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In this particular assignment, I decided to try and replicate or emulate the photographer, Ansel Adams. Ansel Adams was known for his photography of the vast American Wilderness. Adams's photography of the American Wilderness grabbed my attention as his photographs were able to capture nature's beauty and its wilderness. Adams was able to archive this without much color relying on black and white. With this, he was able to make the person who saw his photograph realize how big the landscape was. To emulate Adam's style of photography I decided to cover the entire photo back and white, trying to minimize grey colors. Of course, I also decided to photograph the Californian mountains, a type of landscape Adam would have chosen. Another thing I did to emulate Adam's style was to give my photograph a sharper focus and higher contrast. This allowed for enhanced textural and structural details in my landscape photography, as seen through Adams's photographs.
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.
“Models are not replications of reality. They are simplifications, and thus, are imperfect,” said Hansen during one of four lectures during his visit to France. His argument for confronting that reality was to accept that there is little we can know with certainty, but much we can understand about uncertainty itself. "Let's push uncertainty to the forefront of economic analysis."
The 2013 Nobel laureate—famed for teaching economists that they could "learn something without knowing everything" via his General Method of Moments—traveled to Paris in May 2015 to speak to alumni at the University Chicago Paris Center.
Polymer clay, wire, glass. Displace is a series that reproduces intimate landscapes from my immediate outdoor environment in 100% non-natural materials. Displace focuses on the mundane, overlooked and trod upon suburban landscape. The time invested in painstakingly replicating these minute landscapes in long-lived unnatural materials, the simple act of placing them under glass domes, and the idea that they are works of art raises the (aesthetic) value of the mundane suburban roadside landscape and preserves the transitory. Most importantly these transformations raise questions about how value (aesthetic and otherwise) is culturally assigned and accepted.
for years i've been meaning to replicate Antonio 'Wandre' Pioli's construction methods.
here is my first prototype ... i have used solid 6061 T6 rod ( rather than the hollow extrusion of the originals ) milled down to the required cross section - this is 'wrapped' in padauk to form a hybrid neck with the typically asymmetric 'Fred Flintstone' headstock T.I.G. welded in place. the neck is bolted to a similar rod embedded in the mahogany body to form a continuous resonating beam from tuner to bridge.
Replication partners from The Community Foundation of Greater Dubuque with Grants to Green Advisory Committee members.
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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.
Test image from BlockCam 2 of me (I usually use me as a test subject). This is a kaleidoscopic view of my nose, just in case anyone was curious...
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...
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“Models are not replications of reality. They are simplifications, and thus, are imperfect,” said Hansen during one of four lectures during his visit to France. His argument for confronting that reality was to accept that there is little we can know with certainty, but much we can understand about uncertainty itself. "Let's push uncertainty to the forefront of economic analysis."
The 2013 Nobel laureate—famed for teaching economists that they could "learn something without knowing everything" via his General Method of Moments—traveled to Paris in May 2015 to speak to alumni at the University Chicago Paris Center.
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.
i was lucky to get this pic just in one single shot when i was on a bus. it turns out that each little frame itself comprises a little pic, this reminds me about a classic masterpiece (taken in China in 1950s from a window frame, and there was a story in each little frame)
6.13 Sculpt/Build update on AL1-L3 "Allie" from Star Wars: The Rise of Skywalker and the Fondor Haulcraft build from Star Wars: Andor - I:18 scale.
Plastic castings turned out great for AL1’s Droid chest plate, head sculpt and helmet. I have installed magnets to hold the plate and helmet in place. Attached are a series of images with the casted parts added. The sculpted parts will be archived.
Shoulder and upper leg plates are next to be sculpted. The back plate will be sculpted to the body and not be removable.
Made a mold for the Fondor Haulcraft’s pilot seat and the initial casting came out great once again. For small pieces like this I have found much success with my castings. Larger pieces can be a little tricky but it depends on what you are trying to replicate. But that’s another story . Next step for the Haulcraft will be the cockpit and chair attachment. Expect update for this coming soon.
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This image is copyrighted to Kristinn R. Kristinsson; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at kristinnr@simnet.is for express permission to use any of my photographs.