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I replicated one of Georgia O'Keefes paintings with a silk painting for this piece. I used wadding to pad it out and stitched around some areas, which gave it a raised effect.
Replicated in the 1990s after the original was demolished in 1931 to remove religious relics from Moscow and improve accessibility to Red Square for tanks and soldiers.
This image meets the project goals since it is a photo in which the lighting and composition of another photo was replicated to create this photo.
The process I used to get this photo was I first got out my camera and put it on my tri-pod. Then I took my camera and tri-pod, set them up next to my work bench, grabbed 2 lights, and set them up around my work bench in order to get the correct lighting. Then I took my tree trimmer, put it in my vise, got out my Dremel and its accessories, put the right bit in the Dremel, and placed the bits container behind the vise at an angle. Then I took my Dremel, turned it on, got the right hand position and angle, began sharpening the blade, and started taking pictures until I got this one. In the editing of this photo I added a gradient layer over the background layer, duplicated the background layer, changed that layer to soft light, and erased parts of the duplicated layer and gradient layer and used the paint brush tool to paint certain areas in the photo for a layer mask. In the editing of this photo I also bumped up the whites, temperature, tint, exposure, clarity, and vibrancy and turned down the brightness.
The strengths of this photo are in the composition, since the way things are arranged in the photo are almost exactly the way they are arranged in the original photo, and lighting, since the objects in this photo are all well light and the lighting in the photo matches the original photo’s lighting almost exactly. The weaknesses of this photo are in the cropping of this photo, since the edges around the things I cropped did not turn out that great, and the sharpening of this photo, since the Dremel itself seems kind of blurry and out of focus.
Eva-Last, Australia,Pioneer, Blackbutt, Replicated Rare Woods in a Reinforced Bamboo PVC Composite Decking,
Replication of Imogen Cunningham's Bird of Paradise, using pencils with black and white construction paper.
A photo session with Zoey at 3 months replicating a session with Violet at 3 months, with a couple shots of Violet thrown in for good measure.
Nan Curtis’ 3-D Design students presented their final project, “Replicate a ‘Famous’ Person’s Sculpture” in the PNCA Commons on May 13, 2010. Photo by Heather Zinger ’10.
Replicate Designs produces Architectural Scale Models and Custom Displays along with props for advertising, movies and more.
The process of CD replication service provides some high quality of affordable systems of replication programs.
Capturing a similar photo to number 4. It was interesting with two subjects as they kept jumping at different times or one person would move more than the other. Eventually we got the timing right of both the camera and couple with the shutter at 1/400. I love the texture of the girls curly curly hair, its her trademark, and is wild as she is.
(L-R) Oregon Community Foundation's Diane Redd, Civic Ventures Vice President Phyllis Segal, Coming of Age Director Dick Goldberg, CAEL Regional Vice President Phyllis Snyder, Idealist Mid-Career Transitions Coordinator Steven Pascal-Joiner
Replication partners from The Community Foundation of Greater Dubuque with Grants to Green Advisory Committee members.
So the current edge of technology is 3D printing.
Theoretically, we'll be able to use it to make anything from the atoms up. There are plenty of things that might prevent that. We want it so much though. I want it so much.
toppings replicating beach items on a cupcake - A cupcake covered in beach items.. To Download this image without watermarks for Free, visit: www.sourcepics.com/free-stock-photography/24726865-toppin...
When is data science a house of cards? Replicating data science conclusions. June Andrews (Pinterest), Frances Haugen (Pinterest)
Part of the inspiration of my "Holly Gone" project came out of a desire to replicate a look I had painstakingly created in my days in and immediately after Photography College. At a time when film manufacturers were trying to minimise grain I had found a process that maximised it. In fact I found a way to make the grain golf ball sized!
If you underexpose film it gets less light than it needs and would normally come out dark. But if you lengthen the developing time you can compensate for this, it gives you a shot that's more correctly exposed but has brought a huge amount of grain with it.
Lovely!
So here I am, with my original Nikon EM fronted by a 50mm f/1.8 lens, with 400ASA film exposed at 1600ASA (2 stops underexposed). My goal was to use a very shallow depth of field in all the shots taken in the bedroom, but bring this gorgeous grain in as a big part of the look and feel.
It's amazing how you often have a romantic view of the past that simply isn't robust enough to survive in the modern world, particularly with all the skills you've picked up since and with all the new expectations you've garnered in the time gulf between then and now.
The Nikon EM only has a maximum shutter speed of 1/1,000th of a second. That was not an issue for me back in the day but here, in this brightly lit room; it meant that I was getting massive overexposure. On my modern Canon 5D Mark II I can bring that up to 1/8,000th of a second, three stops faster, which would have solved the problem.
The result on this old camera, though, was what we call 'thin negs', negatives that have either received too little light or have been incorrectly developed as in this case, and so therefore have a very thin layer of emulsion left on them. Back in the day that would have meant much shorter exposure times under the enlarger, now though it just resulted in scans that were lacking in contrast and had shadows that were very, very grey. But now? Well spending just a few minutes per image in Lightroom solved all these problems. With sliders that let me modify shadows and highlights, with sliders that that let me control contrast to an almost infinite degree, I could return detail to the image that the camera had tried to take away.
You can never go back, no matter how romantic a memory is, the chances are that it simply will not stand up to scrutiny. In reality, the future is nearly always a better place.