Concept sketches&Renderings
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I do not even know how I created this but I guess it is not important. I am pretty sure was probably in Topaz.
Happy Slider Sunday
One great thing about bracketed photography for HDR is the ability for SO many rendering options in post-processing. I have already processed this image before, but never quite like this one. I hope you enjoy this version of the amazing gift that was this truly awesome sunrise.
A couple on a stroll during a winter storm.
Decatur (Winnona Park), Georgia, USA.
16 January 2022.
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▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Lens: Lumix G 20/F1.7 II.
— Monochrome rendering via Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
In this months Kaizen #59 there was an interesting tutorial using photos of architecture. I haven't finished that yet but did a project first using my personal approach to this idea. All of these elements are from itKuPiLLi, one of the best of the contributors to the program. I call this Renaissance Architecture Rendering. Enjoy!
Out with Kevin on Sunday morning for some early shooting. A painterly rendering with motion blur with the shadow/light forest view!
Credits:
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stumbled upon this souvenir stand on Broadway Street in Manhattan, with lined up figurines of Lady Liberty for sale. This modest stand attracts quite a few tourists as it sits across the street from the famous Charging Bull sculpture in the Financial District area (a favorite tourist spot). I liked the contrast of the figurines against the yellow cab driving along Broadway, rendering an iconic "New York, New York" composition.
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.
3D rendered version, by yours truly. A carbonated soft drink mix processor (left) and ammonia chiller (right) for cooling the mix before piping to the can or bottle filler. (The color of the rendering was chosen randomly.) All rights reserved - do not copy or download, please!
Hello everyone! Just per usual, another room I've put together... Soon I'll be finishing up with a client project so I'll post those rooms up sometime next week.
I was jamming to this tune while creating this scene - www.youtube.com/watch?v=GvmKxDcO8vU
Another sneak peek of the cafe and bakery building I'm working on. Computer rendering but only existing bricks/colors were used.
In optics, a caustic or caustic network is the envelope of light rays reflected or refracted by a curved surface or object, or the projection of that envelope of rays on another surface. The caustic is a curve or surface to which each of the light rays is tangent, defining a boundary of an envelope of rays as a curve of concentrated light.
We're Here visiting Caustics
Yes, that is how it's done in Mongolia. We ate this ram to celebrate my two families coming together (American and Mongolian).
My host father is in the canary yellow shirt. My little host sister, Otka is as amazed as I am.
I am drinking a Borigo beer, which is a great local brew for casual consumption in the countryside. Label out for photo!
"A 1969 station concept. The station was to rotate on its central axis to produce artificial gravity. The majority of early space station concepts created artificial gravity one way or another in order to simulate a more natural or familiar environment for the health of the astronauts. After returning from a micro-gravity environment, astronauts find their muscles weak because they have not been using them. Long-term exposure to micro-gravity could generate long-term health problems for astronauts who do not utilize their muscles. This is why there are exercise machines on space shuttles and on the International Space Station. It was to be assembled on-orbit from spent Apollo program stages."
Obviously, the above is a relatively contemporary ‘composition’ and surprisingly okay. I wonder what the original was though. Although this isn’t, some other original printings must’ve been captioned…maybe.
The approaching ferry? capsule looks like an Apollo Command Module with a Mercury Recovery Compartment ‘appendage’. The space station actually appears to have the same spacecraft docked at both ends. In fact, the one on the right looks to be undocked. And I’m guessing the ring of ‘lights’, near the base of each are windows/portholes. If so, they’re good-sized craft.
This has long been an oft-reproduced & iconic rotating space station concept. I’ve always loved it…other than those lame motion/movement lines.
Thanks to James Vaughan’s posting (linked to below), this is a GAEC design/proposal, which helped to confirm that it’s the work of Craig Kavafes. A WIN!!! 👍👍👍
This, the following linked designs & my other linked Flickr photo below - based on the photo identification number - look to have been part of the same family/series of contractor concepts, proposals, etc., solicited/entertained by NASA ca. 1969:
www.aerospaceprojectsreview.com/blog/wp-content/uploads/2...
www.aerospaceprojectsreview.com/blog/wp-content/uploads/2...
Both above credit: the excellent Aerospace Projects Review website
In fact and in confirmation of such; in January - February 1969, NASA Administrator Thomas O. Paine oversaw the creation of a Space Station Task Force, a Space Station Steering Group, and an independent Space Station Review Group. These bodies prepared a Phase B Space Station Study Statement of Work (SOW), which NASA released to industry on 19 April 1969. So, I'm pretty sure these works are some of the responses/submittals to that SOW.
"The SOW solicited proposals to study a 12-man Space Station, the design of which would eventually serve as a building block for a 100-man Earth-orbital Space Base. The 12-man Station was to reach orbit on a Saturn V rocket in 1975 and to remain in operation for 10 years...
Grumman, North American Rockwell (NAR), and McDonnell Douglas Aerospace Company (MDAC) submitted proposals in response to the SOW."
The above is a combination of paraphrasing & cut/paste from David S. F. Portree's superlative (as always) article at his wonderful "No Shortage of Dreams" blog. The entire informative content at:
spaceflighthistory.blogspot.com/2015/03/outpost-in-leo-mc...
When the photo is not good you can make a painting of it, possibilities are endless
Thanks for the visit have all a nice day
The Chronicles of Riddick: Assault on Dark Athena, 5k rendering / ReShade / console commands / CE table for FOV control
Master of St. John the Evangelist (Flanders 1490 - 1500) - polyptych Annunciation with Saints Lazarus and Anthony Abbot, Catherine of Alexandria and Clare, Anthony of Padua and John the Baptist, Francis and Jerome (1490 - 1500) - oil on panel 234 x 223 cm. - Poldi Pezzoli Museum, Milan
Questa tavola d’altare è formata da cinque riquadri suddivisi da una cornice dipinta a trompe l’oeil; il rettangolo vuoto, in basso, era probabilmente destinato ad accogliere il tabernacolo. Unico polittico posseduto dal museo, fu acquistato da Gian Giacomo Poldi Pezzoli prima del 1857.La scena dell’Annunciazione, al centro, si svolge in un interno, dove Maria è sorpresa dall’Angelo mentre sta leggendo. Dalla finestra a vetri dipinti nel fondo della stanza entrano i raggi della luce divina e la colomba simbolo dello Spirito Santo. I santi (Lazzaro, Chiara, Caterina d'Alessandria, Antonio Abate, Antonio da Padova, Giovanni Battista, Francesco e Gerolamo) sono raffigurati in piedi, uno accanto all’altro, sotto un loggiato che si apre su un paesaggio. La resa dello spazio, la descrizione degli interni, l’attenzione al paesaggio e la tipologia delle figure evidenziano la qualità dell’opera e la sua matrice fiamminga. Resta incerta l’attribuzione al Maestro di san Giovanni Evangelista, nome convenzionale di un anonimo pittore autore di pannelli con storie del santo
This altarpiece consists of five panels divided by a trompe l'oeil painted frame; the empty rectangle at the bottom was probably intended to hold the tabernacle. The only polyptych owned by the museum, it was purchased by Gian Giacomo Poldi Pezzoli before 1857.The scene of the Annunciation, in the center, takes place in an interior, where Mary is surprised by the Angel while she is reading. From the painted glass window in the back of the room, the rays of divine light and the dove symbolizing the Holy Spirit enter. The saints (Lazarus, Clare, Catherine of Alexandria, Anthony Abbot, Anthony of Padua, John the Baptist, Francis and Jerome) are depicted standing, one next to the other, under an arcade that opens onto a landscape. The rendering of the space, the description of the interior, the attention to the landscape and the typology of the figures highlight the quality of the work and its Flemish matrix. The attribution to the Master of St. John the Evangelist, conventional name of an anonymous painter author of panels with stories of the saint, remains uncertain.
So I have no idea why these DBG backgrounds are looking like doo-doo. I took Matt's advice and reset POV-Ray to initial settings, and it is still looking like this. All white, LBG, and tan look fine, most of the time. But the darker background looks BAD. Anyone have any suggestions?
rendering showing the atrium space of an office design competition i participated in. The concrete floor curls up to create the reception desk, while the wood slat ceiling folds down behind the desk to create the wall and floor.
Portrait of an almost melanotic Victorian Three-toed Earless Skink from a farmhouse garden nestled on a granitic slope above the Goulburn River near Tallarook in central Victoria.
A wonderful symphony of colour, light and bokeh rendering from the classic Pentacon lens. Image taken on a Canon EOS 5D Mark 3 DSLR coupled to a vintage German M42 Pentacon M42 30/3.5 lens with a 9mm M42 extension tube attached. A third party M42 to EOS adapter incorporated. Image shot wide-open and hand-held, with a touch of fill-flash. Apart from RAW conversion and the most basic of editing, image shot as is.
I love my Pentacon.
Many resident Eastern Banjo Frogs that were spawned in my dam emerge from the garden and feed on the driveway and rear deck after summer rains. These large and pretty frogs are always a welcome sight.
A wonderful symphony of colour, light and bokeh rendering from the classic Lydith lens. Image taken on a Canon EOS 5D Mark 3 DSLR coupled to a vintage M42 Meyer-Optik Gorlitz 30/3.5 Lydith lens with a 9mm M42 extension tube attached. A third party M42 to EOS adapter incorporated. Image shot wide-open and hand-held, with a touch of fill-flash. Apart from RAW conversion and the most basic of editing, image shot as is.
I love my Lydith..