View allAll Photos Tagged refining
Ok....my first sketches are always rough, just playing with an idea. I refine it a little bit before I start the rendering. Then on tracing paper I very lightly will start with a single center line to use as a reference. I also draw a center line on my rough sketch to compare. The rough sketches are just a tad bigger than actual size but the rendering will be at least 3 to four times actual size. All first lines are drawn as lightly as possible.....and with a .3mm pencil that I keep fine sanded to a needlepoint. I use an eraser shield and an eraser a lot....but try to draw lines only once (ha!). I use a compass whenever a clean large circle or an arc is called for. I use plastic templates for smaller circles or arcs. I use a steel straight edge and have several french curves on hand. I try and keep my grubby, oily hands off the paper by covering areas already drawn with another sheet of clean paper. When all the lines are lightly drawn just the way I want them, I erase whatever extra marks I can find and air blast the residue off. Then I darken all the lines. Then I shade it. Then I hit the whole thing with the eraser again, and air blast it. Then I apply a very light spray of "Aussie Instant Freeze" hair spray. Now it's time to paint the back. With fine sable brushes I first paint only the areas which are "gold", being very careful not to go outside the lines, hee hee! Dry it thoroughly. Then I rather sloppily apply the other colors quickly so as not to disturb the gold layer. Dry thoroughly. For this job I then also returned to the front and applied tiny smudges (without any rubbing or blending) of a day-glo green oil pastel to the green stones for highlights and green, orange and a little blue for the opal's play of color. For this back-painted rendering to be successful, you must use at least tracing paper......but vellum is uber nice! From there on it's photoshop for color-enhancement and more cleanup. But the images above are how far I get by hand.
Turkey thief or no turkey thief, I decided that Peanut needed to have her home and private space back. So back up from the basement it came. When I brought it downstaris I had told Peanut that I couldn't afford the mortgage, but since she has been so unhappy for the last few months I would get a loan and refinance her home. Peanut is very content! She slept in her own home for the last two nights.
Just continuing to refine my techniques. The theme build for the car was inspired by Ruby's scythe from the web series RWBY. I may have a front shot coming, but it's heavily dependent on my mood since I kinda get bored when I spend too much time on a single car.
Before & After: www.artstation.com/artwork/kzJ4d
Vehicle: Toyota GT86 w/ Varis widebody kit & Rocket Bunny ducktail sitting on SSR MS1's.
Community wrap by: HernanLucena203 (based on the NFS No Limits design)
this is one from a while back of wee hannah great wee model with tons of presence, i have been trying out adobe cs5 refine edge and have been really impressed by it so far it still requires a bit of work but the results are worth it this image was an easy one to mask but i have done far harder with it and its prefoming well.
After some refining. HDR shot of Tokyo from the Metro Building. I didn't want to have the "overboard" HDR effect, but more of a subtle enhancement; something that makes you pause and ponder.
***UPDATE 9/19/2007: I replaced the original shot with one that I think is much better, in between the original darker one and the lighter one, I think this is a lot clearer! I did some more fine-tuning and tweaking (especially with the color profile!)
Another RebelLUG 2 hour seed part challenge- this month's Seed part was the Spaceman Air Tank.
I ended them in 5 different ways :)
Join us every month for another round and chance to win the big prize end of year.
Working on refining my technique with this fun form of macro photography.
This is a 20 image stack, each frame shot at f4. Getting the lighting right on this one was tough with so many drops in so many different places. In the end it was worth the work.
Shot using a Tokina AT-X 90mm f2.5 Macro lens and the AT-X 1:1 extender.
Northeast Coast Sunset, area is formerf copper refining factory, nearby also famous of brass & gold mining use to be; one of known in Taiwan for photographer to shot sunset and C-curve light track by the bay.(DSC_4090BBBQA) It's a challenge and a little bit difficult to shot this picture once know how to control the light on the back of mountain and darkness in fron of bay area or I'll using double or trible exposure, only limited time let to do this correctly.
Please don't use this image on websites, blogs or other media
without my explicit permission.
© All rights reserved
Contac: brucekf@gmail.com
Humans reorganise nature into an order that suits us, taking materials from the earth, refining and assembling them into buildings, machines and in this case, barges. Eventually though, nature reclaims our technology. We cannot dominate nature, we can only temporarily shift her. Along the way though, we can do a lot of damage, so we must respect our relationship with her. Homebush Bay
101 Oil Studies, No. 36
Objective: An attemp to refine setting of Patagonia Lake (southeastern Arizona)
Painted in 5 sessions: 23 Aug to 03 Sept 2024
Pigments (Winsor & Newton Artists' oil colour unless noted otherwise): yellow ochre, Naples yellow, French ultramarine, warm grey (Rembrandt), Vandyke brown, sap green, permalba white (Weber), unbleached titanium (Richeson/Shiva series). Mediums: Linseed oil; Oleogel.
Centurion OP DLX oil primed linen, 22.9 x 30.5 (9x12 inches)
After Action Evaluation: Generally I'm feeling this study was a miss, (1) expecially with botched sky, suggesting that a cloudless sky ought to be handed as much as possible with the initial wash, perhaps with indigo. (2) Some progress on the tall grasses and tree reflection, but still a way to go on the water reflection in general and (3) the wave formation, which needs very horizontal to avoid the appearance of non-level water.
The mine has been shut down for years by this point but the refining of copper continued apace. A tidy pair of ex-Algoma Central GP38-2s has their outbound train put together and will soon begin the 77-mile trek across the length of the White Pine Sub.
December 22, 2002.
The United States Smelting, Refining and Mining Company. Fairbanks Alaska. ca. 1985. Illinois Street supply yard.
The USSRM provided equipment to the Fairbanks Exploration Company (F.E. Co) in support of gold mining operations outside of Fairbanks in the middle part of the last century.
www.asme.org/about-asme/engineering-history/landmarks/113...
Friday Flashback.
Tri-X 400, Minolta SRT.
"This autumn issue explores how refining our senses - taste, sight, sound, touch, and smell - enriches the experiences we have with each other."
Pretty excited about this volume, not only because it's beautiful & always exciting to receive in the mail, but because I got a chance to contribute. I, with the help of Eric, (who is honestly much better with words) wrote an essay about taking the time to slow down and enjoy brewing coffee in the morning. The essay is featured next to photos by the talented Chantelle Grady, who photographed a Kyoto drip coffee maker & a page with different old time brewing methods.
There's a few more shots on the blog as well, along with pictures of our homemade s'mores that turned out far better than I thought- I'll just say that graham cracker dough is stickier than I expected!
Fairbanks Alaska. ca. 1985.
The United States Smelting, Refining and Mining Company. Illinois Street supply yard.
With the recent Rebels episode giving us a look inside an imperial factory, I got thinking about how the first ever TIE fighter might have been built. Unlike the mass production seen on screen, I figured the initial prototype might have been built in a workshop-type area where dedicated techs would have a little more freedom to develop and refine the design.
I felt this was also a perfect opportunity to reveal the progress I've made on my TIE fighter. well... the cockpit at least. Next to my upgraded X-wing, the old TIE design looked a little out of place with so many studs and square edges visible. I've therefore tried to smooth out the shape, using slopes and cheese wedges wherever possible.
Some techniques I've used have been lifted from other builders so a big thanks to: Xenomurphy, for the wonderful floor idea seen in his Harry Potter series. Legoloverman For the idea of using the speedometer piece and an elastic band for some kind of systems check device. And to Sydag, for the use of double cheese wedges on ether side of the TIE cockpit.
This is my entry for this weeks Mosaic Montage Monday where the theme was Refine/Refined, I hope this is a close enough match to the theme given that each one of those little coloured balls on the Freckles sweets is pretty much just refined sugar.
Happy Mosaic Montage Monday!
SiG-552 with x2 magnification red dot on top rail, 550 lumens flashlight, red dot sight for CQB and a grip on the sides.
.... Refining tactical
A Kristal - Mr. TRONA collaboration
I'm very pleased to post some even preliminary results of a collaboration with the very generous, very cool and talented Kristal -- www.flickr.com/photos/kristyk/.
Her shots were grabbed in New Mexico & mine in Maryland. These few posts were almost randomly chosen and are low res, quickly edited versions of, in some cases, wonderful images. Appropriately, I'll be posting versions of these, our first CPP shots, that more closely reflect the unique character and beautiful style of some of our works thus far.
For now, thank you for taking a look. ^_^
This is a very funky edit, as you can see! Long week! ;-)
(THANKS again, Kristy! =).
OK. And now for something completely… similar….. to the description added to all my CPP posts:
CPP was first conceived of as a sort of abstraction a Surrealist game (known as "EXQUISITE CORPSE") while driving the lonely stretches of the 95 through the old American South (rural Georgia) in the spring of 1994. The project languished, a bit, for a while, but has been conferred new life due my ability to connect with other kind, creative souls here on Flickr! ^_^
I can't locate my formal description of the project, but I'll try to succinctly state its simplicity:
With E.C., partipants divide a piece of a paper into thirds or quaters, choosing, for instance, the human form. Each participant chooses a section of the form to complete, covering their work, leaving only lines to give the next player a starting point for the next section of the piece. The result can be something quite surprising and, sometimes even good! ;)
I chose to use double exposure photographs. The CPP images have mostly been produced directly in the camera (35mm). With no fixed form in mind, participants grab an image to be integrated with the photograph of another in the camera, and hopefully the result is just as surprising and, even good!
I'm interested in refining the method to CPP madness, and look forward to discussing this with current and future collaborators.
Please feel free to Flickr-mail me with any comments, questions, etc., and thank you for taking a look.
A farmer unloads raw salt at salt field yard in Chittagong, Bangladesh. This photo is taken in the destination of Banshkhali Upazila in the division of Chittagong in the country of Bangladesh.
The salt industry being one of the largest labor intensive cottage industries of Bangladesh absorbs largely around 5 million people directly or indirectly. The total value chain of the salt industry in Bangladesh involves largely two sub-sectoral activities namely-- the refining process which is operated by salt mills and the crude salt production process that involves a significant chunk of marginal farmers of coastal Bangladesh.
Among the farmers, farmers some are cultivating salt on their own lands while the other farmers are cultivating salt after taking the land as lease either directly from owners of the lands or through middle men. Local administration sources said a huge quantity of lands are being used for salt cultivation in Banshkhali this year.
© Zakir Hossain
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বাঁশখালীর উপকূল জুড়ে চলছে লবণ উৎপাদন। এখানকার বিভিন্ন ইউনিয়নে ৫০ হাজার লবণচাষি ১৫ হাজার হেক্টর জমিতে লবণ চাষ করছেন। অনেকে জমি মালিকের সঙ্গে চুক্তিতে চাষ করেন। উপজেলার কাথরিয়া, বাহারছড়া, সরল, গন্ডামারা, পুইছড়ি, শেখেরখীল, ছনুয়া ও খানখানাবাদ উপকূলীয় এলাকায় ব্যস্ত সময় পার করছেন তারা।
লবণ চাষিরা জানান, কাঠের রোলার দিয়ে মাঠ সমতল করার পর চারপাশে মাটির আইল দিয়ে ছোট ছোট প্লট তৈরি করা হয়। এরপর ছোট প্লটগুলো রোদে শুকিয়ে কালো বা নীল রঙের পলিথিন বিছিয়ে দেওয়া হয়।
জোয়ার এলে মাঠের মাঝখানে তৈরি করা নালা দিয়ে জমির প্লটে জমানো হয় সাগরের লবণাক্ত পানি। অনেকে ইঞ্জিনচালিত শ্যালো মেশিনও ব্যবহার করেন। এভাবে পানি সংগ্রহ করার পর ৪ থেকে ৫ দিন রোদে রাখা হয়।
কড়া রোদে পানি বাষ্পীভূত হয়ে চলে যায় আর লবণ পড়ে থাকে পলিথিনের ওপর। লবণ চাষ মূলত আবহাওয়ার ওপর নির্ভরশীল। একটু ঝড় বৃষ্টি হলেই উৎপাদন বন্ধ হয়ে যায়। কুয়াশাও লবণের জন্য ক্ষতিকর।
উৎপাদিত লবণ থেকে পানি সরে গেলে ব্যাপারীদের হাতে তুলে দেওয়া হয়। এই লবণ কিনে নিয়ে কারখানায় রিফাইনারি মেশিনের মাধ্যমে পরিশোধন শেষে বস্তা বা প্যাকেট ভর্তি করা হয়। পরে সেই লবণ চলে যায় বিভিন্ন স্থানে।
I viewed the refinery from the Waterbird Regional Park, looking across the marsh and Interstate 680. It refines gasoline, diesel and jet fuel. It was built in 1915 by Shell Oil Company, and sold to PBF Energy in 2020.
It is in Martinez, California, about 12 miles from my home in Walnut Creek. It is just south of the San Joaquin-Sacramento River Delta. January 23, 2023
My wife took this photo of me gawking up at the huge Kennecott Concentration Mill. The section in the foreground holds what is left of an ammonia leaching operation that was part of the initial refining process conducted before the ore was shipped to the lower 48 states to complete the refining.
In 1900, the “Bonanza Mine Outcrop,” in the Wrangell Mountains northeast of Valdez, Alaska, proved to be one of the richest copper deposits ever found. At the peak of operation, 200 to 300 people worked in the mining operation at Kennecott. The Kennecott Mines National Historic Landmark preserves some of the buildings remaining from the ore refining operation, including the giant Concentration Mill here.
(Source: National Park Service website)
Over its brief history, Kennecott Corporation, with support from J.P. Morgan, Guggenheim and other New York financiers, produced $200-300 million worth of copper and silver.
Double-tap image to enlarge.
To hit with precision —
exactly where I meant,
exactly as I wished.
Simple?
Not at all.
Practice and repetition bring me closer to accuracy,
but before that, I must want it.
I must tune myself inward
and learn how to refine.
And even after I’ve learned and aligned —
from every strike
there will always rise the small, unwanted fragments,
the dust that drifts in the air.
Because wanting, planning, and aiming are never quite enough.
There will always be things
we didn’t plan for.
Viser et Affiner
Atteindre avec précision —
exactement où je l’avais voulu,
exactement comme je l’avais imaginé.
Simple ?
Pas vraiment.
La pratique et la répétition m’amènent vers plus de justesse,
mais avant cela, il faut désirer.
Il faut s’accorder de l’intérieur,
apprendre à affiner.
Et même après avoir appris et m’être aligné —
de chaque impact
s’élèveront toujours de petits fragments indésirés,
la poussière qui flotte dans l’air.
Car vouloir, planifier et viser ne suffisent jamais tout à fait.
Il y aura toujours des choses
que nous n’avions pas prévues.
'What I try to do in my work is mix ideas of attraction and ideas of discomfort - colourful and attractive, but strangely, scarily surreal at the same time.' Hew Locke
We have all taken part in some sort of procession. People assemble and move together to celebrate, worship, protest, mourn, escape or to better themselves. Hew Locke's The Procession evokes all such endeavours. It is populated by imagined people who move through this imposing neo-classical space, claiming it for themselves.
Locke's installation takes as its starting point the history and character of Tate Britain's building and its original benefactor, the sugar refining magnate Henry Tate. More broadly, with The Procession, Locke invites visitors to 'reflect on the cycles of history, and the ebb and flow of cultures, people, finance and power.
The figures travel through space but also through time. They carry historical and cultural baggage: the evidence of global financial and violent colonial control embellishes their clothes and banners. Images of the colonial architecture of Locke's childhood Guyana emblazon the flags and their bearers, its flooded fields and rotten wooden walls vanishing under rising sea levels. Despite this, their attire and stance suggest power and self-assertion.
Locke occupies a space that was founded from wealth derived from an industry previously built on the labour of enslaved African people and their descendants, and which subsequent relied on the indentured labour of Asian people. Locke says he 'makes links with the historical after-effects of the sugar business, almost drawing it out of the walls of the building.' The Procession also carries Locke's own past artistic journey, with imagery linked to his previous work incorporating statues rising sea levels, Carnival and the military.
About the artist:
Born in Edinburgh, Scotland, in 1959, Locke is the eldest son of Guyanese sculptor Donald Locke (1930–2010) and British painter Leila Locke (née Chaplin) (1936–1992). He spent his formative years (1966 to 1980) in Georgetown, Guyana, before returning to the UK to study. He received a B.A. Fine Art degree in 1988 from Falmouth University, and an M.A. in Sculpture from the Royal College of Art, London, in 1994. In 1995 he married curator Indra Khanna.
Fairbanks Alaska. ca. 1985.
The United States Smelting, Refining and Mining Company. Illinois Street supply yard.
In my frustration at a very complex paper model for my architecture course, I decided to take a much needed break for an hour or two to take my mind off of stressful assignments. Here's the result, Enjoy!
In 1900, prospectors discovered magnificent green cliffs of exposed copper in the Wrangell Mountains northeast of Valdez, Alaska. Their discovery, the “Bonanza Mine Outcrop,” proved to be one of the richest copper deposits ever found. From 1911 to 1938, the Kennecott Copper Corporation extracted nearly $200 million worth of copper from nearby mines. At the peak of operation, approximately 300 people worked in the mill town and 200-300 in the mines. The Kennecott Mines National Historic Landmark preserves some of the buildings remaining from the ore refining operation, including the Concentration Mill seen in the background here. Today’s visitor can get a guided tour of the entire inside of this huge building as it clings to a steep mountainside.
Over its brief history, Kennecott Corporation, with support from J.P. Morgan, Guggenheim and other New York financiers, produced $200-300 million worth of copper and silver.
(Source: National Park Service website)
Double-click image to enlarge.
In Explore 6 Nov 2023. Best position: #447
Beer a gift from the Gods!
Had this shot in my head for ages mostly when out my skull :)
Obviously have to refine my technique and make a note to try it sober
Colonial Sugar Refining Co (CSR) 0-4-0ST No.19 is working the passenger service at Statfold Barn approaching Statfold Junction station, 5th April 2025.
Locomotive History
No.19 is a two foot gauge 0-4-0ST locomotive built in 1914 by Hudswell Clarke, Leeds (Works No. 1056} and supplied to the Colonial Sugar Refining Co (CSR) of Fiji. It was withdrawn in 1960 and put on static display at the mill apart from a brief return to steam in 1978 for the mill's 75th anniversary celebrations. It arrived at Statfold in May 2012 and was back in steam in the spring of 2013.
12.6.2021.
Statfold Barn Railway.
Hudswell Clarke (Leeds) 0-6-0 No 972 'Fiji' climbs to Statfold Junction with an afternoon passenger train.
Built in 1911 specifically to work in the sugar cane fields on the 2'- 0" gauge rail system of the Colonial Sugar Refining (CSR) Company Ltd in Fiji.
Island state which is economically progressive for its banking, manufacturing, oil refining and aviation. On this picture is the forest and aquarium inside the Changi Airport.
Currency - Singapore dollar (SGD)
Religions - Buddhism, Christianity and Islam
Main Ethnic Group - Chinese
Government - Parliamentary republic
This painting was made on an iPad Pro, with an Apple Pencil, using iColorama and Procreate. I moved back and forth, between these two apps, layering, compositing, masking, painting and refining color relationships. I saved versions as PNGs, to maintain image quality, and I tried to utilize the strengths of each app. Eventually, I arrived at at a moment of peace, when I feel harmony in what I have done. In this, it took several days, and several temporary conclusions, before I reached the end.
What I love about working in digital media, is that I can test ideas, change my mind, move in different directions, with so many choices. It is so nimble! It is, also, compelling, and exhausting. I miss the mandatory reflection time in having to weigh and imagine visual choices, and in literally having to wait for paint to dry, with natural media.
I had been working on a portrait for Claude Panneton, which took much longer than usual, and was relieved, satisfied, and happy to think it was finished. He is a mobile art friend, whose work I respect completely. I used several of his images, some of my own elements, and found images – an old Japanese print of fishes, textures, a butterfly etc. The first version, had a full portrait of Claude on the right side, and as often happens, I later realized that I liked the depth and magic of the background, on the left side, better than the fully realized foreground focus of the "subject".
I was selecting images for a competition, which a friend talked me into entering. Having asked Claude's permission, I was preparing to submit the piece. Out of the blue, I remembered a 2nd century A.D. doll, found in a sarcophagus of an 8 year old girl, in Rome. The doll was ivory. I had saved the image to a "someday" folder, a while ago, because she drew me – the sweetness and the sadness. Then, it is as if she had to be seen, urgently. After more hours of painting, masking and layering, she arrived, large, in color, renewed, clothed, and striding as if from her own vision, somber, thoughtful, and about to free herself from the puppeteer's strings. The articulated 2nd century doll came to life, becoming real, to me, as our dolls do, when we are children.
This one rare doll, survived, loved by a child who died more than 2000 years ago, and whose family had the grace to put her to rest, with love, with her toy. I felt respect for the maker of the doll, also, for the care and craftsmanship in her. The doll emerges, in this image, from fragments of dreams – doll becoming puppet-spirit – dwarfing the puppeteer. I felt a bridge of love.
I submitted the piece, in that state, to the competition, then, went on to work with it, for another full day. I was completely unaware of time, tweaking texture and tone until it arrived here. I had no good reason for doing this, other than being curious about where it would take me. I am as surprised as anyone.
What do these elements have in common –
Claude Panneton's eyes, puppeteers, Japanese prints of fish, a 2nd century A.D. ivory doll, a piece of a musical score, a butterfly, abstract space, textures, and colors?
For me, it is about connecting to love and beauty, pausing to reflect and appreciate the very non-linear ways our imaginations can bring the humanity of past into the present moment. It is humbling, challenging, and elevating, I stand in awe of the possibilities.