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Branch tips from yellow-poplar are shot down with a rifle. These scions from superior trees are used in genetics study. Harrison Experimental Forest, Mississippi. (Forest Service photo by Robert W. Neeland)
First of a few trial shots from my new Arduino based water droplet trigger.
I'll post a setup shot and perhaps a circuit diagram of some sorts in the future. It's basically a solenoid triggered using the Arduino to open and close for 3 separately defined times (to create 2 drops) and then trigger the camera (which has a remote flash attached), in the hope to capture the second drop hitting the bounce back of the first drop hitting the water.
It's certainly easier to control than my previous attempts to photograph water droplets. It's also much easier to set up thanks to Openbuild V-Slots to build a stable frame.
More shots to come as I experiment with different timings, liquids, receptacles and lighting.
U135974 with Park Royal B40F body built in 1949 was trialed by Greenline before returning to AEC.It was repainted in AECs work fleet Yellow and was often seen around the works until bought for preservation.
photo Mike Forbes.
This part of the Jackson Bottom Wetlands Preserve were modified as an experiment. Using secondarily treated effluent from the Unified Sewerage Agency's (USA) Hillsboro Wastewater Treatment Plant, USA's researchers are investigating the use of wetlands to “Polish” the wastewater for removal of phosphorus and nitrogen. These nutrients are abundant in the effluent of conventional secondary treatment plants. This experimental program is part of USA“s comprehensive effort to reduce loads of phosphorus and nitrogen entering the water quality-limited Tualatin River.
This area is not currently being used for "Polishing." The Sewer District (Clean Water Services) is currently doing a study to formulate a long-term plan for the management of the Wetlands. One of the items on the agenda is the use of the Jackson Bottom Wetlands for final treatment of waste water. The ultimate goal is to have the water entering the Tualatin river be as clean as possible. "Polishing" helps reach that goal.
The foreground shows two more models by Yasser: the "Have Blue" experimental stealth fighter and an X-51 hypersonic cruise missile.
Jack also brought his first-generation jets: the He-178 and E.28 Pioneer, Northrop N-9 flying wing prototype, Horten Nurflügler and XF-85 Goblin parasite fighter.
I wait for ur feedbacks
Vorrei davvero dei pareri sinceri su questa foto, spero che arrivino. Non mi importa se sono positivi o negativi, mi basta sapere che ne pensate..
I’m starting to get back into my metal clay again (yay!). It has literally been months since I have gone near any metal clay work – I am a little faddish, and jump around from medium to medium anyway, but commission work had pushed everything back a bit too.
So this week I have been doing a few experiments, drawing inspiration from my zentangle doodle thing that I posted previously
www.flickr.com/photos/amadoradesigns/7144894749/in/photos... .
I took a few elements from the illustration and tried to bring it to life in metal clay. I’ve posted one or two of my experimental “chimeras” made by randomly combining various design elements I’m interested in
I kind of love the “centipede” - and the “chimera” one is really weird isn’t it lol...I think it will sit on my desk as a reference guide. I’ll be making a proper metal clay piece next, incorporating some of these ideas... it feels sooo good to be back in the metal clay groove again
First Light Boston 2014
www.facebook.com/events/519043584859658
2nd Floor: Experimental Spaces @ Hynes Convention Center (First Night Boston, MA)
www.facebook.com/events/185443144987005
3rd Floor: Experimental Spaces @ Hynes Convention Center (First Night Boston, MA)
www.facebook.com/events/590315474373333
First Light Boston is a new media art interactive exhibit taking place on New Year's Eve 2014 as part of the Family Festival and First Night Boston. Our artists use cutting edge technology combined with traditional fine arts to create fun and immersive experiences for revelers of all ages.
Projects displayed range from creative displays of science to large format art installations, including a 15’6” tall scale model of the Prudential Tower animated with video projections, and an installation that turns cosmic rays into beautiful visuals. Contributors come from a wide range of backgrounds including installation artists, experimental physicists, local engineers and makers, and even teen programmers thanks to a collaboration with Cambridge-based NuVu Studios.
Executive Producer: Mihai Dinulescu
Creative Director: Priscilla Graeff
Line Producer: Matt Weston
In collaboration with NuVu Studios, Zebbler Studios, CEMI Electronic Media Institute, and Fractal Tribe.
First Light will take place from 1pm-10pm at the Hynes Convention Center, 900 Boylston St, Boston, MA 02115. Rooms 201, 202, and 203.
General Admission -$10 First Night button at firstnightboston.org
First Night artists (Figment and more!) get in free!
Chrysalis - Chelsea Southard
Kinect Visualizations- Russell Hanson
Metal Sculptures- Randal Gardner
NuVu Student Projects- NuVu Studio
Tensor- Andrew Bressen
Angler Fish- Dorothy Bassett, Lily Berman, Kate Van Rees
Demoscene- Sacha Panic
Hallucinator Cube- Brian Nelter
Mesmer Dreams- Wayne Strattman
Live Kinetic Mural- Liz Manicatide
Platonic Harmonics- Kedaar Kumar
TagTool Session- Priscilla Graeff
Chameleon- Emma Gersten
Florem Universale- Sacha Panic
Psymatix- Andrew Bunyan, Evan Hashim
Machine Drawings- Christopher Konopka
RubixPru- Diana Levy, Aaron Fractaltribe, Rob Lumbra, Theresa Silver, Chelsea Southard, Mihai Dinulescu
Performances
Ambient Lights- Carl Gruerz
Augmented Dress- Naomi Davidoff
Belly Dance Performance- Laura Blake
LED Hoop Performances- Alicia Coady, Lolli Hoops
Electronic- Music Matt Weston
Wearable Critters- Margaret DeMille
These are the two space models that I built for the collaboration in the last few weeks before the event: the X-20 Dyna-Soar and the X-37B OTV (and support vehicles).
Each bead is a little different, from the base the coating was painted on, the addition of inks, inclusions and other bits and pieces.
Chicago 2000 (197?)
Excellent French synth/experimental library LP with tracks focused on the medical field.
You can listen to several tracks off the Discogs page in the videos section on the bottom right:
www.discogs.com/William-Gum-Boot-Lawrence-Wiffin-Th%C3%A8...
Now go throw these tracks on and get your surgical equipment ready!
This is a totally experimental daal I just cooked. I didn't follow any recipe I know of and just did it off the cuff as the ideas flowed from my mind. Here's how I made it.
Equal measures of black Urad daal and Moong daal - use as much as you think you need to cook, but keep them equal. Wash the daal thoroughly - in some countries this is really important as you can get small insects in daal. Place in a large, deep pan with plenty of water so it's totally covering the daal by at least twice its volume and boil with a little salt. In another pan heat vegetable oil and add two tea spoons of paanch phoron (five spice) and heat till the phoron starts to sputter. Add some petits pois (baby peas) and haldi (called hollud in Bengali or turmeric powder in English) and fry till the haldi is well coated on the petits pois. Next open a can of tomato and chuck it in. Mix till it all starts to boil. At this point I added some salt and brown sugar and tasted to see how it was. Nice! Next you should take the daal off the boil and very slowly, so as not to scald yourself with hot water, tip all the daal in to the pan containing the petits pois and mix it in well. If required, add some hot water to the daal so it maintains a runny consistency. Raise the heat to bring to the boil and then lower heat, put on the lid and cook till the daal becomes soft. Taste it at this point and add more salt if required. You'll notice the daal expands in volume a lot. Make sure you keep it all nice and wet and don't let the water level drop below the top line of the daal in the pan otherwise the daal will be too dry. That's it! I just took mine off the heat and let it stand for ten minutes. It tastes great! Now I need to think of a name for this recipe.
I've stumbled across a new, experimental technique for pre-soaking film prior to developing it. (I've shared this story in the discussion forum of the Triangle Film group, but for those who are not in that pool I thought I should share it here as well.)
Lately I've been pre-soaking my black & white film with water (distilled, usually) for a few minutes prior to developing. I can't say for sure whether it has helped, but it certainly hasn't hurt, so I plan to continue doing it.
As for color film, I always bring that into the lab (Southeastern Camera in Carrboro) to have it developed, so I never thought to experiment with pre-soaking it. I mean, since the entire development process is out of my hands, there's really no way to try it.
Or so I thought. Until today.
Earlier today, you see, quite by accident I hit upon the following experimental technique: just dunk a roll of medium-format color film (Kodak Ektar 100, in my case) in water for about 20-30 seconds or so while it is mostly wound on the take-up spool. By 'mostly,' I mean you should leave maybe one-and-a-half frames unwound. After you remove the film from the water, wind those remaining frames onto the spool and dry off the whole roll as best you can using a towel.
OK, I know what you're wondering: How do you pre-soak the film with those frames off the spool and not expose them to light? This is the really clever part. What you do is load the film into your camera, expose 11 out of 12 frames, and then dunk the whole camera in the water! That way, after removing it from the water you can finish winding the film on the spool without exposing it to light.
Now you're surely asking, won't this possibly damage your camera? Perhaps, but sometimes bold sacrifices must be made in the name of progress. Still, you may not want to try this with a Rolleicord or a Hasselblad. I recommend trying it with an entry-level TLR. An old Yashica-A, for instance. And as an added benefit, through this experiment you'll learn which parts of a camera are water-tight and which are not.
Oh, I almost forgot to mention one additional experimental factor: I decided that instead of using distilled water I'd try using the water in the big pond at Duke Gardens. That way, if there are any chemicals in the water, be they organic or inorganic, I might get some cool cross-processing effects. I mean, you never know until you try, right?
At this point you may be thinking this whole thing is an April Fools joke. My Yashica-A and I assure you it is not.
I'll probably bring my experimental roll in to be processed this evening, and I'll share the results after I get the negatives back. I might also share some photos of my next project, which will be to clean and lubricate an old Copal leaf shutter mechanism.
Update: It seems the film needs to be completely dry before the lab can process it, so I need to pick it up, take it home, unroll it so it can dry out, then roll it back up and bring it back in to be processed. Needless to say, the unrolling, drying, and re-rolling need to be done in total darkness. As a result, it will be a few additional days before I get to scan the processed negatives.
In other news, I think I've got the shutter mechanism working again, so the camera should be back in action soon.