View allAll Photos Tagged replicator
The original - I am not sure why I find these symettry images so personally satisfying - my brain must be wierd
This gorgeous bacterial polysome was recently published in Cell. You can think of it as a 9-head programmable nanofabricator.
The ribosome reads the digital code of mRNA and manufactures most of what we care about in our bodies from a sequential concatenation of amino acids into proteins. The ribosome is a wonderful existence proof of the power and robustness of molecular machines. It is roughly 20nm on a side and consists of only 99 thousand atoms.
The numbered ribosomes are shown tightly bound to a single mRNA strand at the core, with each mRNA making its own protein. The two major subunits of each ribosome are blue and yellow. The nascent protein chains being cranked out in close proximity to each other are green and red.
The researchers conclude: “this arrangement maximizes the distance between nascent chains on adjacent ribosomes, thereby reducing the probability of intermolecular interactions that would give rise to aggregation and limit productive folding.”
To me it looks like hyperbolic crochet. (I’ll post a comparison image below)
…a mesmerizing image to behold during the Synthetic Genomics board meeting today. Another example of perceiving beauty in the accumulated complexity of simple iterative algorithms… like a 3D cellular automata from Wolfram or a hyperbolic coral reef.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
After successfully replicating a LUT that I liked from another image processing program, I realized it might work well on some photos I took last May around the Perigord Noir region of France.
From a message shared with a friend here on Flickr -
RawTherapee is free - rawtherapee.com/
You'll need to add Pat David's HaldCLUT film emulation collection - rawpedia.rawtherapee.com/Film_Simulation
Relatedly, if you already use the Gimp (see: www.gimp.org/ ) their most recent versions include 32bit floating-point color-space precision settings. I've been waiting 18 years for this (which is why I went with RawTherapee some years back as it was built to have a large color space to work in).
To get film emulation and some other interesting LUTs into the Gimp, check out G'Mic - patdavid.net/2013/08/film-emulation-presets-in-gmic-gimp/
G'Mic site - gmic.eu/
Presenting my LEGO Architecture interpretation of Caerphilly Castle; a commissioned model for Cadw with Little Big Art.
I’ve captured and replicated the architectural essence of Caerphilly Castle, such as the iconic leaning tower and the ruins across the landmark.
The structure is designed to provide a true-to-life colour and relative scale depiction adding an extra dimension and feel of authenticity to this detailed recreation of Wales’ biggest castle!
Highlights
-Blogged On BBC.co.uk:
www.bbc.co.uk/news/uk-wales-south-east-wales-37185546
-Blogged On ITV.com:
www.itv.com/news/wales/2016-08-25/how-you-can-help-caerph...
-Blogged On WalesOnline.co.uk:
www.walesonline.co.uk/news/wales-news/what-caerphilly-cas...
-LEGO Ideas:
This is my attempt at replicating the Pagani Zonda Cinque in LEGO bricks. The Zonda is one of my top 5 favorite cars, so I had to include one in my LEGO collection. This is actually my third attempt at building the Zonda (see my previous versions here and here). With this version, I think I've improved the overall shape of the car by increasing the width at the rear of the car to 17 studs (the front of the car is 16 studs wide).
As you can see, this creation was inspired by Firas Abu-Jaber's own Zonda. I tried to replicate the Zonda's shape using different methods from Firas' Zonda, but in the end some areas, such as the front simply could not be made better (Firas' version is near perfect).
Also, if anyone has a set of Ferrari FXX rims and is willing to sell, please let me know (prices on Bricklink are so high for this piece)! Those rims would look a lot better on this car than these silver ones I have.
My attempt to replicate the most-produced fully tracked armoured German fighting vehicle during World War II. Commonly known as the StuG III, it started its career as mobile assault gun but quickly revealed itself as an excellent tank destroyer.
This StuG III Ausf. G is an early production model and this can be seen by the gun mantlet shape and the absence of machine gun on top of the roof.
My model is inspired by the various existing models (BrickMania, Custom-Bricks...). Stickers are from BKM and CB, tracks are from CB. Minifig is from BKM.
A scene replicating what could possibly have been witnessed at Derby roundhouse in the traction transitional period 1962-63 when 43106 was allocated to Saltley, Wellingborough and Kettering sheds, with a 204hp shunter on the turntable. Ivatt 4MT 2-6-0 43106 brews up (not precisely aligned under the 'smoke jack'!) on Barrow Hill shed on 23 September 2015.
© Copyright Gordon Edgar - No unauthorised use
The American Industrial Center commands the street corner with an authoritative presence that speaks to both its historical roots and contemporary purpose. Shot during the blue hour when natural light fades and artificial illumination takes over, this massive structure showcases one of San Francisco's most successful examples of industrial adaptive reuse at the Pier 70 complex.
This building's design language is distinctly different from its historic brick neighbors across the street. The warm terracotta and cream-colored facade, punctuated by hundreds of steel-framed windows arranged in a precise grid, represents a more modern approach to preserving industrial character. The exposed concrete structure with its bold horizontal banding creates a rhythm across the facade that's both industrial and elegant. It's a careful balance between honoring the site's manufacturing heritage and creating functional contemporary space.
The ground floor colonnade is particularly striking—a series of white columns creating a covered arcade that provides both practical weather protection and architectural drama. The generous ceiling height and open design of this ground-level space recall the loading docks and open bays that would have characterized the original industrial waterfront. Modern lighting fixtures illuminate the walkway, casting bright pools of light that contrast beautifully with the deep blue twilight sky above.
Looking at the fenestration pattern, you can see how the building is organized. Those massive window groupings speak to the flexible loft-style spaces within—high ceilings, open floor plans, and abundant natural light. This is exactly what creative companies, tech startups, and design firms look for when choosing office space. The industrial bones provide character that no suburban office park could replicate, while the modern systems and finishes provide the functionality contemporary businesses require.
The street scene itself tells a story about how Pier 70 functions today. A few cars are parked along the curbs, traffic signals glow red and blue, and the crosswalk striping is crisp and fresh. The overhead power lines cutting across the frame are a reminder that this is a working neighborhood, not some sanitized development that erases all traces of urban grit. That utility pole on the right and the various street fixtures ground the scene in everyday urban reality.
What's particularly notable about this perspective is how it captures the building's corner condition. Corner buildings have always been architecturally significant—they're visible from multiple directions, they anchor intersections, and they help define the character of a neighborhood. The American Industrial Center embraces this responsibility, presenting strong facades on both street frontages and creating a landmark that helps orient visitors to the district.
The lighting design deserves attention. Those glowing windows on the upper floors suggest activity within—people working late, businesses that operate beyond traditional hours. The variety in the window illumination, with some blue-toned lights visible among the warmer glows, hints at the diverse mix of tenants and uses within. Meanwhile, the ground-floor lighting creates a welcoming pedestrian environment, crucial for a neighborhood that's trying to balance its industrial past with a more mixed-use future.
Dogpatch and the broader Pier 70 area have become a laboratory for urban planners and developers interested in adaptive reuse. Rather than demolishing these massive industrial structures, San Francisco has chosen to preserve and repurpose them. The American Industrial Center represents a slightly different approach than the historic brick buildings nearby—here, the strategy was to create new construction that respects the industrial aesthetic without directly mimicking historical architecture. It's contextual design that speaks to its surroundings while maintaining its own distinct identity.
The empty streets at this hour create a contemplative atmosphere. You can appreciate the architecture without distraction, study the interplay of light and shadow, and imagine the building's multiple lives—past industrial uses, periods of vacancy or underutilization, and now this current chapter as a hub for the modern economy.
Replication of "Ol Spot Mortimer's" cabin originally constructed in 1869 at this site. Mortimer, a shoemaker from New York, came to Dakota Territory after hearing stories of the rich fur trade in the Big Sioux Valley. In 1869, he found his way to Oakwood Lake and discovered a trapper's paradise. Otter, beaver, mink, muskrat, and fox were abundant. Mortimer built this cabin and lived here for the next five years.
By 1874, Mortimer experienced declining harvests from his traplines. Turning his attention to the areas valuable timber, he built a sawmill and played an important role in providing the lumber for building houses and area businesses.
After the death of his wife, Mortimer left Oakwood Lakes and moved to Yankton, Dakota Territory. He later re-married and returned to the cabin. Later in 1886, he sold the cabin and 1,200 acres for $1,800. (Story from a sign at the cabin).
A Photographic Digital Art Composition. This image is available to purchase as a greeting card, print, poster, calendar, framed or canvass artwork via my RedBubble web site.
www.redbubble.com/people/davidelder/art/7775413-replicati...
Replicated crane (none-operational copy of one built and used from about 1949) beside the main passenger ship terminal, Station Pier, Port Melbourne.
Melbourne, Victoria, Australia.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
For this model I have sought to replicate the Lego Creator Classic Pickup as is - rather than morph it into a particular vehicle brand. For the basis of the pickup, I used my early 1950s Ford F1 model as a basis.
The Ford F1 was the first in a long line of best-sellers in the segment for Ford Motor Company, having replaced the pre-War truck models with a much more sophisticated and comfortable vehicle.
When I first designed the Base Ford F1 vehicle, more than a decade ago, I was broadly unfamiliar with the vehicle proportions (you don't see many driving around these days). For this significant update of the model, I have included a much taller cabin and windshield, along with more sculpting of the front fenders and hood. The Lego model also featured squarer rear fenders as well.
This scale does not permit the usage of the (rather clever) lift in/out wooden tray extenders, bu t I have sought to achieve a similar (but slimmer) effect with 3mm circular rods and some of the new end connectors.
I am also quite pleased with the outcome of the design of the front grille at the smaller scale, particularly as the official set executes this (generic) part of the truck very effectively.
A twist to an Explore picture of Arisan; see the link below in the first comment.
Hé, Ari: IKEA colours!
ODC - Theme (12-09-2011): Attempt to replicate something that has been on ODC explore
The Cloud Forest replicates the cool moist conditions found in tropical mountain regions between 1,000 metres (3,300 ft) and 3,000 metres (9,800 ft) above sea level, found in South-East Asia, Middle- and South America. It features a 42-metre (138 ft) "Cloud Mountain", accessible by an elevator, and visitors will be able to descend the mountain via a circular path where a 35-metre (115 ft) waterfall provides visitors with refreshing cool air.
The "cloud mountain" itself is an intricate structure completely clad in epiphytes such as orchids, ferns, peacock ferns, spike- and clubmosses, bromeliads and anthuriums. It consists of a number of levels, each with a different theme.
People of Havana mill around and the walk the worn, weathered streets of Habana Vieja. This shot behind the Capitoilo, their capital building , replicated after the Capital building in Washington DC, USA.
Hand-modelled figures adorn the rim of this Red Polished Ware bowl. Bulls embodied fertility and strength, and appear on this vessel both as a complete animal and as horned bovine heads atop poles. Interspersed between them are two miniature bowls on short stems and a long-necked water bird. The two bowls replicate the shape of the full-sized vessel they decorate. Early Bronze Age Cyprus (about 2400-1600 BCE), defined by the local Philia culture that originated in Anatolia (present-day western Turkey), saw the introduction of novel technologies and agricultural production, burial practices, and pottery styles. The ubiquitous Red Polished Ware, handmade from mineral-rich clay and named for its ruddy color and lustrous surface, was a hallmark of the local craft tradition. Vessels with three-dimensional human and animal attachments and scenes of daily life have been found primarily in funerary contexts. Rather than simply burial goods, however, dining wares found in graves may also be associated with feasts, which were celebrated by the living to commemorate and recognize the passage of the deceased.
Early Bronze Age, ca. 2300-1900 BCE, terracotta. From Cyprus.
Getty Villa Museum (2001.81)
Every Wednesday morning I have a web conference call with one of my customers to review status of their orders. The process involves me logging onto their vendor portal and then sharing my screen while we do the review so we both see the same thing at the same time. This morning when I shared my screen it began to replicate itself over and over and no matter what I did it would not stop. While my jaw was dropping I was grabbing my phone to get a picture. This is exactly as it was taken no photoshopping here:) oh yes in case you are wondering the only way I got it to stop was by logging off the web meeting. By the way no virus it was all caused by the web meeting connection.
This is a replicated cabin on the same site as the original cabin of Ol' Spot Mortimer. Mortimer was a shoemaker in New York, but eventually moved west to trap furs along the Missouri River in what is currently the Yankton SD area. While there, he heard stories of the fur rich Big Sioux Valley. However, the apprehension and terror of the Minnesota Uprising of 1862 had made the Big Sioux Valley virtually a no-man's land. The state of Minnesota offered a bounty for scalps of renegade Indians, and prospective white settlers feared another uprising. For 8 years, settlers and Indians alike shunned the area to avoid another conflict. Nevertheless, in 1869, Sam Mortimer arrived at Oakwood Lakes and found a trapper's paradise. Otter, mink, muskrat, and fox could be taken in great numbers. Mortimer, called 'Ol Spot, built a cabin at this site and lived here for the next 5 years. After 1869, white settlers began to arrive in ever increasing numbers. Trapping was of great value to these settlers as the furs could provide income until the first crops could be harvested. 1871 proved to be a peak year for trappers in this area. In 1874, Mortimer found that he could no longer depend on a profitable harvest from his trap lines. He sold 100 acres of timber from his land for $100 per acre to new settlers who were hard pressed to find logs for fuel and buildings. A pioneer reported that some of the oak trees were over 3 ft in diameter. In September of '74, Mortimer sold his claim, abandoned his Indian women, and returned to Vermillion, Dakota Territory, where he married a white widow with several children. In 1877, Sam and his new family returned to this site at Oakwood Lakes. Sam tried farming, but soon discovered he was more adept at trapping. Another pioneer wrote of the growing population in the Oakwood vicinity. He noted that in 1876, at the first 4th of July celebration, about 20 people attended, but 2 years later, about 400 attended. The population explosion may not have been agreeable to 'Ol Spot Mortimer, as he sold his 1,200 acres of land for $1,800 in 1886. Some claim he moved west with his family where the frontier was still unsettled. (Story taken from a sign at the cabin)
The original work is on the third floor.
Artist of the original work: Pablo Picasso
Title: The Studio (L'Atelier)
Date of original work: June 1934
For artist Pablo Picasso, who painted himself in the left, it was a cubist world. That is until it came to his model, muse and mistress, Marie-Thérèse Walter, who is at the center of his painting.
So let me ramble on for a moment: What does this all mean to me? This painting shows me that reality and life are difficult to represent, stylize and emphasize. Picasso intuitively realized in this painting that his cubism didn't do justice to the apple of his eye — the model that he was having an affair with. (I can guess what was on his mind when I look at his painting but I wonder what the true story was.)
My attempt at a photo shows Picasso's stylistic clash alongside an in-motion woman awaiting an elevator.
To the art scholars out there, I apologize for this. This painting probably represents something completely different to you than it does to my untrained eyes. To me, it tells me that no matter how masterful one gets, there are limitations and needed adaptations. If the master Picasso saw fit to follow his gut and adapted, then I have to follow mine. In my own rough stabs at photography, I've caught the exact moment in two dimensions but choices had to be made at what I wanted to convey. I've framed the painting and the woman a certain way. Her motion is blurred because of a slow shutter speed. The elevator buttons are slightly unfocused because it is just beyond the narrow depth of field that is focused on the painting — on the elevator door. I've saturated the colors, brightened the whites and darkened the blacks. Yet I still have not caught her or this scene clearly. But do I want her clearly? No. Her blurred back is exactly the point.
End of ramble.
This is for me their replication/combination of the VDL Jonckheere SH and the neoplan cityliner. The name of this unit is SR Cityliner the 2nd version becaues of the curved windows. Daewoo Bus BF106. Taken at Alabang viaduct, Muntinlupa City.
Body: Santarosa Motorworks Philippines "Cityliner"
Specs: PL5FJ50HD9K030024-chassis DE08TIS807049BI-daewoo engine, Nippon Denso LD8i Overhead Airconditioning System.
Bus Company: Dimple Star Transport(NAPAT).
Route: Cubao - Sampaloc Manila- Alabang Muntinlupa - Turbina, Calabarzon, Batangas City Pier, Oriental Mindoro, Bulalacao, Occidental Mindoro.
Bus: P (provincial)
Taken: Alabang Viaduct, Muntinlupa City.
A third of the way though this project. Summer is passing quickly.
A poorly morning at Thomas's, looking after one another. Watched the Don Mccullin episode of Imagine on demand, after enjoying the Vivian Maier episode. Truly inspiring, and made me wish I were from another era, and a little braver. Travelled home and went running with mum and the dogs in an attempt to clear the lothargic-ness, after a few days off. Dinner, then a cycle ride to a daisy field.
find me on instagram @belladayys
I had so much fun creating this image. For those of you have seen the movie Big Fish, you will most likely understand the meaning of this picture. For those of you who have sadly not seen Big Fish though... Here is an accurate representation of what I was trying to replicate in some ways as photographic art: www.montrealfilmjournal.com/dat/pic/M0000787.jpg
Big Fish is such an amazing film. One of my favorite linesis when Senior Ed Bloom says, “They say when you meet the love of your life, time stops, and that's true. What they don't tell you is that when it starts again, it moves extra fast to catch up.” This quote is said during the suspended popcorn scene.
Hope somebody enjoys this shot. Critique if you please!
Acrylic marker and ink on paper 4.75" x 6.75" February 19, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
Tried to replicate this. =) Meanwhile the no sleeping plan is going perfectly! My bats are blooming, people are afraid to leave their homes and world domination is just a Flaming Moe away.
Kidding. I have found ze secret. Bed time stories. So, who wants to come read for me tonight?
This is my attempt at replicating the Pagani Zonda Cinque in LEGO bricks. The Zonda is one of my top 5 favorite cars, so I had to include one in my LEGO collection. This is actually my third attempt at building the Zonda (see my previous versions here and here). With this version, I think I've improved the overall shape of the car by increasing the width at the rear of the car to 17 studs (the front of the car is 16 studs wide).
As you can see, this creation was inspired by Firas Abu-Jaber's own Zonda. I tried to replicate the Zonda's shape using different methods from Firas' Zonda, but in the end some areas, such as the front simply could not be made better (Firas' version is near perfect).
Also, if anyone has a set of Ferrari FXX rims and is willing to sell, please let me know (prices on Bricklink are so high for this piece)! Those rims would look a lot better on this car than these silver ones I have.
© All rights reserved. This image is copyrighted to Tim Wood; 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 woodrot147@aol.com for express permission to use any of my photographs.
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Somewhere in country Victoria
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All images are © Fenix Blue Photography, All Rights Reserved. You may not use, replicate, manipulate, redistribute, or modify this image without my written consent.
Faithful replications of the Doge's Palace, the Bridge of Sighs , the Campanile Tower , and St. Mark's Square offer awe-inspiring sights and sounds true to the crown jewel of Europe. Don't miss the quarter-mile Grand Canal set in a frescoed sunset sky where gondoliers serenade their passengers on the romantic ride of a lifetime
“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 as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Replications of the Venus de Milo appear 28 times in this painting.
There is an optical illusion - a toreador (man's face is just about discernable).
Among other things, it symbolises his wifes disapproval of the Spanish tradition of bull fighting.
(View larger to see notes on the image)
Just visible through the window is the boat that is a memorial to Gala after her death, It is part of a large visual pun, that will appear in later images.
en.wikipedia.org/wiki/The_Hallucinogenic_Toreador
Dali was a contraversial character who was known for his egotism and immoral behaviour, as well as his eccentric charm. Some of his artistic works reflect his questionable attitudes and are offensive to many. These images are ones that I personally, choose not to admire or reproduce. However, I do appreciate many of his art works and how they contribute to the richness of our human experience.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!