View allAll Photos Tagged minimize
Here's a shot that took some hard work to complete! The photographer (our own DeviantArtist, Aaron Henes) actually put his cheek against the wall at one end and shot the photo to give you an idea of the size of the bulge in the wall.
Esse é o antes de depois... Melhora muito, né?
Só tenho uma dúvida, por quanto tempo dura o efeito?
Apliquei o produto à noite, dormi e no outro dia estava como o "antes", então não deu pra testar a durabilidade.
* Não reparem nas minhas sardas... já sou bastante complexada! rs.
** A foto está bem grande, dá para ver bem.
Dermatologist Jeanine B. Downie, M.D has teamed with the makers of Revaléskin® for some advice on how to minimize the signs of skin aging: use a topical antioxidant everyday to help fight skin damage. For more information go to www.revaleskin.com or yourupdate.tv/healthandwellness/fight_skin_aging/
I sort of liked how the bridge (and Sutro, in the background) is minimized relative to the sky and that wall in the foreground when shot near 10mm.
TD Canada Trust provides budgeting basics to help students minimize the post-grad financial bulge (Client)
...without auto-focus! I had to take about 20 photos in order to get the focus I wanted...and everything I wanted in frame.
Anyway, this is totally photoshopped. And not very well, so I guess it's more photochopped. Just a little selective saturation to highlight what needs to be highlighted (the necklace) and minimize what I want to be minimized (my pimple).
Maximizing benefits, minimizing risks and bridging the AI tooling gap.
29 May 2024
Geneva, Switzerland
©ITU
This is an enhanced version of the Seagull nebula (IC2177) image that we captured on 23 March 2020. This version minimizes the stars and shows enhanced nebulosity. The nebula is a large star forming region which is 100 light years wide. The nebula is 3800 light years away, located on the border between Monoceros and Canis Major constellations.
The nebula is full of hot young stars that power the atomic hydrogen in the surronding area to give off its characteristic deep red hydrogen Alpha emissions. The large, roughly half circular shape seen in our image is classified as Sh2-296 while the head of the Seagull is listed as Sh2-292. It also includes contains a couple of open star star clusters within it.
We captured this image with our Stellarvue Access 80mm scope and an H-Alpha modded Nikon D5300 camera. We used a 0.8x focal reducer and a dual narrowband filter to bring out the deep red and blue/green emissions. The effective focal length was 448mm.Capture details - ISO 1600, f5.6 and a total of 140 minutes of integration (70x2min). We used the bicolor technique in APP to combine H-Alpha and OIII channels to result in enhanced colors seen our image. Enjoy!
Anushthan comprises different type of worships with the help of the mantras to minimize the harmful effect of planets or remove any kind of negative energy. It requires proper method, faith and concentration. The anushthan to be performed is based on detailed Horoscope analysis and consist of certain acts of worship, performed at specified time, date, day, place, under specified conditions, in abeyance of certain rules & regulations, in order to minimize, overcome or eliminate the malefic effects of planets and other negative influences, which might be presently affecting one's life by creating problems, hurdles, failures, distress and calamities.
My initial thoughts leading to this design were to minimize the distance a user has to travel to select the next interaction from the popup (tags, rating, comments). Using the radial menu places the 2nd tier interaction in a convenient location that will minimize thumb repositioning.
The challenge that will come up is detecting where the popup is being spawned on the screen and rotating the details + controls to the correct layout. So, if you tapped the top (i) I would envision the radial menu rotating 180degrees and swapping positions with the popup to ensure the popup is viewable. This might be too much work to ask fr but it's a start.
Another question to consider was the placement of core application interaction at the corners rather than utilizing the tabstrip. In this case I am of the opinion that the "4-corners" approach is effective at providing the key interaction elements to the user while maximizing the viewport. Now, when there are more app options to consider, the 4-corners might have to go. We'll see...
To minimize the potential damage to the columns from lawn mowers, each column was also installed with the extended concrete footing above grade to act as a mow ring. Products shown: Columns in Ledgestone texture
Maximizing benefits, minimizing risks and bridging the AI tooling gap.
29 May 2024
Geneva, Switzerland
©ITU
1. I chose to compose this photo in the horizontal orientation to include as many of the colorful, historical buildings in downtown Faribault. To minimize distractions I decided to shoot just above the cars and made sure I didn't include signage . Though there are horizontal lines I feel that the vertical lines, such as the window frames, are stronger.
2. The light value of the sky provides a nice background that really allows the colorful buildings to stick out.
3. Though it was a very overcast day when I shot this scene it was very bright outside and there was quite a bit of light so I decreased my ISO setting to 100 and felt that there was enough light to capture the buildings and the detail in the lines and curves of the window hoods.
4. Write about any technical challenges in regards to focus, exposure, depth of field, and white balance
The most challenging thing technically about shooting this image has to be the white balance and the overall brightness. Since this photo was shot on an overcast afternoon and not during the "golden hours" the colors appeared to be just a little bit washed out and the sky too bright. I decreased my exposure compensation just a little bit and decreased the ISo to 100 and the white balance was set to daylight.
5. I wanted to capture the detail, the wonderful colors and the uniqueness of the historical buildings (still very much intact and in good repair due to restoration efforts). Perhaps this image would appeal to tourists who would like to visit an old town just to see observe the iconic, 19th century architecture. In post-process editing I increased the saturation a little bit in post-process editing to really allow for them to stick out against the white sky.
--Interesting fact: "Faribault is blessed to contain more than 40 individual properties that are listed on the National Register of Historic Places." - www.faribault.org/about/history
Faribault's Main Street in the 1880's: faribaulthpc.org/downtown-district/
Super Happy Funtime Burlesque Show
Poppa Pete's
Kalamazoo, Michigan
www.superhappyfuntimeburlesque.com
Set # 1
Revolutionized Wood Blades In New Harmony With New Generation Rubbers
Ideal blades minimize the loss of energy and promote the rubber to make its intended performance at full. They also should deliver the sense made by the ball impact exactly and clearly to the brain through a body. XIOM developed the unique system to develop the ideal blades by a series of time taking researches. NOVUS SPEEDWOOD series are revolutionized in new system and design to enhance the efficiency in energy transfer and vibration transfer. Each of 3 blade models in the series has its own very distinctive advantages but focuses on the balance with new TENSOR BIOS rubbers of XIOM. XIOM new generation rubbers for 2008 ban of speed glue can be fully exploited with NOVUS SPEEDWOOD series.
New Speed Measure
Standard To Explain The Speed
The traditional terms like OFF- or ALL+ confuse the players to identify the real speed character of a blade. So far the table tennis industry did not use standardized and object measure to explain about the speed. As an example, ALL blade is generally accepted as a 5 ply blade with low rebound and lightweight for allround play. But top players use ALL blades to play very speedy and aggressive games. Swing speed, experience, and rubbers can influence more on the speed character. The speed character cannot be defined by simple rebound height of a ball from the blade surface. XIOM adopted new speed measure from 2008 to explain the speed character of all blade series. REBOUND MEASURE indicates the repulsion level of construction influenced by hardness, weight, and thickness. HIGH SPEED
PERFORMANCE explains the moment reaction of a blade against a high speed ball in real play paradigm. Good new is now that these measures are object and standardized by testing machines.
Business Process Outsourcing (BPO) Conference
- Minimizing Risks, Maximizing Business Gains
24 – 26 May 2016
Know How To Minimize Risk In Real Estate Investing with Dani Beit-Or. Get the Guide to Buying Rental Properties Out of State only at Simply Do It. You can invest in real estate without the risk. Schedule a call or visit our website today. Explore this video to know more bit.ly/2IdMjxe
.
Niagara Falls - ca. 1860
Artist: Joachim Ferdinand Richardt (Danish, 1819–1895)
Joachim Ferdinand Richardt, a native of Denmark, already was a formally trained artist when he first came to the United States in 1855. He painted a wide range of American landscapes but was most drawn to the grandeur of Niagara Falls. This scene, depicted from the American side, is perhaps the largest and most impressive of Richardt’s many paintings of the falls. While some contemporaries romanticized their depictions of the majestic site by minimizing the human presence, Richardt accurately portrayed the numbers of tourists. The advent of the railroad increased access to Niagara, so that by 1850 the falls saw 80,000 visitors a year. Scores of tiny figures can be seen in Richardt’s painting both in the foreground and on Goat Island, the tree-covered strip of land marking the boundary between the United States and Canada.
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
.
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.
In this video, Dr. Illan explains what is done to minimize the risk of complications in bariatric procedures. Dr. Illan also explains the protocols hospital follows to ensure a safe and effective surgery. Watch the video or visit the given link to know more!
Vanity Fair Women’s Beauty Back Minimizer Full Figure Underwire Bra 76080 ldstyle.com/product/vanity-fair-womens-beauty-back-minimi...
Visit computertricks.org/category/windows-tricks to read interesting Windows XP tricks for your system.
To minimize the length of road closures, Targa Newfoundland's performance rally runs with the fastest cars at the back. Starting 30 secs behind us, by this point late in the stage Scott Smith and Peter Guagenti have caught up.
In the background, the bright line on the nearby water is the boundary between fresh and salt water (The "foam line" marks where the heavier saltwater is moving under the fresh). The latter is flowing into this "barachois" under the bridge we just crossed. R Dawe photo
This Fruit Serum is useful for all skin types i.e. Normal, dry, mature or sensitive skin. Packed with Vitamins, fatty acids, Bakuchiol and antioxidants, it is nutrient dense, helping to minimize the signs of aging, sun exposure and pollution. Bakuchiol helps to minimize the appearance of fine lines and wrinkles leaving your skin more youthful looking. read more- www.rozetreebotanicals.com/collections/all-products/produ...!
Aerodynamic body design
Minimize the Moment of Inertia
Low Center of Gravity
Graphite Lubricated Wheel Axis
Utilizes Tungsten Putty to Maximize Weight While Minimize Volume
Special Head Design to Get a Faster Start
The Mill Pond Minimizers are going head to head in the CERTs Family Energy FACE-OFF and they need your help! Click here to join their team >>
Photo credit: Michelle Vigen (Wakefield Photography), Clean Energy Resource Teams
ADS professional dental LED lights can provide excellent lighting performance. Lighting over 5000 lux can minimize shadows. Our LED lights have good functions such as hands-free sensors and 3-axis rotation.
ADS for dental surgery lights has a variety of installation configurations, including ceiling mounted and cabinet/wall-mounted, to meet your clinic design needs. Ceiling-mounted dental lights provide the ideal lighting mode with minimal internal space. Cabinet/wall-mounted styles are also available, and dentists can maximize their work style.
The price is very attractive!
Dental Light Displays
Whale LED Dental Light
Ortho Post Mount (40) Whale LED Light Cabinet Mount
Whale LED Light Whale LED Light
Whale Led Light With Arm And Bushing
Post Mount (30) Whale LED Light
Amber Dental LED Light
Amber Led Light With Arm And Bushing
Amber LED Light
Post Mount (30) Whale LED Light
Swing Mount (24) Amber LED Light
Ortho Post Mount (40) Whale LED Light
For zoo animals, I like to minimize the enclosure detail as much as possible. For the larger animals, this preference results in many head shots. This giraffe species is found in northern Africa (Somalia, Ethiopia, and northern Kenya). Males are generally darker than females, and they normally become even darker with age. Giraffes are the world's tallest animals.
IMG_1578; Reticulated Giraffe
The Mill Pond Minimizers are going head to head in the CERTs Family Energy FACE-OFF and they need your help! Click here to join their team >>
Photo credit: Michelle Vigen (Wakefield Photography), Clean Energy Resource Teams
• Physical protection of conductors (ống thép luồn dây điện steel conduit Bảo vệ tốt cáp điện-dây dẫn điện)
• Minimize fire problems due to Aged Electrical Wiring Systems
(ống thép luồn dây điện steel conduit chống cháy tốt do hệ thống cáp điện/ dây điện lão hóa theo thời gian)
• Added security and protection (ống thép luồn dây điện steel conduit tăng tính bảo mật & bảo vệ)
• EMI shielding (ống thép luồn dây điện steel conduit chống nhiễu điện từ)
• Non-combustibility
(ống thép luồn dây điện steel conduit không cháy và không tạo khói độc khi cháy như ống luồn PVC. Ở Việt
nam, đa số vụ cháy nhà cao tầng gây nhiều tử vong là do ngạt khói độc xuất hiện trong lúc cháy)
• Recyclability (Green Building)
(ống thép luồn dây điện steel conduit có khả năng tái chế và thân thiện môi trường xanh)
• Proven equipment grounding conductor (ống thép luồn dây điện steel conduit có thể dùng chôn dưới đất)
• Adaptable to future wiring changes
(ống thép luồn dây điện steel conduit dễ thay đổi hệ thống đi dây dẫn điện trong tương lai)
• High tensile strength (ống thép luồn dây điện steel conduit chịu được va đập cao)
• Competitive life-cycle costs (ống thép luồn dây điện steel conduit chi phí cho vòng đời sử dụng thấp)
• Coefficient of expansion compatible with common building materials
(ống thép luồn dây điện steel conduit hệ số dãn nở thấp phù hợp sử dụng với vật liệu xây dựng thông dụng)
• Chemically compatible with concrete
(ống thép luồn dây điện steel conduit tương tích với các hóa chất trong bê tông)
I. Ống thép luồn dây điện G.I CVL® (G.I conduit – Steel conduit- Galvanized steel conduit)- Ống thép luồn điện EMT CVL®-VIETNAM (CVL® Electrical Metallic Tubing) ANSI C80.3/UL 797
- Ống thép luồn điện IMC CVL®-VIETNAM(CVL® Intermediate Metal Conduit) UL 1242
-Ống thép luồn dây điện loại ren BS 4568 Class 3 CVL®-VIETNAM (CVL® Conduit BS4568 Class 3)
- Ống thép luồn dây điện ren BS 31 Class B CVL®-VIETNAM (CVL® Conduit BS 31 Class B)
- Ống thép luồn dây điện trơn JIS C 8305 CVL® loại E-VIETNAM (CVL® Steel Conduit-Plain Type E)