....
© Ollie Millington.
All rights reserved. Use without permission is illegal !
You can see my best photographs of 2011 by clicking
here .
My Website currently undergoing a facelift...
Preservation Specialist Ashley Cox and Preservation Technician Tom Schmidt remove a rubber band from a military record salvaged from the 1973 fire. St. Louis, MO, June 2, 2023. National Archives photo by Sean Derrick
Custom design for koozies for a wedding gift. Digitized flower motif from save-the-date in Adobe Illustrator, converted to vectors, then into embroidery file in Embird. Embroidered purchased blank navy koozies and backed with waterproof glue to seal stitches against wear.
Digitization Lab in O'Neill Library where the holdings of The Sacred Heart Review were recently cataloged. Team members who saved the Boston publication included William Donovan, David Richtmyer, Naomi Rubin, Thomas Wall, Bridget Burke and Betsy Post. Read more at bc.edu/chronicle (Photo by Lee Pellegrini)
The DPG staff worked with Conservation to digitize extremely large 1:1 scale painting/collages done for large scale tapestries often displayed in airports by artist Mark Adams. The large scale items required shooting from a 2nd story loft and extreme care in handling.
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 28mm f2.8 Elmerit Digitized with Negative Lab Pro v2.1.2 28mm f2.8 Leica | Kodak TriX 400
Scanned with Epson V550 | Lomography
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020). Review: P. Blanckenhagen (1963) & Foto: Simona Murrone, Rome / Instagram (19 Dec. 2019). S.v., Rodolfo Lanciani, F.U.R. (1901) [in PDF]; Italo Gismondi, I Fori Imperiali (1941) & Giuseppe Gatti; Edoardo Gatti & Guglielmo Gatti, in: Carta Archeologica di Roma (1947, 1962 & 1977). wp.me/pbMWvy-dv
1). ROME - Digitization of Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962). Stanford University (2020).
The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
Whether on the occasion of his first visit in the 1930s or during the more extensive stay in Rome that followed his American adventure (on this, see his biography), Nash’s understanding of the city was greatly conditioned by the groundbreaking work A Topographical Dictionary of Ancient Rome—written by Samuel Platner, revised by Thomas Ashby and published in 1929. That handy guide to classical buildings in the city inspired Nash, whose keen eyes noticed its most glaring lacuna: The book was largely unillustrated. Here, then, was an opportunity to improve the study of classical architecture and archaeology. By bringing his interests and knowledge to the table, Nash strove to provide an illustrated postscript to Platner and Ashby’s classic tome. But more than that, Nash saw an opportunity to conduct historical studies using a medium that went beyond the traditional stuff of scholarship, namely written texts and drawn surveys.
The dictionary publishes 1,338 of the 1,500 photographs taken by Ernest Nash while in Rome during the 1930s and '50s and supplements them with concise historical and architectural descriptions. Curiously, six monuments which lack any physical remnants were arbitrarily included and illustrated not by photographs of ruins, but by images of coins and fragments from the Forma Urbis—the second-century marble map of the city that survives in fragments. That strategy could have been adopted for more than just a parsimonious selection of sites, as some contemporary reviewers noted.
Fonte / source:
--- Nicola Camerlenghi, The "Pictorial Dictionary of Ancient Rome" Digitization of the "Pictorial Dictionary of Ancient Rome": Volume 1 & Volume 2. Stanford University (2020).
exhibits.stanford.edu/nash/feature/the-pictorial-dictiona...
2). ROME - Peter H. Von Blanckenhagen [review of], Ernest Nash, Pictorial Dictionary of Ancient Rome. New York: Frederick A. Praeger. Vol. I (1961) & Vol. II (1962), in: The Art Bulletin, vol. 45, no. 1, 1963, pp. 62–64. Fonte / source: JSTOR, www.jstor.org/stable/3048060. Accessed 13 May 2020.
2.1). P. Blanckenhagen, review (1963), p. 1 =
www.flickr.com/photos/imperial_fora_of_rome/49891240501
2.2). P. Blanckenhagen, review (1963), p. 2 =
www.flickr.com/photos/imperial_fora_of_rome/49891551192
2.3). P. Blanckenhagen, review (1963), p. 3 =
www.flickr.com/photos/imperial_fora_of_rome/49891551162
Foto / fonte / source:
--- Simona Murrone, Rome, the Imperial Fora & the basilica di Massenzio / Instagram (19 Dec. 2019). www.instagram.com/p/B6WQwtJIDpN/?utm_source=ig_web_copy_link
S.v.,
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: DBCAR – DATABASE DEL BULLETTINO DELLA COMMISSIONE ARCHEOLOGICA DI ROMA, dal 1872 al 2007, per un totale di 4.080 titoli, in: Saverio G. Archaeologist (04/2018); & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma (1893 – 1901), in: PDF & edizione digitale (2018).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: CARTA ARCHEOLOGICA DI ROMA – INFORMATO MULTIMEDIA: 1). Aggiornamento alla Carta Archeologica di Roma (1947, 1962 & 1977 [2016]) in PDF. & Rodolfo Lanciani, “La Forma Urbis Romae,” Roma | Milano, (1893 – 1901) in 1:1000 in PDF. Foto: Giuseppe Francesco Gatti; Edoardo Gatti & Guglielmo Gatti, SSCOL (2016).
--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Cairoli Fulvio Giuliani, “La Pianta dei Fori Imperiali”, in: Articolo di Cairoli Fulvio Giuliani tratto dal catalogo della mostra Ricostruire l’Antico prima del virtuale. Italo Gismondi. Un Architetto per l’Archeologia (1887-1974) a cura di Fedora Filippi. SSBAR | Archivio (2009). S.v., Alvaro de Alvariis (2012); James E. Packer (2008 [= Pierino Di Carlo (1979|1935]); IL MESSAGGERO (23|01|2015) & Dr. Anna M. Liberati (2003).
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--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
romaarcheologiaerestauroarchitettura.wordpress.com/
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-2020: ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
Diversity: Digitized In The Game Tour @ Capital FM Arena, on April 03rd, 2012 in Nottingham, United Kingdom
A LOT more photographs of Diversity to come soon....
© Ollie Millington.
All rights reserved. Use without permission is illegal !
You can see my best photographs of 2011 by clicking
here .
My Website currently undergoing a facelift...
Learn more about the pilot project on our blog: blog.americanhistory.si.edu/osaycanyousee/2014/03/get-mon...
"Name Dropper" Digitized ink and photo oil tint, and spraypaint on board. Originally it was just the hand with the name-dropper & name drops in ink on bristol board, Then I made a photo-print and used Marshall Oils to tint the hand and sleeve and dropper. Then I digitized that stage and added the gray cityscape with the Moon in the background. Voila!
Digitized with Negative Lab Pro v2.1.2
Leica M6 | Leica Voigtlander Nokton Vintage Line 50mm f/1.5 Aspherical II VM Multi-Coated | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2