View allAll Photos Tagged installation
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Concept art done for Installation 01, a Halo fan game. These were revealed in our new media page on our recently revealed website installation01.org/media
When I approached this tarpaper shack I did not expect to encounter an art installation. I have made every effort to capture the context of the installation. It was so unexpected upon my approach because of the condition of this building. This is purported to be the work of photographers Deon and Trish Reynolds who resided in Eureka, Nevada. The subjects in the photo and the building are of a similar vintage- 1880-1910. These are the ruins of the Ruby Hill Mine, a short distance outside Eureka, Nevada
EXPLORED - no. 447 on 10th July 2011. Thanks everone for your comments and faves.
This is an art installation outside Colin's office building in the City of London. Apparently, it's lit up at night, though Colin will have to wait until the autumn before he sees that!
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji VELVIA 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
February 20th, 2009. Cube 4 Gallery at Ohio University.
REFLECTIONS
October 9, 2008
A DOCUMENTATION
The photos collected here are a small part of a larger series of “Reflection” photos I have been collecting for two years. They are close-up images of reflections found on the surface of the ponds and streams located within a short distance from my home outside of Logan, OH. The collection displayed here represent the photos taken during a two hour period on the afternoon of October 9, 2008. Viewers can refer to the time charts found along with the display to follow the sequence of the shoot.
As this project has developed I have begun grouping photos into set of three based on similarities in different formal, objective, or time based elements. The selection process has no specific rules, but is based more on personal editorial vision. The sets are the primary way in which the reflections are typically displayed.
In this specific exhibition, I have chosen to give a more general overview of the variety of images I might find during one shoot, rather than showing only selections of my personal editorial choices.
Jonas Hart
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji VELVIA 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Nikon D700 + AF Nikkor 80-200 f/2.8 D. Bague 77mm-82mm B+W 82E C-POL bague 82mm-86mm Sigma DG Circular et Cokin P160 polarisant.
www.flickr.com/photos/75468899@N05/51237150487/in/datepos...
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Velvia 100
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
Installation boredom
Masterstudiengang Bühnenbild_Szenischer Raum; z.Zt. www.lwl.org/industriemuseum/standorte/henrichshuette-hatt...
Greg Mitchell Photography and Tactile Photo are exclusively represented by Hammond Art Consuting Services: for consultation, design, delivery and installation on commercial, healthcare and hospitality projects, please contact Alan Hammond at (916) 205-3925 or visit their website at www.hammondartconsulting.com
Camera: Minolta X-700
Lense: Zeiss Flektogon 35mm,
F 2.4
Film: Rollei Superpan 200
Processing: Adox FX-39, 1+9,
13:30 min, 20°, digitized with Epson V370, Hybrid -> digital texture layering
Found in an abandoned office. Although I'm not impressed with Windows 10, I don't think I'd want to go back this far!
This was a test run of an installation I did as part of my Fine Art degree.
The concept was that as a way of showing my dedication and love of Japan, I folded a thousand origami cranes, which in Japanese legend will grant the folder one wish.
I had some stuck to the wall, referencing the The Wave by Hokusai.
Camera: Mamiya 645 1000 S
Lense: Mamiya-SEKOR 50mm Shift, F4.0
Film: Fuji Velvia RVP 50
Processing:
E-6 by PS13, digitized with Epson V850Pro
yashica mat 124g
kodak portra 160VC (expired)
I was really surprised when I saw this scan - I thought that there was no way this shot would come out. To take it I put my Yashica on my bag as I had no tripod and exposed for about a minute during a loud concert with everything vibrating from the powerful bass and also the wooden floor shaking from the movement of people. Still it looks quite sharp. The framing is almost completly random, I couldn't see much on the focusing screen and I couldn't really point the camera in the desired direction on my bag-tripod...
Camera: Mamiya C330
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Canon 7D + Zeiss FLEKTOGON 35mm
Camera: Mamiya C330
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V370
Well framed automotive art looking a little like "The Nighthawks". London, like so many cities is a place of contrasts with rich and poor. This window is located in one of the more prestigious postcodes.
Thank you for any and all views, faves, invites to groups, comments and constructive critique. I’m not keen on: invitations to post 1 award 3; copy and paste comments (you know who you are); or links to your work. If you like my images there is a good chance I will like yours and I tend to reciprocate views as a matter of courtesy and personal interest. All my images are my own original work, under my copyright, with all rights reserved. This means asking the owner's permission, and obtaining it, before using the image for ANY purpose.
Copyright infringement is theft.
Camera: Mamiya C33
Lense: Mamiya-Sekor 65mm, F3.5
Film: Fuji Provia 100 F
Processing: E6 by PS13, digitized with Epson V850 Pro
Camera: Voigtländer BESSA L
Lense: Voigtländer SKOPAR 25mm, F4.0
Film: Agfa CT Precisa 100
Processing: E6 by PS13,
digitized with Epson V850 Pro
Camera: YASHICA MAT 124 G
Lense: Yashinon 80mm, F3.5
Film: Fuji Pro 160NS
Processing: C41 by PS13, digitized with Epson V370
Camera: Mamiya 645 PRO TL
Lense: Mamiya-SEKOR 50mm, F4.0 Shift
Film: Fuji Provia 100 F
Processing: PS13, digitized with Epson V370
NASA PHOTO KSC-69PC-238
VIA J.L. Pickering. REMASTERED by Dan Beaumont.
NASA INFO: The Apollo 11 rocket towers over the Kennedy Space Center’s crawlerway during the May 20, 1969 rollout from the Vehicle Assembly Building to Launch Pad 39A. The Saturn V launched astronauts Neil Armstrong, Michael Collins and Buzz Aldrin on the first lunar landing mission two months later.
By Bob Granath,
NASA's Kennedy Space Center, Fla.
Construction of the Vehicle Assembly Building, or VAB, at NASA's Kennedy Space Center in Florida began a half-century ago this summer. After serving through the Apollo and Space Shuttle Programs, the mammoth structure now is undergoing renovations to accommodate future launch vehicles and to continue as a major part of America's efforts to explore space for another 50 years.
Construction began with driving the first steel pilings on Aug. 2, 1963. It was part of NASA's massive effort to send astronauts to the moon for the Apollo Program. Altogether, 4,225 pilings were driven down 164 feet to bedrock with a foundation consisting of 30,000 cubic yards of concrete. Construction of the VAB required 98,590 tons of steel.
When completed in 1965, the VAB was one of the largest buildings in the world with 129,428,000 cubic feet of interior volume. The structure covers eight acres, is 525 feet tall and 518 feet wide.
To accommodate moving, processing and stacking rocket stages, 71 cranes and hoists, including two 250-ton bridge cranes were installed. On the east and west sides are four high bay doors, each designed to open 456 feet in height allowing rollout of the Apollo/Saturn V moon rockets mounted atop launch umbilical towers.The VAB was constructed 3.5 miles from Launch Pad 39A and 4.2 miles from Launch Pad 39B. A pair of crawler-transporters, among the largest machines ever built to move on land, carried the assembled rockets to the pads.
After the conclusion of Apollo in the 1970s, the building was refurbished to accommodate the space shuttle. Inside the VAB, the shuttle solid rocket boosters were stacked atop a mobile launcher platform. The external fuel tank was attached between the two boosters and the shuttle mounted to the tank. Following three decades of flight, the shuttle was retired in 2011.
Modifications of the VAB are underway to support the Space Launch System (SLS) and Orion spacecraft, which also will result in the ability to process multiple launch vehicle types. SLS will be the agency’s advanced heavy-lift launch vehicle providing a new capability for human exploration beyond Earth orbit. However, NASA also is partnering with private industry on launch vehicle and spacecraft development options for taking astronauts to low-Earth orbit and the International Space Station.
Last year shuttle-era work platforms were removed from the VAB's High Bay 3 as a project of Ground Systems Development and Operations, or GSDO, to accommodate the SLS heavy-lift rocket.
According to Jose Lopez, the VAB senior project manager in the Vehicle Integration and Launch Support Branch of GSDO, the changes are part of a centerwide modernization and refurbishment initiative in preparation for the next generation of human spaceflight.
Lopez noted that some of the utilities and systems scheduled for replacement at the VAB have been used since the facility was originally built. This initial work is required to support any launch vehicle operated from Launch Complex 39 and will allow NASA to begin modernizing the facilities while vehicle-specific requirements are being developed.
Plans for 2014 include awarding the construction contract for new access platforms, including structures and systems required for the SLS.
Some of the current work has included removal of over 150 miles of obsolete Apollo- and shuttle-era cabling. This will make room for installation of more efficient, state-of-the-art command, communication, control and power systems needed to perform testing and verification prior to the SLS and other rockets being rolled out to the launch pad.
As plans move ahead to outfit the VAB with the new infrastructure, code upgrades and safety improvements, the building will continue in its role as a central hub for the Florida spaceport well into the future.