View allAll Photos Tagged material
KW Patent Etui (BJ 1928) 9x12, Jos. Schneider &Co. Kreuznach Xenar 4.5/13,5cm in Compur, Fomapan 100, Rodinal 1+50, 12min
Nothing is entirely immune to the harsh environment of space. Out there, things and organisms degrade at a faster pace and in different ways. To understand how materials age beyond Earth’s atmosphere, up to 141 samples are spending a minimum of six months exposed to outer space for the Euro Material Ageing experiment.
Radiation, vacuum, temperature extremes and even space debris are hitting this selection of inorganic materials on Bartolomeo, Europe’s ‘front porch’ on the International Space Station.
No filters or protection allowed, each sample has a bare surface of 20 millimetres cramped between two aluminium plates. The diverse palette in this image shows metallic glass, ceramic composites, silicon, diamond-like carbon, carbon fibres and plastics, among others.
Europe has years of experience in sending biology samples to space, but this is the first time ESA and the French space agency CNES expose inorganic materials outside the Space Station.
NASA astronauts Sunita Williams and Nick Hague used the Station’s 17-metre-long robotic arm last December to place the Nanoracks airlock on Bartolomeo, where the experiment is facing the full spectrum of space environment hazards.
As Nick Hague said in a social media post, “Materials research is critical to our exploration of space. Vacuum, extreme hot and cold, radiation – these are the harsh realities of the space environment. The right materials can help us survive in space and dare to go further, and can also improve life on Earth!”
Euro Material Ageing is testing how exposure to space can be bad for the health of spacecraft components. Whether a mission is orbiting Earth or operates in deep space, unwanted effects include discoloration, embrittlement and buckling.
The Space Station experiences frequent changes from sunlight to darkness while circling our planet. Materials go through drastic temperature shifts from up to 150°C in sunlight down to –150°C in the shade. Such thermal stresses lead to accelerated ageing, potential cracking and misalignment.
Samples are exposed to highly reactive atomic oxygen formed at the topmost fringes of the atmosphere and known to eat away satellite surfaces. Materials in this experiment will also cope with ‘outgassing’ in vacuum – the gradual boiling away of chemicals and solvents – which could contaminate sensitive satellite surfaces such as lenses.
Results from the Euro Material Ageing experiment could inform the design of fire-retardant and rust-resistant materials, and better protection for satellites could in turn help improve plastic siding for your house.
The exposure time is planned between six and 18 months. After completion, the facility will be transferred back inside the International Space Station. A new set of samples will be waiting for a second immersion into the harshness of space.
Credits: ESA/NASA
To keep from going stale you must forget your professional outlook and rediscover the virginal eye of the amateur. Brassai
Mauritania
The Recipe
5 mins pre soak
8.30 mins Ilford ID11
Stop 2 mins
5 mins Ilford Fixer
10 mins wash
plus a bit of wash aid
Material Circulante: CP 4722 + 5 Sggmrss + 7 Sgnss + 4 Sgmms + 1 Lgnss
Hora: 12:48
Data: 12-09-2015
Local: Estação de Santarém (PK 74 - Linha do Norte)
Serviço: Comboio Especial n.º 95226 (Entroncamento --» Terminal de Mercadorias da Bobadela)
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
.
.
Photograph taken at an altitude of Five metres at 11:21am on Wednesday 28th July 2021 at 81 Central Parade, in front of Waltrop Gardens, looking towards the remnants of one of the original piers at Herne Bay on the Thames Estuary, CT6 5JQ, England.
This is all that remains of the third pier at Herne Bay, with just the steamer passengers landing stage remaining after a storm January 11th 1978 which wrecked the 3,787ft (1,154m) wooden pier, designed by Wrighton & Co which originally opened in 1899.Further out we see the Kentish Flats Offshore Wind Farm, completed in 2005 and located on a shallow plateau just outside the main Thames shipping lanes. You can also see a cluster of Maunsell sea forts built in 1942 and decommissioned in the 1950's.
.
.
I left at 9am for the One hour journey down with the possibility of sun, cloud and rain showers. At Herne Bay it was time for my usual stop at 'Makcari's Coffee Lounge & Ice Cream Parlour' for a slice of cherry and almond gateaux and a lovely latte coffee before a pleasant stroll on a mixed day. With rain off in the distance I headed back to the car, just getting inside before the heavens opened!
On the drive home torrential rain and wind made it impossible to see the road ahead at times, before clearing and sunny spells dominating. A typical British summer day, you might say!
.
.
Nikon D850 Hand held with Nikkor VR Vibration Reduction enabled on Normal setting Focal length: 190mm Shutter speed: 1/800s Aperture f/9.0 iso160 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX) Focus mode: AF-C focus AF-Area mode: 3-D tracking Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto 1, 0, 0 (5710K) Picture control: (NL) Neutral +2 sharpening
Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS (Firmware version 1.00 05/11/2019). Lee SW150 MKI filter holder with MK2 light shield and custom made velcro fitting for the Sigma lens. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Black Rapid curve breathe sport shoulder strap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Jessops Tripod bag.
.
.
LATITUDE: N 51d 22m 19.12s
LONGITUDE: E 1d 7m 9.31s
ALTITUDE: 8.0m
RAW (TIFF) FILE: 130.00MB NEF FILE SIZE: 91.20MB
PROCESSED (JPeg) FILE: 43.10MB
.
.
PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
Varias hileras de coches convencionales, algunas 252, unas pocas ramas Talgo y 3 447s descansan en la playa de viajeros de Can Tunis.
Several conventional carriages, some 252, a few Talgo racks and 3 447s rest in Can Tunis passengers yard.
Realizing I'm over a year behind on posting pics, I'm going to try posting by month, and play a bit of catch up. Presenting Marchof '17 .
While Flickr will always have the most images of each outfit, follow me on Instagram (/secretjess42) to see the latest pics!
Un 599 regresa vacío a Cerro Negro después de prestar servicio en Soria y Madrid a su paso por el Campo de las Naciones.
Materials: oil on canvas. Dimensions: 53 x 34 cm. Source: www.boijmans.nl/en/collection/artworks/4502/the-entrance-.... I have changed the light and contrast of the original photo.
Rivers of molten material flow around pebbles of matrix. Impact melt breccias are among the most texturally diverse meteorites. It is the result of the variables of impact events including the composition, speed and angle of the projectile, the composition and porosity of the melted target, and the size, shape and abundance of the unmelted inclusions. This is a fascinating representation.
This meteorite is the result of an impact having occurred in interplanetary space at cosmic velocity (more than 5 km/second) that melted the portion of the parent body from where these meteorites originated—before being launched into an Earth-crossing orbit and eventually landing in the African nation of Niger. The Tassédet 004 meteorite has been classified as a H5-melt breccia and was found near Agadez in 2016.
When cut, the meteorite has abundant grains of iron and metal veins running through the stone. Batches of melt appear as shiny black areas with tiny round blebs of melted iron enclosed in the melt. The melt areas flow and wind across the slice.
What a beauty!
My Palette, I bought this palette but have just swapped my paints to a different palette as I didn't like the dividers that hold the paints in place (they seem to hide too much of the pans).
took this nice snapshot of all these coils with all these threads. it looks really messy but i reckon it looks pretty cool.
Latest edition of my transparent materials.
Yellow brick is my reference to ensure lighting is the same as my real set up on my desk.
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
Diamonds are a girl's best friend + 'Cause we are living in a material world, and I am a material girl... = essa mani HAHAH
Realmente, diamantes são os melhores amigos das mulheres e só me restam eles - ops, não tenho diamantes. É, só me restam as unhas mesmo...
Usei mils camadas de top coat pra tentar vitrificar esse glitter, nem deu. Quero um top coat bom pra glitter urgentemente ;/
E sobre a nail art, vi no Tumblr, mas não sei quem fez primeiro - alguém sabe? Mas adorei a ideia das linhas de glitter, tentarei pensar em outro desenho pra fazer o mesmo esquema mais pra frente...
E que porcariazinha esse lance novo do Flickr de esconder as imagens! Tá certo que é ótimo pra spam, mas nem anima de colocar mais de uma foto aqui ;/ Vou passar a usar só o Tumblr pras várias fotos... ;/
edit: Aqui a referência! E o mais legal de ter feito sem procurar direito onde tinha visto é que fiz diferente! Enquanto eu usei o glitter com linha, a referência usou o preto... E nossos desenhos de diamantes são diferentes - a vida inteira desenhei como na minha nail art hahaha...
1 x Fortificante Tea Tree, Vefic
2 x Material Girl, China Glaze
Nail art com esmalte para carimbo Preto, Blant Colors, e Rock, Colorama.
2 x Intensificador de Brilho Espelho D'Água, Vefic
1 x Extra Brilho, Ideal
1 x Extra Brilho, Jade
Please make sure to try a DEMO before your purchase.
• Available in 6 separately sold colors: Black | Blue | Brown | Light Brown | Purple | White and HUD controlled fatpack.
• Materials enabled
• Sizes for Maitreya, Slink Physique, Belleza: Venus, Freya, Isis
Available on Marketplace
Material Girl cover shoot - www.materialgirl-mag.com
♥ ♥ ♥ ♥ ♥ ♥ ♥
Photography - Lucia O'Connor-McCarthy
Styling - Coline Bach
Make-up - Elias Hove using Illamasqa cosmetics
Hair - Adlena Dignam using Kevin Murphy
Set - Stéphanie Kevers
Photo assistants - Chloe Taylor, Becca Sellers
Styling assistants - Esther MK, Kelsang Dorjee Dongsar
Models - Belle & Layla @ Select, Stacey @ Models1
SPECIAL THANKS to my lovely parents for be amazing on the day!
All images © Lucia O'Connor-McCarthy
Materials: gouache. Dimensions: 19 x 31.1 cm. Source: asimg.artsolution.net/tsmedia/WilliamsWilphoto/Williams17....
Flow is, by definition, in one direction. This was a familiar problem on the buses. At evening rush hour vehicles groaned from the city with standees and all seats occupied, others passed in the opposite direction with three or four passengers and the conductor sitting on the back seat with his feet up, reading the Sun.
During the last year a rail traffic has developed between Wellingborough and Norwich. The Norwich end is Trowse (Redland Sidings), which also receives a trainload from Mountsorrel several times a week. This traffic is, I think, road aggregate. Evidently these are the empties, returning to Wellingborough. I'm sure the costs accruing to the Train Operating Company in operating this "dead" journey are reflected in the invoice it presents to the customer, but wouldn't it be nice if some sort of stone (if there is any in Norfolk, apart from flint and a bit of Carstone around Downham Market), needed carrying from Norwich to Wellingborough. Yeah ...like anything in life was ever perfect.
I took this back in the first half of June. The train is passing Brandon station and is, I think, still in Norfolk. The station has staggered platforms linked by the footbridge from which the photograph was taken and, as far as I can make out from the Ordnance Survey 1:25,000 sheet, the boundary between Norfolk and Suffolk runs along the station's up-side platform, off right and behind the camera. The establishment on the far side of the line belongs to Lignacite, which makes concrete blocks and is said to have done very nicely thank you from the Olympic Games held in London a few years ago. I confuse them with Lignacaine, a type of local anaesthetic. Visible in the left distance is the Brandon Down Goods Loop, which still sees occasional use. There was an up loop just behind the train, but this has been lifted in recent years.
Materials
Hero Arts S4878 Old Letter Writing
Hero Arts Cl497 Find Joy
Wild Honey, and Vintage photo distress inks
Tim Holtz Tattered florals die
Una platja és una forma de modelat o relleu que la geomorfologia defineix com una acumulació sobre la vora de la mar de materials d'una mida que va des de les sorres fins als blocs, passant per les platges de palets (còdols arrodonits pel fregament en rodolar transportats per les ones). El materials poden ser d'origen orgànic (restes d'esquelets i closques de tipus calcari o silicatat) o inorgànic (procedent de la meteorització de roques).
Les platges es formen per l'acció de les ones i corrents marins que transporten materials a una determinada zona, però són estructures canviants que constantment pateixen aportacions i pèrdues de materials i cal que les aportacions siguin iguals a les pèrdues, o les superin, per tal que es formi la platja i continuï existint. Quan les aportacions de material no poden compensar les pèrdues, la platja desapareix. Això ho podem veure de manera clara a les platges del Maresme, la construcció de ports esportius ha fet que les aportacions de sorra que arribaven transportades pels corrents del nord ja no arribin i vagin desapareixent a poc a poc, i quan hi ha una pèrdua de material important, a causa d'una llevantada per exemple, calen grans aportacions artificials de material per regenerar-les de manera temporal. Perquè en trencar-se l'equilibri natural entre les aportacions i les pèrdues de material no poden existir de manera natural.