View allAll Photos Tagged surface
We had two stereo microscopes at the Hackspace (this is my own one), and people used them to solder a DC-DC converter PCB designed by Matt:
www.mattvenn.net/2011/09/26/dc-booster-pcb/
Photographed at the Bristol Hackspace: bristol.hackspace.org.uk/
this is one of those age-old curtains made out of some sort of plastic/fabric/rubber combination. you can easily identify them by their entirely unique plastic/rubber odor.
(Aug. 13, 2014) Ensign Ashley Mannix is the first female 5K runner to cross the finish line during the Naval Surface Force, U.S. Pacific Fleet Surface Line Week. More than 40 commands will participate in professional and athletic events until Aug. 15, and will conclude with a picnic and awards ceremony. (U.S. Navy photo by Mass Communication Specialist 2nd Class Zachary Bell/Released)
Cleverly parked my BacBook Pro on the MSFT Surface table... in a very magnanimous mood, MSFT security did not throw me out of the building for desacrating the thing :)
My card at the surface table. Here I can drag and drop pictures, virtual business cards, tweets etc. on my card...
At Choeung Ek, human bones and fragments of clothing still surface as rains wash away the earth. Groundskeepers collect them for safe storage every few weeks.
© David Koiter - All Rights Reserved. No usage allowed including copying or sharing without written permission.
HMS Argyll's football team play a friendly football match against the Muscat Storms whilst on a Port visit to Muscat, OMAN.
HMS ARGYLL PLAYS MUSCAT STORMS WHILST ON PORT VISIT
On Monday 27th August 2018, HMS Argyll's football team arranged a friendly football match against the Muscat Storm Ex Pats football team whilst on a Port Visit in Muscat, OMAN.
After a first goal scored by the home team, HMS Argyll managed to equalise in the first half before the match got decidely heated in the second half. The Muscat Storms upped the pace in the second half consistantly putting the pressure on the Argyll team. Alas with the ship's company flagging and tiring in the oppresive Omani heat, the Muscat Storms punished them with a further 2 goals in a 5 minute period before securing a victory of 3-1 end score.
Credit: LPhot Dan Rosenbaum
HMS Argyll
May 2009...The Katiku family in the drought prone Usugu Village, east Kenya, have been able to grow crops on their land despite no rain for four years thanks to the help of UCCS. The partner built a small sub-surface dam in a nearby river which pumps water up on to their land. With the farming techniques that Makula Katiku has learned on the UCCS training days, he is now able to grow enough food to feed his family and sell the surplus at the market. With the extra money he is able to educate all five of his children, build his own house and buy extra livestock.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/146352141956
Just Pinned to Cycle Lane Line Marking: Cycle Lane Colour...
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
Sunday afternoon some little ducks were diving under the ice in the harbour. Fortunately, they didn't mind getting their photograph taken. The water is still rolling off its head in this image. Can someone help with id.
An Aveling Barford grader spikes the laterite surface of Kok Talat's main road. Sapper Ringwood is holding the tape left of picture.
Réf. : DSC02128
Image fractale. Surface d'une planète photographiée par une sonde spatiale? Image photographiée au microscope électronique? Gros plan d'un rocher?
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Fractal image. Surface of a planet photographed by a space probe? Image photographed with an electron microscope? Close-up of a rock?
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.